JOURNAL
ARCHITECTURE DESIGN STUDIO AIR JESSICA UTAMI 377788
PART ONE.
EXPRESSION OF INTERES
CASE OF INNOVATION. 1.1 ARCHITECTURE AS A DISCOURS 1.2 COMPUTATION IN ARCHITECTU 1.3 PARAMETRIC MODELLING
RESEARCH PROJECT 1.4 MATRIX 1.5 REVERSE ENGINEERED CASE STU 1.6 FABRICATION AND EXPERIMENT 1.7 DESIGN DEVELOPMENT 1.8 FABRICATION OF DESIGN CONCLUSION
PART THREE.
LEARNING OUTCOM
ST
SE URE
UDY T
PART TWO.
MES
PROJECT PROPOSAL 2.1 BRIEF 2.2 SITE ANALYSIS 2.3 DESIGN APPROACH 2.4 DESIGN DEVELOPMENT 2.5 CONSTRUCTION DESIGN 2.6 MODELS 2.7 PROJECT FINALISATION
EXPRESSI
CASE OF INNOVAT
PART ONE. ION OF INTEREST.
T I O N.
‘above all, architecture needs to be analysed as a discourse’ - Richard Williams 2005
ARCHITECTURE AS A D I S C O U R S E.
1.1
Projects are discussed as architecture discourse. Taking the principles of them and focus in developing Wyndham City Gateway Project.
ANISOTROPIA.
FROZEN PIECE OF MUSIC ORPROJECT (XIN WANG AND CHRISTOPH KLEMMT) 2011 Anisotropia is based on Klevierstuck; a piano composition that repeating and altering the tones to create complez rhythmic patterns. In Anisotropia, the repetition happens in space instead of time, thus resulting in the formation of complex architectural rhythms which control light, view and shadow. The discourse in this project is a translation of ‘data’ into forms; altering tones and translate it into scripting programmes. In Wyndham Gateway Project, the searching of form could be done with this methods; translating data into forms of sculpture.
RELISHING SENSES. PERSONAL PROJECT (2010). A personal project from first semester in architecture course was based on a brief about listening place in Carlton garden. The project encourages people to enjoy the park with all senses. The design was based on the metaphor of senses and literally translate it into the form. Eye-shape became the form of the deck and ear-shape became the form of the panels. The stair to the tree house is coloured in red as a metaphor of lips. The approach of literal translation of metaphor is the architectural discourse in this project. This approach of architectural discourse would be further explored in this project.
METROPOL PARASOL.
REDEVELOPMENT OF PLAZA DE LA ENCARNACION SEVILLE,SPAIN J MAYER H 2011
Metropol Parasol is a project that aimed to transforms the Plaza de la Encarnacion to be a new contemporary urban center and to be the new icon for Seville. The project defines the unique relationship between historical and contemporary Seville city. The approach of defining relationship between the historical and contemporary city could be an architectural discourse for Wyndham City Gateway Project.
1.2
COMPUTIN ARCHITEC
Discussion about computation in archietcture as not ju plored and design solution for Wyndham City Gateway
‘design computation is still only seen by many as ‘just a tool’ and remote from the real business of creative design’ John Frazer 2006
NG IN C T U R E.
ust a tool, but it helps to develop architecture into a new stage. Projects will be exy Project will be discussed.
ART 615 PAVILION
AALBORG UNIVERSITY STUDENT DENMARK 2010
‘we wanted to work with the inside and outside of Art 615 and also make spatial connection between two spaces.’
The brief of this project is to design an art pavilion for a crime-related park. Similar to our course, the workshop was based on basic exercise in the development of dynamic architectural concepts and computer-generated geometry. Students explored solutions for anti-crime through the use of digital design with application of censors and light control technology. Rhinoscripting and Grasshopper were used in the process. Through the use of computation, architecture is able to be a solution for social problems. Sensor technology and light control is designed to be the system in the architecture itself - not a seperate system. Computation allows infinity oportunities to find design solution and develop it, so that the architecture is not only based on the aesthetic appearance but also have site-based functionality embadded in it. In Wyndham City Gateway Project, the use of computation that is embedding the functionallity in architecture may be further developed. Air, motion, light, and speed are some of the elements that can be monitored, functioned and directly translated in the architecture. Connections with the site - not only in term of physical visual but also in functionality - are one of the important aspects to be considered when designinga the project.
MADREN 5340 INFRARED 2012
Madren 5340 is a temporary installation with a brief of an investiga regulates what comes in and stays out for the personal space. The amount of light and visibility towards the personal space. The surfac with different wave length and amplitute. All information is generat
Similar to Art615, this project is optimasing the use of computation t Art615 was embedding additional function systems in the architect
This becomes an alternative approach in Wyndham City Gateway P tion, speed, air and light; through parametric modelling, the facad on different approaches will be discussed throughout the design de
ation of the concept of private space. The idea of the design is to create a filter that idea is represented in patterned sufarce made by paper tubes. The surface filters the ce is generated algorithmically through an interpolation between several sine curves ted digitally in order to optimize the function of it.
to solve design problems. However, different appoarch was used in this project. While ture, this project uses the architecture itself to be the filter of lights and visibility.
Project to create architecture with functionality in it. Instead on adding sensors for mode of the architecture can solve the site-functionality problems. Further development evelopment.
1.3
PARAMETR
Infinity possiblity is created through scripting. In this cours the use of parametric scripting.
