Journal_StudioAir by Julia Mavros

TECHNE: ARCHITECTURE By Julia Mavros

v.03 Journal ,June 2012

Contents Chapter One Part One: Case for Innovation March 2012 Chapter Two Research Project March - April 2012 Chapter Three Project Proposal April - May 2012 Chapter Four Learning Objectives and Final Outcomes May - June 2012

Chapter One part 1.1.1 week oneOne: Case for Innovation Part case for innovation: March 2012 architecture as a discourse

Understanding the Course: Architecture as Discourse On the lecture: Introduction to the course learning objectives, framing of the project and scratching at the surface of what architectural discourse means. Looked at architecture as a holistic, cultural practice: apart from the building’s physical presence, architecture contributes to the culture of a society. What are the primary functions? How does discourse engage within contemporary society? It is the discourse of architecture that contributes to its function and success, not construction of the building itself.

On the reading: Richard Williams

(b) Why is it significant/appropriate?

(a) What are the implications? Author starts with the description of the traditional way which approaches architecture as a form of art. Mainly, when he talks about the discourse of architecture, he refers to the traditional way of looking at architecture as art, value and critique; examined and assessed from its aesthetic aspect, prominently emphasizing the facade. Aesthetics, appearance, appeal- in the way a visual work of art impacts upon people.

Architecture is not, and should not, just be considered as art only: it is also science, symbolism, as well as urban and social experience. Williams argues that it should not only be the realm of the specialists, nor the academics: ANYONE, rather, should be able to say ‘ okay, I have my own explanation, my own understanding and interpretation of that type of thing’ 1. Altogether the architecture discourse is changing and changing for the better- why? Because it’s a more honest, holistic approach to design in contrast to architecture as art, the two not being mutually exclusive, and looking to new technologies for new potentialities and opportunities for architecture- as a service toward humanity.

Ideas and innovations: ARCHITECTURE AS A SOCIAL CONDENSER DISCOURSE AS POWER FROM INSULAR TO INVITATION

1Williams, “Architecture and Visual Culture”, 107-108

*AUTHOR CONTENDS TO LOOK AT ARCHITECTURE FROM 2 FURTHER PERSPECTIVES:

ARCHITECTURE AS A SIGN OR SYMBOL

LOOKING AT BUILDING OVERALL MOTIVE + INTELLECTUAL CONCEPTION OF PRODUCT ENTIRELYOWNED BY ARTIST/ CREATOR

LOOKS BEYOND FACADE

POWER OF SIGN: MEANING TRANSCENDS ALL BOUNDARIES E.G. LANGUAGE + EDUCATION BREAKING BOUNDARIES

EIFFEL TOWER ANAOLOGY

ARCHITECTURE AS PRODUCTION

ARCHITECT/ COLLECTION OF INDIVIDUALS + ARCHITECTS = PRODUCT THE USE MADE OF THE PRODUCT, BY THE PEOPLE SPACE:

SOCIAL + POLITICAL FUNCTION DISCOURSE ELEVATED

HUMAN EXPERIENCE TOTAL EXPERIENCE POST MODERNIST CRITIQUE: IT IS A MATTER OF HOW EACH + EVERYONE OF US SEES + PERCEIVES ARCHITECTURE

*Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

START NOT JUST ART ARCHITECTURE AS A SPATIAL EXPERIENCE

SIMPLE/ INCOMPLETE ARCHITECTURE AS ART= NOT CREATION/WORK OF ‘SINGLE’ INDIVIDUAL

SPECIFIC/ REQUIREMENTS/ CONDITIONS REQUESTED BY PATRON/ CLIENT /GOVERNMENT

FINAL PRODUCT MULTITUDE INDIVIDUALS

SPECIALISTS

REGULATORS MORE THAN JUST SYMBOLIC, OR ‘ART’ FOR AESTHETIC VALUE

PRODUCT OF ARCHITECTURE EXCEEDS BEYOND ARCHITECTURE HAS UTILITY

FUNCTIONAL ROLE

ADMIRED

ASSESSED

VALUED

ARCHITECTURE AS CONSUMPTION

IN ENGAGING WITH DISCOURSE HAVING A RELATIONSHIP TO SOMETHINGTHAT EXISTS + RELATES TO IT = ARCHITECTURE ELEVATED, DIFFERENT IMPORTANCE

IN PUBLIC DOMAIN: EVERY MAN HAS/ IS ENTITLED TO OWN EXPERIENCE OF ARCHITECTURE- IMPACT

END

INVIVIDUAL/ PERSONAL NOT SPECIALIST SPECIFIC. NO MORE RIGHTS THAN AVERAGE PERSON

“This broadening of architecture allows for different kinds of interpretation…in the view of critic Charles Jencks (Horn 1939), it allowed ‘double coding’ in other words, a dual set of symbolic references, one for interpretation by ‘high’ architects, the other by the general public.”1 Resonates with Brief: let us reach out to the wider community, to the general public and increase its awareness of the municipality of Wyndham- through the interaction of a sculpture. Uses the benefits of a technological advanced system- in our case, scripting through grasshopper. Parametric in the sense of aiding in technical skill, not creative restriction or dictatorship. Must learn to use Grasshopper with discretion, where it is efficient, not for the sake of creating elaborate definitions.

Williams, “Exploring Visual Culture”, 112.

On Rhino Tutorials: Not as yet delved into GH, experimented with modeling in Rhino. Aimed at familiarizing myself with x and y planes, ability to optimize view ports and building simple shapes/ performing basic commands such as mirror, rotate etc. I found it took me much longer to complete the webinar exercises than expected; this sent warning bells- need to develop these technical skills sooner than later.

Architect: Peter Zumthor Project: Therme Vals Date: 1993-1996 Location: Vals, Switzerland

Connection to approach/ advancing discourse: Symbiotic relationship to its natural surroundings and materials Absence of unnecessary, architectural flourishes. In undertaking research into Zumthor’s work, I began to explore the possibilities and constraints of design that are based around the things that are only essential. He says “perception of the whole not being distracted by inessential detail”.1 Takes his design and adapts it cohesively with the physical environment. Forming a complementarity of the construction, with the physical environment and nature of design. Link to Williams’ reference to architecture as production and consumption: in this case, the architecture having a spatial relationship to things that exist around and relate to it. Although the context of Zumthor’s project is completely different with the Gateway, Williams point deliversthrough the spatial parameter - its use and consumption by people - architecture takes a different importance, and the discourse is elevated to the social and political function of architecture, on every level enabled through growth both physically and intellectually/ cognitively. This is the very essence of growth. There is a conceptual reference to Le Corbusier’s architecture, to his concept of a space which is both functional and aesthetic, along the lines of an architecture

Zumthor 2002

“of silence, which speaks without shouting, without big gestures... because the things that last are the things which best fulfil their mission. This is the root of the need not to disturb, of the pleasure of silent forms, of their simple existence, until they become, I hope, an integral part of the essence of a place.” PETER ZUMTHOR, 2000 *Image: Karaiskakis ‘Therme Vals and the Concealment of Complexity’, 2007.