‘scripting as a voyage of discovery’ - Mark Burry 2011
R I C M O D E L I N G.
se, I’d further explore the relationship between functions, designs and forms through
‘deep ecology of imbedded algoritmic and parametric relationships are the seed for possible materialization procedures and adaptation to the side condition.’
Serroussie Pavillion By Ezio Blasetti et al (2007) Paris Seroussie Pavilion was created by patterns of vectors based on electro-magnetic field. Features of the project were built into script as to allow it for local adaptation to the site. The Seroussie Pavilion creates opportunities for different degrees of cohabitation of humans and art collections - ‘living with art’. Rearrangement of art pieces sequences can be done through the labyrinthine fabric. The design priciple that allowing adaptation to the site through scripting is our group aim. Scripting should not just be a design solution, but it has to satisfy the design and the site.
CONCLUSION. The precedents explored in the case of innovation shows that through parametric modelling, any forms is possible to be fabricated and forms can be taken from any references. The example of Anisotropia shows that direct translation of musical notes could create forms of sculpture. Furthermore, the precedents also show that scripting is used not only to design, but also to create functionallity in the architecture itself. Art 615 shows that through RhinoScript and Grasshopper, it is possible to create architecture that has functionality embedded in it. These research on precedents helps to set direction for Wyndham City Gateway Project. As shown in the precedents, with scripting there are more possibilities could be taken into consideration when designing the gateway. Direct translation of data or site functionality could be a design form through the use of computarization. Thus, we’d like to further explore for directions to develop our design.
EXPRESSIO
RESEARC PROJECT
PART ONE. ON OF INTEREST.
CH T.
1.4
‘desig sight in
MATRIX
exploration of several input, association, an ties for Wyndham Gateway Project.
gn is a process of discovery, which generates innto the problem that were not previously known’ - Kalay 2004
nd ouputs in grasshopper as a learning towards the design possibili-
basic form
rotate unit x + unit y
basic form
loft circ
input// boolean patterning association// image sampler output// extrude direct image is translated to the surface. There is more control over design with image sampler.
basic form
basic form
rotate unit z
input// curve intersection association// image sampler output// rotation + extrude
extrude input// surface normal association// maths function sin(x)*cos(y)
cle output
extrude
input// overlapping pattern assotiation// maths function tan(y) + sin (x) output// rotation
rotate unit y + unit z
input// boolean patterning association// attractor point output// rotation + shader
basic form
dynamic changes occcured with rotation output.
rotate
input// surface gird association// image sampler output// extrude+rotate+shader
Again, with rotation we got dynamic, organic outcome. However i still couldn’t have control over the shape.
basic form
3d form + rotate
image sa
ampler
shader a few rotation + shader
shader
shader + extruder
3d surface + rotate + shade
input// overlapping pattern association// maths function output// rotation + shader
further experiment with rotation output. basic form
change to tan(x)
rotation
rotation
3d surface
rotation + shader
another rotatiion
shader
1.5
‘anal
REVERSE E CASE STUD
Reversed-engineer case study is the most infl tecture helps us understand how computatio
lysis will reveal the constraints on accomplishing the goals’ - Kalay 2004
NGINEERED DY
fluential element in our design process. Learning from built-archion could embedded with the site and the functions.
Gantenbein Vineyard Facade By Gramazion & KohlerGantenbein (2006) Flasch, Switzerland
Gantenbein Vineyard Facade is a small project that successfully used parametric design to fulfill the functional needs of the building without eliminating the aesthetic aspect of it. This architecture discourse of functional and aesthetic connections is one of the goals that our group want to achieve in Wyndham Gateway Project. The masonry facade acts as the temperature buffer and sunlight filter. In Wyndham Gateway Project, this functional aspects can be translated in terms of air, motion, shadows, and sunlight filter. Small gaps between brickworks could create different experiences through times. There is a dramatic play between plasticity, depth and colour in the facade; depending on the observer’s position and the angle of the sun. The 3D depth of the facade forms dynamic form which inspires us for the Wyndham City Project. In Wyndham Gateway Project, our group intended to design a form which can give ‘illusion in motion’ whilist motorists passby. With exploration of surface changes in this case study, illusion could be developed as the angle of each brickwork is varied. Moreover, the interplay of light that occurs in the interior as a result of the changing position of ths sun, depicts the change and movement of lights and shadows. On the exterior, the gradual variation of depth and plasticity of the pattern depicts motion and dynamic form of the facade. Therefore, due to the strong ‘changes’ that occures in this case study, we’d like to further explore it for Wyndham City Gateway Project design proposal.
BangQ Restaurant By Office dA (2009) Boston, MA, USA The design of the space is conceptualized in z axis; between the ceiling and the ground as to keep the ground flexible for restaurant activities. Each piece of the contoured ceiling is made from unique pieces of plywood adhered together in a scenario that likens to a puzzle; only one possible location for each unit to formulate continous member. The spacing between the visible ceiling ribs is variable, compressing and releasing to maintain visual densities of the overall surface as seen from different angles. Similar to the vineyard facade, this case study was done as the project is seen in morphing effect; changing from one state to another to fulfill its the needs of the services in the ceiling and on the floor. This is just another alternative that our group want to explore.
1.6
FABRICAT EXPERIME
‘approach that examines architecture in terms of experience -Richard Williams 2005
ION AND NTATION
changes in motion
From the experiment in the case study, we would like to further developed and explored the vineyard facade. Fabrication part of the facade was done. The result was as desired. The morphing surface creates texture and pattern that are developing in lights and motion. Several photographs were taken as an exploration of the model under different condition.
Pattern of each ‘strip’ is changing. These photographs show the changes in motion.
Surface of the model is morphing by itself. With motion and lights, this model creates experience to the viewer driving through it.
Simple models were made earlier for exploration with lights, texture, pattern, shadows, and motion. These photographs are showing ‘changes’
1.7
DESIGN DE
Design concept for Wyndham City Gateway Project as
‘design is a process we engage in when the current situation is different from desired situation and actions needed to transform are not immediately obvious’ -Kalay 2004
EVELOPMENT
s in the relation with ‘metamorphosis’
The sculpture act as a signpost which alarm the driv already leaved away city, and entering to the nature,
+
DENSITY
MAN-MADE
HEIGHT
LOWEST:
TIME (LIGHT&SHADOW)
Melbouurne City
HIGHEST: Wyndham The sculpture act as a signpost which alarm the drivers that they are already leaved away city, and entering to the nature, Wyndham City.
In the theme of ‘changes’, further exploration on the design for Wyndham Gateway was done. NATURE
LESS-DENSE
DENSER
NODE: Melbouurne City ANTI-NODE: Wyndham
To represent the symbolic of a city, the driver will get a narrow view to nature because of the tiny gap between each panel when driving from Melbourne city, it is just like a semi-transparent screen. On the other edge (close to Wyndham), it provide wider view to nature by enlarging the gap between panels, that bring the message “Welcome to Wyndham, welcome to wildlife”
Metaphor of ‘wild grass’ was taken to represent tha natural environment in Wyndham history. The wild grass is the GEOMETRY basic form of the design. ORIENTATION INPUT: Using a simple plane rectangle form to be the basic geometry of panel
Drivers can only view the first few panels if placing the lowest one are placed at the front, they couldn’t release how long the sculpture is before passing thought it. The shorter panels will create a feeling of pressure, on the other hand, higher one will give a feeling of freedom
+
Part of panels might be blocked when different panels get different set back, which means drivers will view different form from different time, location
Reflective Addition of brick pattern was added to road MATERIAL signages material the form as to represent urbanisation. Thus, the design shows the rapid changes of Wyndham city from the past to the present.
LIFESTYLE
NOISE
POPULATION COMMUNICATION
BUSINESS SOCIALRELATION HOUSINGDENSITY
WIN D
FOOD
MONEY
ASSOCIATION: Force from surrounding Melbourne: Many force/pressure from the city (noise, housing density, lifestyle, money, communication, social relation...) Wyndham: Only one force stress from nature (wind)
OUTPUT: Melbourne: Regular Wynham: Curvilinear
DAY
NIGHT
NON-REFLECTIVE REFLECTIVE
Driver can see the scuplture clearly even at night because of reflection of headlight from car The material will change gradually vertically, the scuplture will seem to be dissapear to the sky
TIME (LIGHT&SHADOW)
Conce
Experim Metaph
vers that they are , Wyndham City.
The sculpture act as a signpost which a already leaved away city, and entering to
+ Density
SITY
MAN-MADE
HEIGHT
LOWEST: HIGHEST:
ESS-DENSE
DENSER
Melbouurne City ODE: Wyndham
o represent the symbolic of a city, the driver will get a narrow nature because of the tiny gap between each panel when from Melbourne city, it is just like a semi-transparent screen. On the other edge (close to Wyndham), it provide wider view re by enlarging the gap between panels, that bring the mesWelcome to Wyndham, welcome to wildlife”
METRY INPUT: Using a simple plane rectangle form to be the basic geometry of panel
WIN
D
FOOD
BUSINESS SOCIALRELATION HOUSINGDENSITY
Melbouurne City Wyndham
Height
NATURE
POPULATION COMMUNICATION
To represent the symbolic of a city, the driver will get a narrow view to nature due to the tiny gaps between each panel. While driving towards Wyndham, the gaps TIME (LIGHT&SHADOW) are wider as to bring the message ‘Welcome to Wyndham.
ASSOCIATION: Force from surrounding Melbourne: Many force/pressure from the city (noise, housing density, lifestyle, money, communication, social relation...) Wyndham: Only one force stress from nature (wind)
OUTPUT: Melbourne: Regular Wynham: Curvilinear
ept model
ment with the shape. hor of wild-grass
As the drivers drive through the highway, there only part of the models that is seen. The shorther panels will be put at the front as to create a feeling of pressure. While the higher one will be put towards Wyndham as to give the freedom, tranquil feelings. Drivers can only view the first few panels if placing the lowest one are placed at the front, they couldn’t release how long the sculpture is before passing thought it. The shorter panels will create a feeling of pressure, on the other hand, higher one will give a feeling of freedom
NADIAH HUSNA BINTI THEODORE TONG BENG HEE LIM JESSICA UTAMI
376193
557523 ORIENTATION 376062 377788
Part of panels might be blocked when different panels get different set back, which means drivers will view different form from different time, location
MATERIAL
DAY
NIGHT
Material Reflective road signages material
Driver can see the sculpture clearly even at night time due to the reflection of headlight from the car. The material will change gradually vertically as if the sculture is dissapearing to the sky. NON-REFLECTIVE REFLECTIVE
Driver can see the scuplture clearly even at night because of reflection of headlight from car The material will change gradually vertically, the scuplture will seem to be dissapear to the sky
1.8
FABRICAT
Model from the design concept were developed and f
‘the goals must be modified and the constraints relaxed or new ones added’ Kalay 2004
ION DESIGN
fabricated to test under different circumtances
Fabrication of the Design Proposal As discussed in previous part, the gradual changes of the sculpture is created through the concept of height and density. With grasshopper definition that we were done in previous fabrication, we developed and made the surface changes of the sculpture, not in flat plane but in more organic form (grass-like form). The surface and the height of the model in gradually change as the drivers pass through it towards Wyndham. The shorter panel has denser surface as the representation of urbanisation and as it moves toward Wyndham it gets less dense and higher to represent tranquility of natural environment.