Architect: Peter Zumthor Project: Swiss Pavilion Date: 2000 Location: Hanover, Germany Connection to approach: -Growth + Materiality -Elegant minimal design, “following” the nature of wood as a changing, living material -Expressive potential of the material “I AM VERY CONCERNED ABOUT HOW MY BUILDINGS AGE, THAT THEY SHOULD BE ECONOMICAL TO MAINTAIN. I WANT TO ACHIEVE SOMETHING LASTING, DURABLE WITH MY ARCHITECTURE. BUT I LIKE TO INTRODUCE NATURAL ELEMENTS AND PHENOMENA INTO MY ARCHITECTURE WHICH REFLECT THE PASSAGE OF TIME.” Advancing discourse: Culture’s obsession with high technology- looking to low tech materials for inspiration. And natural systems: how they succeed and fail. Taking power away from the designer, from the ability to ‘control’ a design. Letting nature run its course. Durability of constructed materials VS natural materials.

Above: Structural investigation model, by Garret Knoll and Adrianne Ngam, Green Bay, USA, 2012.

Advancing Discourse: Lebbus Woods: “to what extent is destruction necessary for creation,” when looking at Matta-Clarks ‘Building Cuts’, we recognize a similar question, a need to demonstrate an alternative attitude to buildingssubtracting, altering, removing exposing. This ‘removal’ process can be approached as letting the public in- removing boundaries and barriers. This is what we can offer Wyndham: a greater connection to the greater city. Let us not be afraid in breaking things down, in destruction, as opposed to building up, and boxing in.

Link to Williams’ diagram: Art historians, or specialists/ "authorities" who in the past engaged in the discourse of architecture, looked at it from a very narrow perspective- as specialists trying to interpret the intention of the artist, the architect. The post-modernist critique now queries, questions that and goes beyond it. It is not enough or about what the "authority" says about an architect, his intentions and his product. It is a matter of how each and everyone of us sees and perceives architecture: it's in the public domain and everyone has their own experience of architecture and they feel its impact individually and personally. The specialists have no more rights than the average person in the street engaging in the discourse of architecture.

Precedent 3 Architect: Project: Date: Location:

Gordon Matta-Clark Building cuts, ‘Conical Intersect’ 1975 Paris Biennale

Introduction to Computing in Architecture “Because design is a way of thinking intrinsically weaved with the most existential human characteristics, that of logic, artificiality, creativity, and identity, algorithms serve as the means to explore beyond, in parallel, or in lieu of traditional established ways of thinking...In such a synergetic relationship the unpredictable, impossible, or unknown are not factors of fear but rather invitations for exploration.” Kostas Terzidis ‘Algorithmic Architecture’

On the lecture: Introduced to the modes and roles of contemporary computing in architecture. All connotations of the word ‘space’ do not need building to have a social activity: computational design= hybrid spaces= a new engagement. Formalism VS rationalism, but with intelligent form and creativity (trackable). Ideas of how to allow architectural design to shape and grow: introduce a ‘new order’ construction: create urban spaces: occupation. Connection of lecture and my ideas: biological and natural environments e.g. the formation of ant hills simulated and adapted via parametric approach/design. A graceful reaction, reconstructed (computer) without destroying, responsible, efficient, flexible way of production.

What I took from the lecture/ week: Spatial control extends beyond - POSSIBILITY - stay experimental. Constantly changing. Be bold. Explore restraint. Computation: exchange of information on a global scaleuse this to your advantage, but beware of ownership. And originality. The loaded and changing meaning of ‘creation’ and original. Submission- distribution- innovation- initiative.

Grasshopper Tutorial Summary: Very explorative and equally confusing at times. Focused on familiarizing myself with toolbars, context menus and icons. Beginning to understand that grasshopper definitions are not always the most appropriate ways to approach a design, should use Rhino where time can be saved (e.g. curves). But that generating a parametric loft from referenced geometry in Rhino can be used in conjunction with Grasshopper to form points and perform cool, intricate functions. Panel component helped remind me of steps taken, really helpful at this stage of early learning. Need to try to stay consistent with this process.

Architect: Project: Place: Date:

Casey Reas Tissue Los Angeles 2002

Unique Innovation: Software exposes the movement of thousands of synthetic neural systems- each line in the image reveals the history of one systemâ&#x20AC;&#x2122;s movement. People interact with the software by positioning a group of points on the screen, where by moving the points, they acquire an understanding of the system as a whole- the relations between the positional input and rich visual output.

* Technical information & images provided by Group c & REAS website

This precedent was fundamental in my learning, understanding and appreciation of the role of computation in architecture. Immediately upon first glance, it has these soft, delicate characteristics. Things I would never have associated with parametric design in the past. It has an inherent humanistic quality to it which appeals to me, and the link of the software with neural systems further dignifies the opportunity and potential of designing with computers. It is the success of the symbiosis between technology and the human being.

The interface of this system is something I wish to explore in approaching the brief. There are limitations with interacting with software, considering the project is on a highway. However, I shall employ investigation in the potential of generating data from the road, vehicle or perhaps fixed cameras as interacting with a software system.

â&#x20AC;&#x153;Architects are ultimately choreographers of systems, and the benefits of teaching programming in an architectural context are manifold. If architecture wants to survive as a discipline, it needs to engage the culture of innovation and computing.â&#x20AC;? (Mark Collins & Toru Hasegawa, Proxy)

Unique innovation: Alternate Architecture Alternate architecture: life, technology, and existence As much as technology is profoundly interfacing with and extending human life and existence, there is no transmutation or trans-substantiation between animate and non-animate matter. Nor is there human existence, and certainly consciousness- and thus meaningfulness- in living, if all human organs/parts are not fully and cohesively functioning. Antithesis argument: The gateway project uses the design project (technological interfacing) and the natural environment to provide a symbiotic outcome of functionality, appeal and organic encapsulation of growth and its temporality. In comparison, the approach of alternate architecture, exemplified by the â&#x20AC;&#x2DC;Third Armâ&#x20AC;&#x2122; project, is contrary to the naturalness of growth and cohesive integration.