EXPRESSIO
CONCLU
PART ONE. ON OF INTEREST.
U S I O N.
COMPETITIVE ADVANTAGES. The consideration of speed and motions to view pattern and forms is an advanced of our design. We considers about changes in patterns and forms which resulting in driver experience while driving through it in motions. LEARNING OUTCOMES. As a newcomer in digital design, it was a success that we can develop a design according to our design concept. Although the design was not perfect and not in-site context, we are quite satisfied with the result of the fabrication. Some problems still need to be fixed, however the models has shown that we have learnt the process of designing and fabricating.
INTERM CRITIQUE RESPONDS. - Good computational design process was shown during the presentation; however verbal presentation skill needs to be improved. - Improvements in design directions are neccessarily needed. - Models exploration were good. We need to make the model in the site context and develop it towards our design concept. - Models need to be put in site context for future development.
EOI REFINALISATION. After explorations of form in EOI interm submission, we agreed to move our design direction towards ornamentation as to communicate our design concept to the moving audience. According to Massavi and Kubo (2006), ornamentation is a system of communication. Ornamentation could be a bridge that connects culture and architecture. Thus, we believe that with the form of ornamentation, our message to show Wyndham changes could be translated into forms.
PROJEC PROPOS
PART TWO.
T A L.
SEED WY
Perpe sitio
DS OF TRANSITION YNDHAM GATEWAY PROJECT PROPOSAL
etual development in Wyndham city inspires the concept of this project. Seeds of Tranon will take 800 meter ‘journey’ for drivers to experience the transition of Wyndham city development from the past, present to the future.
2.1
B R I E F.
DESIGN AMBITION. - ‘exiciting and eye catching installation’ - ‘inspires and enriches the municipality of Wyndham city’ - ‘upgrade the condition and aesthetic of the streetscape on site’ - ‘enhance the physical environment through the introduction of a visual arts components’ - the design has to be iconic and has to become a discussion as an architectural discourse in future architecture works. In response to the brief, our main aim in designing Wyndham City Gateway Project is to create a sculpture that the viewers can experience while driving through it in a high-speed movement. With this attempt of experiencing, we believe our design will be exciting, iconic and eye catching. The installment of the design will create a new atmosphere in the site, as the sculpture will be installed through out the site A and site B. We also consider the scale of the sculpture as to satisfy the brief and to suit the site. The abstract form of the sculpture will be translated from the development of perpetual changes of Wyndham City. As it is created through the contemporary grasshopper scripting, we believe that it will be a discourse in future architecture discussion. Furthermore, the scripting will create dynamics panels throughout the sculpture, which create an experience for the drivers driving through it. This will be an architectural discourse as it allows viewers to interfere with the architecture in high-speed movement.
a eyecatching e d s i HIGHWAY t s h c e o t u municipality i r WYNDHAM CITY c s exciting e
sculpture
iconic
speed
visual arts
RESPONSE TO SEEDS OF CHANGE Seeds of change may have a direct translation of suburban city development, however, the design is not exciting and iconic. The static form of the sculpture did not successfully receive attention from moving viewers, as there is no experience in time travels. Thus, it is quite a disappointment as the design message is unsuccessfully delivered to the viewers. It is essential for our group to understand problems and achievements from this sculpture and improve it in our design.
2.2
SITE ANA
L Y S I S.
Approximately the site is 800 meter. Highway Speed = 100km/h (28m/s). Travel time = 28 seconds. The site is generally flat with dull landscape of wild bush setting.
CONSIDERATION
VIEW
LOCATION SIZE
SITE A
T0WARD WYNDHAM
SITE B
The City of Wyndham is a residential and rural municipality on Melbourne’s south-western fringe. It is located between 12-45km from Melbourne CBD. The site is located on the side of the highway from Melbourne CBD towards Wyndham city. Since 1960s, there is a rapid residential and population growth in Victoria western suburbs. It is believed that the growth in western suburbs will continue to boast. However, there is a contradiction towards the development as the current natural environment area is declining due to the rapid growth of urbanisation. Data show population and development
2
3
SIZE AND LOCATION
1
It only takes approximately 28seconds for the pass through the whole site A and B. Thus, as the design intent is to create an experience to the drivers, the sculpture has to scope the whole site as to give maximum effects to the drivers. With the consideration of views, the sculture will be divided into three main parts to create different feeling as one’s driving through it.
SITE B
SITE A
VIEW
The natural curvy road shape on site A and B will guide the vision of the drivers while driving though the side. At different part of the road, different angle will be hiden while other will be on focus. Thus, with the observation from the view, we focus on the chosen three parts on the sites.
h
Data about Wyndham development was explored as for further development of the design. As the focus of the design is to create an architecture that tells about changes in Wyndham development, data about the historical natural environment and future development for Wyndham were researched in order to gain better understanding about Wyndham city.
WETLAND DATA IN VICTORIA Based on data from Melbourne Museum, the size of grassland are decreased gradually after European Settlement in 1750s. Wynham City is one of the few cities that still contain relatively large wetland in Victoria.
DATA OF WYNDHAM DEVELOPMENT The graph shows the past, present and future development of Wyndham city. Although the population will keep on growing, the development of Wyndham city will slow down in future time.
2.3
DESIGN A
A P P R O A C H.
PAST
BEGINNING OF DEVELOPMENT CHANGES
PRES
PEA
POPULATION GROWING DE DECREASE IN N RONM
Through the data researched, it is found that there is an inverse relationship between n time, Wyndham is struggling with the imbalace relationship of urbanisation and natura opment will slow down; and we predict that in the future, as the development becom and the urbanisation in Wyndham.
As stated in EOI finalisation, we’d like to further explore the ‘development-changes’ in ers. To understand the process of the past, present and future; we use the analogy of struggles depicts the present time of Wyndham city, where it struggles for its future dev When seed has successfully turned into a plant, it has overcame the struggle and grow where at the future time, Wyndham will be able to overcome the trouble of developm
.
SENT
FUTURE
AK
N INCREASE EVELOPMENT NATURAL ENVIMENT
?
FORECAST: BALANCE BETWEEN URBANIZATION AND NATURAL ENVIRONMENT
natural environment and urbanisation in Western Suburban of Victoria. At the present al environment. The forecast data in site analysis shows that at future time, the develmes stationary, there will be a balace relationship between the natural environment
Wyndham city and translate it into architecture that can be understood by the view‘seeds’. In the growing process, the seeds may go through some struggling time. This velopment. wn into a plant where it has able to manage itself. This depicts the future of Wyndham, ment and Wyndham will be able to create balance for herself.
GRADUAL CHANGE
DESIGN CONCEPT.
WYNDHAM CITY
GEELONG
Y GATEWAY SITE
‘a purposefully designed monuments, in built form will never be separated from ornamentation’ MELBOURNE Massavi and Kubo, 2006 Why sculpture? Why create something similar to previous approach of public arts? Why not a functional architecture that could detect speed or move with motion? Ornamentation is a (Massavi&Kubo 2006).
system
of
communication
We believe that our design concept would be successfully translated in a form of sculptural ornament. Massavi and Kubo (2006) stated that through ornamentation representation, architecture could connect culture, cities, humans and nature. Through ornamentation, we believe that our design concpet could be communicated to the audiences. Evidences of public arts that located throughout Western Suburban of Victoria also shows that ornamentation is one of the successfull way to visualise and communicate a meaning or a message. Taking example from ‘Seeds of Change’, it is an ornament that clearly communicate its message of growth. However, as stated in previous part, it is being unsuccessfull in the way of its static form in a dynamic location (moving viewers). Our translation of the design concept into architecture would be in dynamic ornament form as a respond for moving audiences. Exploration of forms would be explained in the next section of this journal.
TRANSLATION INTO ARCHITECTURE.
TEXTURE PAST
“Materials and surfaces have a language depicti of a built form, informing its durability, inherent s tences which informs the designers’ intent and t the public general impressions and experiences. Branko Kolarevic & Kevin R. Klinger, 2004 TEXTURE From reversed engineer case-study, we further developed the ideas of bricks facade. Brick is constructed in different orientation to form dynamic form and patterns. This installatation of brick in dynamic way represents the growth from the past and the future.
Traditional brick wall (FLAT)
Change brick’s orientation (giving sense of changing space, allowing changing amount of natural light passing through gaps)
Brick with different orientation to form dynamic flow of pattern (optical motion of static patern)
NOW
MATERIAL
ing the narration symbolism, existhinking through .�
During the process of designing, consideration of the sculpture materials was discussed carefully among our group. As our sculpture was as long as 800 meter on the site, we decided to design it in fabricated light weight aluminium cladding in consideration about the construction process and the design itself. From our exploration in vineyard facade, bricks can be installed in a dynamic way and create an unusual effect. Brick is a material that usually used in the past, however with dynamic installation, bricks can be considered as future material as well (in reference that the process of making vineyard facade was done with grasshopper scripting). Thus, with the reference to the vineyard facade case study, we combine the brick texture and the light weight aluminium cladding as to represent our design concept of past, present and future Wyndham. The sculpture would be designed in brick texture, while the material that to be used would be a light weight aluminium cladding.
MATERIAL AND TEXTURE CONSIDERATION.
2.4
DESIGN D
.
DEVELOPMENT
FORM FINDING PROCESS
GRADUAL CHANGE RACING APEX
At the beginning, the form was traced from the site boundaries as our design intent is to create a long sculpture that driver can experience as long as it pass the site (28seconds experience).
GEOMETRY APEX
From changes as to maximize the view from the drivers positions.
PRESENT
Height changes and sculpture was done w nipulations. With heigh sure space, dynamic e by the drivers.
FUTURE PRESENT PAST
REPRESENTATION OF WYNDHAM CITY FROM PAST TO FUTURE TRANSITION
Form divided into two; site A and B as to maximize the communication of the design.