Material- Stelarcâ&#x20AC;&#x2122;s is no symbiosis. One is living matter the other is not. There is no naturalness. Naturaleness and complimentarity. You cannot turn one into the other. You cannot change something from one state to another. Non-animate matter (steel, wood, etc.) cannot be turned into animate matter. As much as technology is profoundly inter-facing with and extending human life and existence, there is no transmutation or trans-substantiation between animate and non-animate matter. Nor is there human existence, and certainly consciousness- and thus meaningfulness- in living, if all human organs/parts are not fully and cohesively functioning. A limb can be kept alive/ grafted onto another body, artificial organs can be introduced to the human body, but limbs or organs functioning on their own only or separately, do not sustain and cannot constitute life and human consciousness. Eventually, there has to be an overall interconnected, integrated functionality of all parts/organs/limbs of an entity- human or mechanical/ artificial.

Yet, technological advance and human ingenuity provide limitless combinations and possibilities for forms of existence, quality of life/living, and at least potentialities of chimeric nature, overall increasing the tapestry of human imagination, creativity and boundlessness. In this light and paradigm, alternate architecture cannot but add to the reservoir of all human activity, thinking and meaning, let alone to the styles, modes and rhythms of architecture to date.

Summary of the reading: Symbiosis 1: computer mind + human mind = optimal design opportunity This has been the most fundamental point in my learning thus far: understanding the role/strengths/weaknesses of design of the computer and the human mind, and realizing the potential and benefit of the two combined- however, only when necessary. Grasshopper tutorials have brought this to light, sometimes Rhino commands can be a more efficient approach to the design. Lesson: use software that will optimize efficiency of design process. Do not choose the most complicated process to achieve a simple task, for the sake of proving technical skill. Something to be mindful of for the Gateway project design, worth experimenting with in matrix task

Artist: Stelarc Project: Third Hand Date: 1976- 1981 *images: stelarc.org “I SIMPLY HAD A DISTASTE FOR ANYTHING THAT SOUGHT TO DAMPEN THE INFLUENCE OF WHAT I REGARDED AS THE MOST PRECIOUS DESIGN INPUT AFFORDED TO US AS HUMANS: OUR INTUITION .” -MARK BURY

Personal criteria- as suggested by Kalay reading 1. 2. 1 Kalay, “Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design”, 3.

3. 4. 5.

Dissect it: identify all the elements of the problem- goals, constraints, side effects potential designs can create Plan it: time management, set achievable goals, but be most creative and ad venturous at this stage of design, not necessarily rational Break it: divide work in group, playing on strengths and weaknesses Judge it: constructive criticism will make a design better, evaluation is essential Share it: listen to others, share with others. Aesthetics, experience and ‘feel’ need more than one opinion to become informed. Sharing also by process of models, photographs, information derived from digi tal models and textual arguments Mastering those methods which are most efficient (through trial and error) to optimize design.

Introduction to Parametric Modeling On the lecture:

Grasshopper Tutorial Summary:

Introduced to the concept of parametric design. Many case study examples exemplifying this helped re-affirm what it looks like, what it enables and what to strive for. Placed us in a position to think about parametric design potentialities, as well as constraints for the Expression of Interest document. A lot of information covered, required re-listen online. Difficult in these early stages of the course to get a clear grasp of these concepts- discourse, computational + parametric design.

Big step up from last week’s material: into vector and NURBS geometry and simple transforms. Exercise 7 ‘orient an object around a circle’ was particularly interesting. I enjoyed experimenting with different cone profiles as they produced some different forms. And really complete, well executed, better and quicker than drawn-by-hand. I never though I’d be able to achieve these results (complex geometries for me) prior to this tute, and without the aid of the mathematical definitions.

THE PRECEDENT CONNECTION- A PRO FOR SCRIPTING At the core of Andrasek’s A/MAZE is an accumulative library of scripts, applicable to the constraints of materials, structure, fabrication and assembly. “Evolving algorithmic infrastructure allows a designer to work at the scale of information linked to various forms of materialisation” Alisa Andrasek Computational design enhances the potential for precise expressions, at various scales to be experimented with, and produced. In our case, the programming is visual- Grasshopper rather than textual. One advantage: page8 “a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time”. 2 IMAGES: www. biothing.org

THE ‘P’ WORD ANTICIPATING CRITICISM: The main concern hovering over and around the ‘p’ word (parametric design) seems to be around inventiveness. Are we as student designers inventing new strategies and approaches? How can we sell our idea to Wyndham City, if our ideas are not our own? “Still very few are truly inventive. We are at the very beginning of this process and very few designers are already virtuosic [sic] and highly creative. Many are still vertiginously propagating other people’s inventions. This condition is changing with maturing of scripting cultures.” (Alisa Andrasek) We are limited with the scope of what we can learn in such a small amount of time, however, and therefore not directly a target of this criticism. But for future endeavors of using grasshopper or other programs, they are constructive things to work toward.

Case for Innovation: Conclusion

Reflection: We need to consider scripting as a design process, however tough it may be to make a distinction between what is a tool and what is your design. Herein lies the challenge: duplicity. Has to be about your design and what drives your design- about using particular tools to make the process efficient, and overall, appropriate.

Idea of specialization More depth to this approach of designing, than just typing Process driven architecture? Process is important, but there still needs to be an outcome.

NOT JUST A WAY OF DESIGN, A WAY OF THINKING A difficult moment in architecture: evaluate what we think of as being a ‘designer’ Digital architecture is a paradigm shift: it makes use of, and is enabled through “machine”technology, and it is process driven. Yet, it is inherently man directed, explored and controlled. As a final product, it is conceptually the creation of the human mind- it cannot exist without it. ‘P’ design makes time consuming, technical and menial tasks immeasurably easier and quicker to accomplish. Also, it provides maximum number of specifically and technically precise options/potentialities that the human mind can be challenged to produce.