GRADUAL CHAN
Texture and pattern added to the forms as to enhace the design intent of development from past to future. enclosure space in the As drivers pass through the sculpture, the texture with studies of space mabecomes much lighter as to represent balance fuht changes and encloture of Wyndham city. experience would be feltGRADUAL CHANGE RACING APEX
GEOMETRY APEX
FINAL FORM. The final design is divided into three parts to translate the design concept of past, present and future. Part A is the representation of the past, where Wyndham started to developed. The curvy shape is taken from the analogy of seeds. Part B is the representation of the present, where Wyndham is struggling its rapid development and its loss of natural environment. Solution of future balance is still being searched at the present time. Thus the shape is a tunnel, where it is very intense to represent the struggle. Part C is the future representation, where the sculpture opens up to show the Wyndham success in the future. Sculpture is divided into two parts as a representation of balance between nature and urbanisation.
A
B
C
DRIVERS EXP
RENDERING ANIMATION
PERIENCE WHILE DRIVING THROUGH THE SCULPTURE.
GRASSHOPPER PROBLEMS. IMAGE SAMPLER
ISSUE
SOLUTION
Adjustment difficulities for long surface
Surface is divided into 4 parts and use different image for each.
Curve surface difficult to display 3D image
Slider replace image sampler. Slider is used to control the rotation of each vertical rectangel. Use a simple image with less colour change rather than using a complex one.
Retangles are overlapped
Some rectangles are isolated from others due to the sharpn rotation
Avoid use of white colour. The brighter image are, the greater value of rectangle rotation could be done.
ISSUE NUMBERS OF RECTANGLES PER PANEL The V values of sub-divide component control the number of rectangle per panel.
SOLUTION
Difficult to apply one definition for whole surface; different length of panel require different number of rectangle
Divide the surface into different part and make a varied definition with different V values.
PLAN
PLAN
PERSPECTIVE
PERSPECTIVE Panels with different colour represent they are applied with different V values
The shortest Set the V-value as 38
The tallest
It can’t use the same V-values for the whole surface, since each panels get different height.
V
ISSUE REUNION Join and combine all overlapped rectangle to a continuous surface.
SOLUTION
The following may be the reasons that grasshopper cannot display the entire dynamic panel: 1. No intersection between rectangles.
Change the size of rectangle.
Rectangle size:
Rectangle size:
PLAN
PLAN Increase number rectangle per panel 40 rectangles
20 rectangles per panel
PLAN PLAN
2. The surface grid of the missing panels are not perpendicular to reference curve.
Rebuild the surface & its’ grid are perpendicular to the reference curve
REFERENCE CURVE SURFACE GRID
ISSUE REUNION Join and combine all overlapped rectangle to a continuous surface.
SOLUTION
3. It doesn’t work when dividing the surface along y-axis.
Divide the surface along x-
Finally, it still doesn’t work even I asked our tutor to solve the problem. Combine the panels manually by using ‘BOOLEAN’ component before putting it back to grasshopper to do fabrication model.
BOOLEAN RHINO COM-
MISSING PANELS
Panels are missing when the starting or ending point of panels are not X=0.
Seperate the surface into two part
2.5
CONSTRU D E S I G N.
UCTION
CONSTRUCTION CASE STUDY
Singing Ringing Tree in Landcashire, 2006
CONNECTION BETWEEN THE SCUPLTURE AND THE GROUND. 1. 114.3mm Galvanized steel tube 8. 75/50/6mm Galvanized Steel Angle 9. 100/65/10mm Galvanized Steel Angle 10.1.65m Galvanized Steel plate 25mm thk. 11. 25mm Leveling Bed of Mortar 12. 4mm Steel Plate 13. 3.25m reinforced concrete slab 14. Threaded Bolt with 100/100/5mm anchor plate welded to 12
The foundation of the “TREE” is exposed from the ground and steel angel is the joint that connect between it and ground.
Some of the panels get a 10m long span length, they will fall down without supporting since it contain huge dead load.
SELF LOAD
After tutor comment on our structure design, we pierce that it is impossible to follow the structure system from cause study, which just use steel angle to connect to the platform, since it is a weaker supporting force when comparing with self-load.
FALL DOWN
SELF LOAD
TOO WEAK
WIND
It is danger that the panel will vibrate because the sheet panels do not contain supporting to against wind load.
SELF LOAD
SUPPORTING LOADS
Steel bar play an important role for supporting the sculpture, against self-load and wind load. it would be installed in every panel and extend it 8m below ground to create a large back supporting to versus self load.
Tutor feedback: Foundation of our design shouldn’t be exposed from ground. It is quite strange that a huge visible platform underneath the sculpture and which is only work for small project, just like the case study.
CONSTRUCTION DESIGN
SECTION
6 steps to install of sculpture on site: 1. Shovel the nature soil from site 2. In-suite reinforced concrete slab and pipe 3. Fill in the mortar to create a flat surface on concrete slab 4. Galvanized steel Plate place on top of the mortar and fixed with steel bolt 5. Install the steel bar and fixed on steel plate with steel bolt 6. Soil filled on top of the foundation 7. Install the panel following the step on the right picture
PROTOTYPE CONSTRUCTION MODEL STUDY OF CONNECTION ALLOCATIONS.
CONSTRUCTION DETAILED MODEL
STUDY OF CONSTRUCTION JOINTS, STEEL REINFORC FOUNDATION.
CEMENT, AND
CONSTRUCTION MATERIAL PROTOTYPE
STUDY OF ALUMINIUM MATERIAL CHARACTERISTIC AND JOINTS CONSTRUCTION
2.6
M O D E L S.
A prototype model was created while waiting for laser cut printing. This model was a study for form and light effect prior making the real model.