Why we want to use scripting? Not designing a building, more about exploring forms- not prescriptive. This relates directly with the methodology driving design: Way material interacts with patterning Documenting patterns Making the invisible, visible

Reference list: Burry, Mark. “Scripting Cultures: Architectural Design and Programming”. Chichester: Wiley (2011): pp 8-71. Kalay, Yehuda E. “Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design”, Cambridge. Mass: MIT Press (2004): pp 5 -25. Williams, Richard. “Architecture and Visual Culture”, Exploring Visual Culture: Definitions, Concepts, Contexts ed. Matthew Rampley, Edinburgh: Edinburgh University Press (2005): pp 102-116. Terzidis, Kostas. Algorithmic Architecture. Oxford: Elsevier, 2006. Selected Pages Webjournals: Biothing Repositrory of Computation, Copyright 2012 Biothing Design by Graph Paper Press, viewed March 2012, <http://www.biothing.org>. Reas 2002- 2012, Casey Reas, viewed March 2012, <http://www.reas.com> Stelarc 2012, Web by Andreas Lustig, viewed March & April 2012, <stelarc.org>

Chapter Two: part 1.1.1 Research Project week one case for innovation: March - April 2012 architecture as a discourse

Introduction to the Design Project: Public Art and Motorways On the lecture:

What I took from the lecture/ week:

Introduction of the design project, drawing on urban intervention precedents and discussion of criteria and context of the competition. The emphasis of the lecture given by representatives: municipality and a connection to the metropolis via the gateway. Project objective for a better connection and outlook of the Wyndham community- more attractive, recognizable, aesthetic. Site-specific information also delivered. Marcus White discussed how a project could be â&#x20AC;&#x2DC;experiencedâ&#x20AC;&#x2122;, the value of an EOI, and potential for formal complexity through simple mathematical processes.

Understanding your client, understanding your community is imperative to the design process. This gives you scope and constraints to design within. However, understanding your position within the site is equally as important- and in our case, the experience. A sculpture in this position is to be a transitory experience. Re-adjust perception of sculptural design. Re-asses priorities: function or aesthetics? Push for dynamic not static. Another valuable lesson I learnt this week was the importance of backing up work. This has been the most mentally difficult task to overcome thus far. Computers will remain unreliable, but it is our role as human beings to have to plan ahead for these situations. Although only 10 per cent of work was recoverred, and I was left computer-less for over a week, by re-doing the matrix exercise 3 or so times over, I began to look at my work critically in relation to the broader scope.

On the Exlab Grasshopper tutorials Prior to completing the matrix task, I tackled these exercises and came out with two important concepts: 1- Circle component: is running an algorithm that takes two parameters and outputs of the circle. If GH receives a different amount of information for the 2 parameters, then it maps the algorithm to produce as many circles as it can. So, if it only received 1 input for the location of the circle, and 11 for the radius, then it uses this same location for all 11 radii. Why is this a useful tool in GH? It means if we can define 1 algorithm to produce 1 circle, then it’s no different to produce 500,000+ circles. 2- Inputting several points for a circle: If the distance to an attractor point controls the size of a circle, how can we do this? Using a math equation. The further the circle from the attractor point, the smaller its radius should be. So if something’s closer to the attractor, it’s more heavily influenced. Skills: Found a way of creating input geometry in the form of a hexagonal grid. Using an associative technique: finding the distance between the location of circles and an attractor, and multiplying the length using maths function (invert 1/x). The output: circle. But we can substitute any of these elements (input output associative techniques) with a different algorithm. Substituting input instead of the hexagonal grid creates paths on a surface - replace point attractor with an image and look at different output geometry. Surfaces don’t have any volume.

Variation: Move a grid of points using a random function. By additionally connecting a number slider to the integer input of the random component, I was able to control the points, so that they weren’t so sporadic. This might be defeating the purpose of the exercise. Yet, it leads to my future scope/ possibilites to plot information of the site. For example, creating controlled points of growth rates, such as speed limit of the highway, compared with random points such as accidents on the highway. These points can be data derived from the Wyndham City Council, or Vic Roads. Again, playing with this notion of control.

Link to symbiotic studies: computer + human = MATRIX POSSIBILITIES = optimal design opportunities

HUMAN MIND

COMPUTER MIND

LECTURES, TUTORIALS, INDEPENDENT RESEARCH

SYMBIOSIS

GRASSHOPPER, RHINO

EXISTING TOPOGRAPHY ATMOSPHERE, WEATHER

MATERIALS, PRODUCTION

CONSTRUCTED ENVIRONMENT

NATURAL ENVIRONMENT

WHEN THE COMPUTER AND HUMAN CLASH

Challenge 1: Baking GH/ exporting Rhino to Illustrator

Challenge 2: The computer crash

T HE POT E NT I A L SUSTAINABILITY current strategies in place: litter reduction & prevention site: l o c a t i o n water action plan car c a p s u l a r waterways strategy plan pros + cons BUT NOTHING grow for greenwaste ing mor populat e fam ion = gre envi ater sen ilies = ronm s enta itivity to l con ditio ns The estimated population as at June 2012 is 184,191 people representing a 7.1 per cent annual growth rate. (source forecast.id, 2010)

abstract aspirational

Wyndham has experienced the largest and fastest growth in all Victorian local government areas and is the third fastest growing in Australia.

CONTROL

BREAKING THE MOULD

encourages ong o i n g interest by generating care for further r e f l e c t i o n beyong f i r s t g l a n c e

THE EXISTING WHAT? western gateway design project

WHO $$ funding project wyndham city council

OBJECTIVE? inspires & enriches the municipality altering perception and c o n v e n t i on s sculpture as â&#x20AC;&#x2DC;pleasantâ&#x20AC;&#x2122; to view

accessible to a wide public

explore placemaking

compelling

longevity in its appeal

+ Spanning 542 square kilometres + On a coastal plain on the western fringe of Melbourne + Diversity of sectors: strong industrial and technology districts, two major retail precincts. Intensive vegetable growing areas and grazing lands. + The principal areas of population are Werribee and Hoppers Crossing, with substantial growth occurring in Tarneit, Point Cook, Truganina and Wyndham Vale.

EXISTING CATEGORIES

+ Major industrial area at Laverton North.

+ Werribee Park Mansion

ART TOURISM COMMUNITY

+ Shadowfax Winery + Point Cook Coastal Park + RAAF Museum & Interactive Flying Display

INTERPRETING THE BRIEF

+ Werribee Open Range Zoo + Wyndham Art Gallery

impact c o n f r o n t i n g?

upgrade conditions of street s c a p e s o p e n spaces and p a r k s

provide a statement

THE DESIRES

With reference to Kalay Kalayâ&#x20AC;&#x2122;s 1 diagram on the right indicates a logical approach to dealing with goals and solutions when designing. Before even attempting the matrix combinations, I devised a plan of how I would approach the task. I did this simply by filling out the blanks in Kalays already developed plan. In doing this exercise, I formulated a structure which would assist me in the design process. In assisting, I refer to attacking the design process with more cohesion, direction and focus. It was also benefitial in assessing what the priorities were for the task at hand, as well as future speculations.

matrix reflective of concept and criteria

creative/logical matrix heirachy labelled

generate 90 combinations be critical during design process

allocate number/ techniques/ skills amongst team members

combinations variation? development? explorative?

THE MATRIX TASK

generate a matrix using input, output and associative techniques

understand + develop function + components for future modelling generate a matrix using provided inputs and associative techniques

expressive in design intent

PERSONAL CRITERIA Dissect it: Identify all the goals and constraints at beginning. Plan it: Set 4 days to be creative with design process, 2 days to evaluate work and construct matrix layout, and 1 day to receive feedback/ make adjustments. This was a nice plan, but in reality, 4 weeks worth of work closer to the reality. Break it: Divide work in group, complete a minimum of 30 combinations Judge it: evaluation

Constructive criticism and is an essential process. Share it: Listen to others, share with others - with tutors, with peers. Ask others what immediately comes to mind when viewing matrix - is the direction and concept clear? Use the internet to share information with a wider audience, and faster.

1 Kalay, â&#x20AC;&#x153;Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Designâ&#x20AC;?, 16. 2 Kalay, â&#x20AC;&#x153;Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Designâ&#x20AC;?, 20. 3 Kalay, â&#x20AC;&#x153;Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Designâ&#x20AC;?, 20.

“Designers, therefore, must impose upon them additional constraints to make the selection process more tractable” 2

For MATRIX 1

(following page)

Constraint 1: abstract aspirations To create combinations that can portray philosophical underpinnings. How to approach this? Be conscious of using/ forming chains and link type formations when designing. Constraint 2: aesthetics To create combinations that portray levels of growth and deterioration. How to approach this? Focus on contrasting elements such as linear pathways and size of circle radii.

Constraint 3: political or social messages To create combinations that can speak to a wide, moving audience i.e. children in vehicles. How to approach this? Design patterns with sophistication - this does not mean complext and chaotic patterns. Aim for simple, clean and relatable designs.

THE RESULT “...gradually reduces the size of solution space and guides the process toward a particular solution” 3

+ SURFACE GRIDS + ATTRACTOR POINT

+ SURFACE GRIDS + CURVE ATTRACTOR

+ SURFACE GRIDS + IMAGE SAMPLER

+ BOOLEAN PATTERNING + ATTRACTOR POINT

+ BOOLEAN PATTERNING + CURVE ATTRACTOR

+ BOOLEAN PATTERNING + IMAGE SAMPLER

+ CURVE INTERSECTION + ATTRACTOR POINT

+ CURVE INTERSECTION + CURVE ATTRACTOR

+ CURVE INTERSECTION + IMAGE SAMPLER

+ ARBITRARY POINTS + ATTRACTOR POINT

+ ARBITRARY POINTS + CURVE ATTRACTOR

+ ARBITRARY POINTS + IMAGE SAMPLER

SPECULATIONS: Patterns appear cohesive - more ‘finished’ compared with other combinations. This has a more fluid effect/ value in how to use this beyond surface application, beyond resolved or digital.

+ SURFACE GRIDS + MATHS FUNCTION

+ SURFACE GRIDS + MULTIPLE MATHS FUNCTION

IN RELATION TO NARRATIVE: To show depth - micro life forces xray vision daytime/ nightime application using images as propaganda/ iconography.

SPECULATIONS: A lot of variation from strong to weak line weight. Could be used to show variations of groups in Wyndham, e.g. age groups, males/ females. IN RELATION TO NARRATIVE: To show variation of people living in the community; difference in age group=different approach to sustainable living.

+ BOOLEAN PATTERNING + MATHS FUNCTION

+ BOOLEAN PATTERNING + MULTIPLE MATHS FUNCTION SPECULATIONS: Mapping - Wyndham in relation to Melbourne and Geelong. Proximity to green facilities, e.g. parks, recycling outputs, water plants. Proximity to attractions, e.g. Werribee Zoo.

+ CURVE INTERSECTION + MATHS FUNCTION

+ CURVE INTERSECTION + MULTIPLE MATHS FUNCTION

IN RELATION TO NARRATIVE: Apply sharp intersecting patterns to emphasize the rate of growth and decay/ contrast how the process is occuring simultaneously and at different rates.

SPECULATIONS: Clear, simple, easy to read. Could be used to articulate data, such as tectonic points on site, growing morphologies or ‘cluster’ areas of high density, e.g. traffic patterns at peak hours.

+ ARBITRARY POINTS + MATHS FUNCTION

+ ARBITRARY POINTS + MULTIPLE MATHS FUNCTION

IN RELATION TO NARRATIVE: Growth ‘spurts’. Expression of decay such as fungus spores, termite mound placement, populations and areas of migration.

USING SURFACE NORMALS + ATTRACTOR POINTS

In completing this matrix combination, the focus was on considering the behavior in terms of materiality. In approaching this task, I employed Kalay’s Breadth first process: I looked at several ways to develop a canditate solution and explore this iteration, before any one was to be chosen as the finite combination. One way of doing this was to look at each definition critically, and from different view ports, in order to understand the way it could potentially be viewed/ experienced at different levels. I tried to capture the inter-determinate atmospheric qualities that people experience when being ‘out in the open’/ when in contact with the air. Experimenting with the radii of the circles was one way of doing this, as well as with start and end points, and attnetion to textural qualities. This combination reflects the intimacy and personality of individual experience. No two people experience the same thing idendically - variations will always exist. This is something driving my design direction.

+ CURVE ATTRACTOR

+ IMAGE SAMPLER

+ MATHS FUNCTION

+ MULTIPLE MATHS FUNCTION

OVERLAPPING PATTERNS

Attractor Point + Extrude + Rotation

Image Sampler + Extrude

Image Sampler + Rotation + Extrude

Image Sampler + Rotation

Maths Function + Rotation

Multiple Maths Function + Extrude

Multiple Maths Function + Rotation + Rotation

In this matrix, we have a convergence of the elements: air, space, location and matter, the outcome of which is growth and evolution. We can see this articulated in the above example, where the extrusions symbolise clusters of growth and deterioration.

BOOLEAN PATTERNING

Figure 1

+ Maths Function + Rotation This matrix is merely a detail of my preferred Boolean Patterning combinations, exemplifying the limitless potentialities that parametric design has to offer. Figure 1 articulates the control element in the sense that all the circles are interlaced and bound by one another. One break in the chain, or in our case, the grasshopper definition, would cause disruption to the overarching pattern. Conceptually, this is metaphoric for the current trend in architecture/ design fields: designer/ artist losing control once the final product is out in the public domain.

Figure 2

SURFACE GRIDS + Maths Function This combination explores fluctuations. The method could potentially be employed later in the design process, in relation to the exsiting topography and contours/ undulations of the landscape.