FABRICATION PROTOTYPE MODEL.
ISSUE WITH GRASSHOPPER DEFINITION OF FABRICATION TOOL. Due to the large number of panels (more than 300 panels), we were having trouble with the slow-response computer, when converting to fabrication model. Solutions: 1. Set toggle to false when editing the surface. The fabrication model will not be shown when set toggle off. 2. Use Tag to preview whether the size or location of the number are right or not. ISSUE WITH LAYOUT PREPARATION. The fabricated panels are distributed along y-axis, which mean all the panel were overlapping. The arragement of the fabrication model on the panels was another problem we faced due to gaps created when using fabrication tool. Another problem was due to the size of individual panels. As there was a large number of variety of panels size, we have to rearrange the location of each piece of panel manually. Huge gap between panels
FABRICATION.
MODEL MAKING. In each panel, two led lights were installed. It was a trouble to install two led lights in each panel as we need to keep the panel clean and neat. Thus, parallel circuit must be designed to keep the cables neat and clean. Another issue was the trial when light instalatition was finished. As we need to connect all panels’ lights to one electricity source, some failure happens due to movement of the cables inside. Thus, detailed fixing of each light needed to be done carefully.
FINAL MODEL.
IN-SITE CONTEXT
PLAN VIEW
NORTH ELEVATION
LIGHTING EXPLORATION
DAY VIEW As stated on our design ambitions, we wanted to create a sculpture that enables the drivers to experience while driving thought it. With the design, we successfully achieve it by creating individual dynamic panels that continuously changing as one driving through it. The sculpture is divided into three main parts. Part A is the half-canopy, part B is the tunnels, and part C is the open sculpture. In part A the drivers experience shadow cast that created from the canopy. Drivers will experience the change of the panels to be more vibrant and intense as driving through it. In part B, the panels became more intense and formed a tunnel. Direct experience from driving through the panels will be felt as each panel has each dynamic form that allows the viewers to experience the vigorous changes. The panels become less intense as progressing toward part C, where the sculpture transforms into two separate elements in both side of the road. The transformation from tunnels to part C will allow the drivers to feel the openness. This part represents the welcome sculpture to the growing Wyndham city. As stated in the design proposal, we want to create a sculpture that represents the vibrancy of Wyndham city. Throught the intensity transformation of this sculpture, we have successfully captured the current momentum of the Wyndham city evolution.
NIGHT VIEW We proposed to design light inside our panels as to make the sculpture visible during night time and to create a distinct view of the dynamic form of the panels. The lights are installed inside each panel in consideration of giving the glowing effect from the hollows of each panel. Moreover, installation of direct light (light poles) of the sculpture might not be necessary as the purpose of lighting is to give the sense of experience to the driver during night time. With direct lighting, it only will make the sculpture visible but no experience while one drive through it. With the internal lights installation, the dynamic form of each panel will be distinguished. Thus, we have successfully created a sculpture that works in any time of the day.
DETAILS
2.7
PROJECT FINALISA
A T I O N.
PROBLEMS WITH THE MODEL MAKING 1. In the making of the site model, we encountered problems about material. The material thickness is not similar with the actual panel’s thickness. Thus, small gaps between panels are visible and this was not our design intent. Moreover, due to the gaps, we had difficulties when building up the tunnel. The tunnel structures are designed to support itself as panels are connected between one and another. In actual design, the tunnel panels are designed to be one complete attached part which the main structure of the foundation is located at both end of the panels (end of part A and beginning of part C). However, due to the difference thickness of the materials, the each panel is not connected. Hence, we need super-glue to make connection between each panel. 2. In the detailed model (scale 1:50), we also had difficulties due to the materials. Our proposed material is light weight cladding with steel bar reinforcement that supports the whole individual panel. In the model making process, the material is 2mm cardboard. This material is too heavy to stand by itself. Moreover, there is no reinforcement inside each panel; thus, the model was fail to stand. 3. Another difficulty that we encountered was the installation of the LED lights. We want to put more than one light in each panel. Thus, we need to create a parallel circuit to make a clean and neat cable installation. Problem came when we tried to fix the individual light. The hollows in the panel were too small to get into the light. As a result, there were several panels that were taken off to fix the light inside it. In actual design, this problem will not be happening as there will be installation gaps in between panels.
FUTURE PROJECT IMPROVEMENTS. 1. Alternative construction might be necessary to be explored further as the panels need to be as light as possible. Steel truss construction might be one of the alternatives as it can form a much rigid and light weight structure. 2. Instalment of the electricity on the site has not put into much consideration since the current site has no electricity connection. Fix amount of light in each panel need to be counted carefully, especially in the tunnel part; as to prevent the sculpture of being too bright at night (only glow effect that we want to achieve). 3. Rainwater might be a problem in actual sculpture, as there is no proper gutter and no waterproofing in the model. Currently the model just relying on ‘overlapping’ technique to prevent the rainwater from dripping into the road.
COMPETITIVE ADVANTAGE The Seeds of Transition has successfully satisfied the Wyndham City Gateway Project Brief. It is an iconic and eye catching sculpture that let the viewers experience while viewing it in motions. Furthermore, with the grasshopper scripting, we are able to design dynamic panels that allows flow of change when one is driving through it. Thus, as contemporary design technique was used, it could be an architectural discourse in future discussion. Through the translation of Wyndham perpetual change in development, our design has the message to the viewers about Wyndham municipality. Unlike the ‘Seeds of Change’, our design allows viewers to experience the ‘message’ of growing city.