Still unknown waters No specific terms or conditions

Performative Architecture

Open to questions, to interogation

Parametric Modelling inhibitions Associate a particular geometry - to another particular geometry

Optimise how we think about materials Do Mapping the way people move through space Greg Lynn Forefounder Embriological House Project 2000 How aeronorctic and shipping industries inspire Each component could have embedded within it fabrication information

SSStimulation

Intelligence - heirachical situation Efficiency - make updates to small components, without having to make many changes within â&#x20AC;&#x2DC;wholeâ&#x20AC;&#x2122; Ability to TEST - faster, better, volumes

Physical space Digital space

Why Computing?

Performance-Driven Design On the lecture:

This diagram is a summation.

Optimising architecture through performance/ in conjunction with: Space usage

Fabrication

Lighting

Thermal usage Negotiation between the two: sub-optimal

Procedural

Fully optimised buildings are a misnomer

Feedback throughout design process makes you and your design more informed Enabled through parametric modelling

Design industry competing with optimisation

Thus far, projects are arbitrary - more or less an aesthetic exercise in expression

From arbitrary to feedback > quantifiable

Design tools Generative tools: collapse design and evaluation in sequence with each other Evaluative tools:

FORM FINDING : explorative process, ideas which you work with, understanding of materiality > embedded within design process. Simulate the physical.

Predominantly used by engineers

IMAGE

PROJECT

De Young Musuem [ Herzog & de Meuron ]

Restaurant Aoba-Tei [ Hitoshi Abe ]

Airspace Tokyo [ Faulders Studio ]

Dior Ginza [ Office of Kumiko Inui ]

BANQ Restaurant [ Office DA ]

Carabanchel Social Housing [ Foreign Office Architects ]

John Lewis Department Store [ Foreign Office Architects ]

Spanish Pavilion, Expo 2005 [ Foreign Office Architects ] Gantenbein Vineyard Facade [ Gramazio & Kohler ]

Image Image Image Image Image Image Image Image Image

References: one: Ben Pell, ‘De Young Muesum’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 74 - 79 two: Ben Pell, ‘Restaurant Aoba-Tei’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 54 - 59 three: Ben Pell, ‘Airspace Tokyo’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 86 - 89 four: Ben Pell, ‘Dior Ginza’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 104 - 109 six: Ben Pell, ‘Carabanchel Social Housing’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 166 - 169 seven: Ben Pell, ‘John Lewis Department Store’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 96 - 99 eight: Ben Pell, ‘Spanish Pavilion, Expo 2005’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 162 - 165 nine: Ben Pell, ‘Gantenbein Vineyard Facade’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 178 - 183

PARAMETRIC

perforation; layering; weathering

ANALYSIS conscious choice of material: copper properties ‘deterioration’ + ‘changeability’ = decoration air as design protagonist symbiotic: using ‘p’ techniques to simulate a natural process/effect

perforation; abstraction from nature

from natural landscape > urban form exploration of the old + new : old environment + new technologies (critique of society?)

layering; voronoi patterning

digital technology replicating a natural system – vegetation

perforation; image mapping; layering

contouring

cutting; folding

layering

icon: signature motif – association – glorifying a label scale + branding high end, stunning, simple: poised, classic power, control – beautifully restrained topological ,tectonic variation amalgamation seamlessness filtered emerging dictates logic in

light – forest mimicry technologies VS nature. Which of the two our design process/inspires us more? natural evolving design process. systematic?

a heavy/ highly utilized space of everyday use, with no demand for aesthetic appeal, which is constantly seen, visited and frequented by people; appearance and functionality complimenting one another: function + aesthetic beauty for the sake of beauty

image mapping; selective perforation

cultural heritage: islamic geometric patterns + foliage based arabesques pattern metaphoric of decorative Islamic calligraphy, instead of pictures which were forbidden in mosque architecture use of bright colour

stacking; rotation; image mapping

insulator treatment of sunlight + temperature pattern: pre-specified, organizational and orienteda ‘moving’ perspective what is pure? what is perspective?

Why we chose the Dior to reverse-engineer: After evaluating the matrix task, it was the combination of Image Sampler Associative Technique and Overlapping Patterns Input that stood out to our group. This combination could be applied to the case-study, where the overlapping pattern simulates a skin like, shifting effect, between two surfaces. The shifting pattern interplays with the filtration of light, which sharpens the overall image.

Model 1: Fabrication In achieving the desired effect of a â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; in the effect of layering, two overlapping screens were created. Our prototype comprised of 6 panels at 300mm x 3. We quickly realised in this phase of preparation for fabrication that intricate details (such as using images in image sampler) may not always be achievable. In this design process we began to evaluate our priorities: achievable/ unachievable amount of detail to be fabricated. One way of dealing with this problem was to create new grid dimensions. This dispersed the pattern more rationally on the geometry.

Model 1: Constraints One of the constraints, as outlined by Kalay, was cost. I had no qualms with cost or budget for this model, however, other members in the group could not justify spending money on experiments at this stage of the design process. This was frustrating and disheartening. And the first encounter with group dynamic problems. I feel as though digital modelling, fascilitated by digital fabrication, would have given greater scope in design potentialities and discoveries. Had we produced more models, more outcomes would have been realised. This would have enabled a clearer direction for future designing as physical testing delivers clear (ad)dis-advantages. The laser cutter was the chosen mode for fabrication of this model, as the perforations of the pattern performed by human hand could not match that of a machine. Additionally, there was huge appeal in using the laser cutter, as our group had no experience using this tool, prior to this subject.

Explorative Criteria: Layering Effect – The ‘Skin’ Linearity - Using intersections to represent growth and rising populations Shadowing visual effects – A looming presence, a growing population Materiality – A natural resource, sustainable aims

Materiality selection for fabrication The plywood was a conscious contrast from the alluminium in the Dior case study. We aspired for a material which met expressive needs over aesthetic quality. This is something we hope to experiment with further testing - a subtractive method using low technologies.

Shadowing effect: Whilst this moel does not physically display effect of the atmosphere, it shows potential for further development. The shadowing effect, in conjuntion with the overlapping circle pattern, can be developed in terms of ‘capturing moments’ , trapping atmospheric elements, similar to a bubble bursting.

Drawing conclusions from the Dior prototype - Developing a narrative PROGRESSION / GROWTH

Line

Vector

Direction + Magnitude

Connection to Melbourne

Shape

Representation

Change over time

Community: Size Change/time

An airspace seperates the two layers of the facade of the Dior building: 1 perforated, 1 printed

The micro image enhances the textual qualities of the material. Not only does this bring to the foreground the benefits of laser cutting - an emerging digital technology, but it creates an opportunity to experience the model at a more realistic scale. This is important for future designing outcomes, placing views at an appropriate context.

Ben Pell, ‘Dior Ginza’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 104 - 109

The moire effect produced by the scalar dissonance between the 2 layers of the facade of the Dior builiding

These images explore the model skin, as an internal and external layer. The lighting conditions enable the perforations of the plywood to stand out in contrast to the existing linear pattern. This enables transparency.

My formative concept design informed by cyclical principles of life: growth, decay, growth.

strengthstrength

strength

dynamism

strength dynamism dynamism

potentiality

dynamism achievement

dynamism

potentiality achievement potentiality genesis achievement achievement genesis re-creation creation genesis re-creation re-creation creation creation creativity creation eternity promise promise ascent eternity richness creativity richness creativity promise ascent ascent development richness spring development spring spring development boundless immortality lushness freshness freshness boundless immortality perpetuity immortality lushness boundless continuity irresistible irresistible perpetuity power power continuity irresistible perpetuity power

growth

productivity continuity

perpetuity life life limitlessness

productivity life productivity re-generation

re-generation

limitlessness

life

limitlessness

re-generation re-generation liveliness everlasting hope hopeliveliness everlasting

evolving evolving evolving

evolving hope

metamorphosis

hope

metamorphosis metamorphosis

Framing our concept research: Growth developed through spatial development and materiality and the idea of inter-determinancy/ temporality of a structure.

Research Project Proposal and Conclusions

In the Dior case study, we experimented with the idea of â&#x20AC;&#x2DC;skinsâ&#x20AC;&#x2122;. In refining this design, we adjusted the varying levels of the the panels to create differentiating overlapping layers. We feel this better explores the undetermined awareness of growing organisms. The form was also designed in a way to evoke a reaching onward and upward effect. It symbolises growth patterns and trends of a growing community. For further studies, we need to take this approach with a lot more logic and seriouseness. We need to develop how we can parametrically extract relevant data from the site, or the Wyndham community, to pre-determine design factors such as population rates, or evaluation of existing contour lines. By establishing these constraints, we will have a far more concentrated area to explore. Link to atmosphere: At this stage, attempts to address the atmosphere are inherent, however, superfitial and require further investigation. The circle patterns, the holes, are a representation of the inter-determinate capabilities of air - instrumental to any process of growth and decay, deterioration, seeping into, or entry and exit points.

Timber materiality selection: Potential relationship with fire/sparking Sparks transferring through air Sparks ignited through air Malleability, durability, ageability, natural resource, philosophical engagement; the need of the resource vs consumption of the resource - neglect, ignorance. Experiment 1: investigation into burning the material, evaluating degree of damage, and then submerging it into water to investigate malleability properties and room for kintetic development potential. The effect is rustic, damage like. This proved an instigator into searching for designs with low technologies. Here we are advancing discourse, and pre-conceived ideas circumvating the studio. That is, to challenge ourselves in designing something that is refined and subtractive. Superfitial patterns and elaborate forms with no intention are not at the core of what this brief is asking of us. Nor the realms of parametric design. Our challenge is finding a way to use high digital technologies, efficient modelling strategies through programs such as rhino, and enabling large, complex data sets, through grasshopper, to inform a design with low technological aspirations. Experiment 2: Again using ecological factors - rubbing of dirt, scrapping leaves.We trampled on the surface to advance physical effects. Ironically, it also represents our footprint, as human beings, on the environment. Testing how much a surface, a landscape - and metaphorically a socitey - can withstand abusive conditions. Our project aims to test these ideas through choice of naturally treated, â&#x20AC;&#x2DC;untouchedâ&#x20AC;&#x2122; materials, and design decisions which reflect contemplative and a restrained attitude. Imperative to this is the pursuit of decay. Experiment 3: applying acid to the prototype. Aims were to explore the submersive behavior of decay, and as a process, something that behaved in an uncontrolled manner, and that needed to be treated with caution. This has great conceptual potential, as it is a material which must be treated with great caution and awareness because of its dangerous properties. Iâ&#x20AC;&#x2122;d like our design proposal to explore this in a more approachable/ less invasive manner. It is not a pursuit of simulating a fearful experience.

Inspiration: Evaluating how the sine and cosine mathematical function can be translated to represent a growing demographic. This is one outcome reached in portraying a fast growing population - the Wyndham community. Whilst the physical form is drawn out of a mathematical function, the differentiating circle radii stand for greater potential to be further tested. How can we accomplish material effects enabled naturally by the atmosphere and informed by grasshopper as a system to formulate this data?

â&#x20AC;&#x153;The modernist surface is treated as an abstracted boundary of volume, and has a conceptual rather than a sensory essence. These surfaces tend to remain mute, as shape and volume are given priority; form is vocal whereas matter remains mute. The aspiration for geometric purity and reductive aeshetics further weakens the pressence of matter.â&#x20AC;?* *Juhani Pallasmaa quoted in Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press), p. 11

Anticipating criticism: In further developing this design concept, our group will investigate material effects which confront the viewer - not necessarily a pleasant experience, but one that causes awareness. These include utilisation of termites, funghi - effects that simulate rotting and decay. Highly ambitious and risky in their attempts, and technically/ mechanically not providing a sense of control and comfort (ie. termite impact). Asking Wyndham to be daring, innovative and instrumental in changing a wide audienceâ&#x20AC;&#x2122;s perception of what a sculpture can offer and stand for.

Where this prototype is lacking is in its form as being far too static, considering the conceptual aspirations. The physical is lacking, but the room there is great potential for a project to be developed, that deals with the influence of the land and environment in a naturally occuring and undetermined process.

Competitive advantage: Unconventional as an architectural piece of work Challenging perception- elements of provocation, thinking, and moving away from the tradiotional, restrictive commonly assumed concept of ‘professional’ Architectural intervention: time + participation from undetermined factors = potential for changeable environment Moving away from perceived artificiality and aesthetics Underscoring the changeable and active nature of our built environment Wyndham is not a neutral environment - every space speaks and our Gateway proposal will address this Critical discourse: challenging myself, the role of architecture as something that breaks away from, and goes beyond the conventional

Mid semester learning outcomes

Paramteric modelling competence: Matrix studies: exploration into strengths, limitations Reverse engineering case study: adapting applied techniques beyond the conventional Computation in architecture: Three precedents - possibility, efficiency, productivity, fabrication, accuracy

Architecture as a discourse: How our project can generate a discourse through the Wyndham City Council Project Proposal

How can our proposed aims advance discourse using parametric design?