LEARNIN OUTCOM
PART THREE.
NG M E S.
PERSONAL BACKGROUND I am a third year architecture student who barely used digital architecture in my design process. Virtual Environment was the only design that I did using digital tools. I was very excited with this studio as learning digital architecture was always be a challenges for me. Acknowledgement about digital architecture that has became an influential area in architectural discourse makes this subject an important subject as Melbourne University architectural course (honestly), lacks of courses about digital architecture. I knew that I would struggle in this course as from Virtual Environment experience, I knew that learning digital tools will not be easy. Furthermore, as a third year student, I knew that the expectations for this subject would be higher. Thus, extra hard work was put in this subject.
WEEK WEEK 1 Architecture as a discourse, observing architecture from different views. Previously, I saw architecture as an aesthetic aspect of a design. Through research in this week, I found that architecture talks more that designing.
WEEK 2 Previously, I only know that computation is just a tool that archicts uses for making their designs. From learning this week, I know that computation in architecture can do more thatn that. It enhances the design with technology that couldn’t be done before.
WEEK 3 From this week derstand that s itless’ possibilitie makes me scar cess is infinity. Currently, there has been succe hopper scriptin said that at lea years to master
WEEK 6 Our group begins to fabricate model this week, we started from the case study models. Learning fabrication tools and laser cutting was a new thing for me.
WEEK 7 We designed a form for EOI presentation. At the current stage, I was not able to design from scratch in grasshopper. In group, we helped each other and start to explore our design form.
WEEK 8 Due to time co not able to pre models yet. We at that stage. D needs a lot of i We were too b signing form, w back to the ba
WEEK 11 We divided the work load to the time constraint. Each one of us has one task to complete the panels for next week presentation. Model making process was not hard after a long wait for laser cut print. Problems found when fixing led lights and taking photos of the 1:500 models.
WEEK 12 From the presentation, again, the improvement critique was about design narrative. We are lack of the basic part as we too focus on the parametric modelling. Panels need to be redo as it was not satisfying.
WEEK 13 We start from th ment and data the design, ma concepts and We found that the design narr striants, we did things.
LEARNING PROCESS
K 1 UNTIL WEEK 13 PERSONAL REFLECTION
discussion, I unscripting has ‘limes. This somehow red as the suc-
e are no one that essfull with grassng, as the lecture ast we need 15 r in something.
onstraint, we were esent our best e made 4 models Design narrative improvement. busy with our dewe forgot to get asic.
WEEK 4 In this week, we were forced to do as much matrix as possible; pushing ourselve to learn grasshopper. Problems come; in group we help each other.
WEEK 5 After do random form in matrix last week, we have to do reverse engineering; which is recreating the case study. We are forced to use our limited knowledge in grasshopper and push ourselve to be able to create a form.
Week 9 After the EOI presentation, we start to go back to the basic stuff; site analysis, design concept, etc.
WEEK 10 The final design was began to develop. We found several diffulities in the grasshopper, yet it was hard to solve it by ourselves. It takes a very long time to fix one simple problem just because we were lack of knowledge to design huge form.
he basic again. Looking for argua to support our arguement for aking diagrams to show design do the site analysis. t we actually had the ideas of rative, however due to time cond not have time to explore basic
LEA
COMPARISON FROM
1. DESIGN Before completing this subject, all of my design process was done by hand as I thought that computation limits one’s creative idea. However, this is totally wrong. Computation helps architects to further develop its creativity. With a direct comparison between my previous models and my current model, I really see the improvement in design skills. Now, I agree that digital archticture gives more opportunities for architects to further develop their designs. 2. DIGITAL ARCHITECTURE At the beginning of the semester, I knew nothing about Rhino and Grasshopper. Throughout the semester my skills in digital architecture improves. In week 4, I was forced to make as much matrix as possible. Even though it was a random ‘dots’, I figured it hard to create as some definition might not works. At the end of week 12, when I reflect back to the beginning of the semester, I feel that I’ve learnt a lot. I do know how to use digital tools now. 3. PHOTOGRAPHY Photgraphy might be an easy skill to learn, however I did not have the passion to self-learn it. In this course, we are expected to take high quality studio-like photos of our models. It was quite a challage for me, especially after reading the documents on LMS about photography tutorials. My group mates have learnt photography before and I learn a lot from them. I am very satisfied with all the photos that we took togheter. Now I know that it is not hard to produce a good quality photos. This will be a very usefull skill for my next studio and my life.
ARNING OUTCOMES
BEGINNING OF SEMESTER UNTIL WEEK 13.
FUTURE WORK From this course, I do see the benefit in designing with grasshopper and I’d like to use this skill in my future architectural design studio. However, as a newbie in digital architecture I should limit myself when designing with it. In future studio, with limited time available, I’d like to limit myself as being not to depend on grasshopper for my design. When time is limited, the struggles in grasshopper may come to depression and resulting in change of design direction. In this moment, digital architecture becomes a limitation for designers. I look forward for my next opportunities to design with my ‘brand-new’ skill.
REFERENCES Burry, Mark. (2005). Scripting Cultures: Architectural Design and Programming. (Chichester: Wiley). Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer AidedDesign. (Cambridge: MIT Press). Moussavi, Farshid, and Kubo, M eds. (2006). The Function of Ornament (Barcelona: Actar). William, Richard. (2005). Architecture and Visual Culture. (Edinburg: Edinburg Universisty Press).