What is the role of aesthetics in parametric design? What is the role of functionality in parametric design?

SKILLS DEVELOPMENT AND ACQUISITION Technical skills have not been my forte. However, I persistantly and consitantly practised and experimented with the Grasshopper, Rhino, InDesign and Illustrator design platforms. I can identify clear progression in my learning and ability to apply technical skills of the said design platforms. My interest in parametricism has grown exponentially with the aid of the reading material and regular practise. In looking toward the Gateway project, I’d like to conduct many more physical tests and enhance my fabrication techniques, which has been lacking to date. I also developed a new found appreciation in quality and controlled photography. Using the proper equiptment under the appropriate conditions is imperative to achieving the experience of a design outcome, not just a static image. My greatest satisfaction to date has been exploring symbiotic relationships in the physical/psychological domains.

Chapter Three:

part 1.1.1 Project Proposal week one case for innovation: April - May 2012 architecture as a discourse

Project Interpretation/ development

This iteration of our design process explores the idea of growth and decay.

This was proposed through material effect. The larger and outer circles represent a timber structure. The smaller circles represent a structure â&#x20AC;&#x2DC;boltâ&#x20AC;&#x2122; skelton. Our intentions were to apply a fungul treatmentdecaying process that weathers the timber structure away, leaving behind the skeleton: a stark image reminding passers by of something that was once there. A sense of unease in temporality addresses the project brief in a radical way; for it challenges and sparks interest in a non conventional manner.

Proposed construction elements: the timber skin and steel bolt system

DIAGRAMMATIC REPRESENTATION OF THE GROWTH - DECAYING PROCESS Plantation boxes embedded in steel structure. As timber decays (fungii), seeds and plants begin to grow as they become more exposed to climactic and atmospheric elements

STAGE 1

STAGE 1: timber structure is in full capacity (l) plantar boxes have not begun to grow, seedlings are in place (r)

STAGE 2: timber structure starts deteriorating, fungus spores spread (l) plantar boxes receive minimal contact with natural elements (r)

STAGE 2 STAGE 3 and STAGE 4: continuous, advancing progression from previous stages

STAGE 3

STAGE 5: process completion. Timber has rotted away leaving little remains of a material that was once the prominent element. Juxtaposing this, plants have fully flourished and taken over. Proposal envisaged as green and wild

STAGE 4

DEVELOPMENT As exciting as our previous design was, it proved to be far too ambitious with huge risk elements and project control difficulties, rendering the design unrestrained and unfit for further development. With guidance from our tutors, we re-focused our direction to growth as employing a sustainable system which would not only benefit the community, but realise our grandiose aims of a system that incorporated impact, awareness and participation. Our design direction shifted to developing an industrial compost system.

Form developed through site context

CHALLENGE Following input from critical assessment and guidance provided by our tutors, the decision was made to go back to the drawing board and refine a narrative that was clearer in both design and concept direction. With this digital prototype, my peers and I struggled immensely with finding a way to design an industrial compost system, which also had to fulfil our findings from the EOI ealier investigations. There was great dispute amongst us: to design a project that was more concerned with functionality rather than aesthetic appearance and superfluous design.

Manipulating data (existing contours) to develop the form of the robot shell

The outcome reached was to design the skin of a robotic system that encased an industrial waste system within it. This skin was designed in grasshopper- using the siteâ&#x20AC;&#x2122;s existing contours as the parameters. Using this tectonic information as the data input was a rushed attempt by our group to come up with a design to present. The robot system at this stage was unfinished, not clearly thought out. Thatâ&#x20AC;&#x2122;s not to detract from the interesting form that eventuated, contributing to further developing our skills of the Grasshopper program. By this stage, a degree of confusion, and certainly deflation and dissappointment, was apparent. Group work dynamics proved to be quite challenging, and this was a huge learning curve.

Perspective view of the robot shell geometry

PROJECT DELIVERY When we presented at the end of semester, whilst our design was incomplete, we managed to correctly address the issue of an industrialised, successful, off the shelf product which could be used to facilitate the composting process. This was enabled by developing an infrastructure diagram, an understanding of how the system would perform the tasks required, and within the designated space.

ST EA

Process: 1. Collection of organic matter waste from Wyndham residents by Cleanaway truck 2. Unloading of collected waste on site to transfer station 3. Mulching infrastructure process begins - composting 4. Mulching infrastructure is operated through the autonomous vehicle (in our case, the Google car), the robot. The discharge spout emits the mulched waste into the retaining walls, across site, of project.

VIC

BOU

EA AD

IN PR

CE IN

T WE S

TRANSFER STATION

C RU

25M DIAMETER TURNING CIRCLE

Initial presentation model: demonstration of variations in a growing topography

Design Refinement Post Final Presentation Placement of retaining walls

Robotic System: Distribution Paths

3 designated set areas for waste distribution across Site A 10 meter distance seperating each retaining wall

Where the path begins, working backward End of route

Distibution Path : Area 1

Location Site A 10m perimeter boundary to avoid spill

Distribution Path : Area 2

Area 1: 130m Distibution Path : Area 3

35 m

80m - 10m boundary / 70m

Contour growth: a change in the landscape

Area 1: 130m

The building of a new composted topography, encased within retaining wall structures and informed by existing site contours

Area 2: 150m

35 m

40 m

80m - 10m boundary / 70m

Compost footprint : Area 1

Area 1: 130m Area 2: 150m

Area 3: 120m

Compost footprint : Area 2

45m - 10m boundary / 35m

Compost footprint : Area 3

Based on the critique from the presentation, we developed a design that was essentially a series of retaining walls dispersed across three main areas of the project site. We achieved the desired outcome of changing an existing, neglected topography through the utilisation of the robot. By constructing the above diagram, we were able to cohesively map our design in a way that responded to the critique received from the final presentation.

61 m

1 How we developoed the design: 1: New proposed design, the retaining wall system, showing its position on site 2: Specifications of the retaining wall system. Please refer to final panels to see where the section of the model was taken from 3. Physical model successfully fabricated 4. Axonometric drawing (1:10) of wall system (section of it)

4 Axonometric Construction Detail

Bolting : joining all members

U-Beams: steel posts placed every 2 m to reinforce structural integrity due to varying heights of the retaining walls and physical forces. 250UB: designation- structural integrity

Timber thickness: 200mm sleepers, slot in between U beams

Concrete footings (pile footings) into ground

Iterations: Following the final presentation, and in developing a retaining wall system, I experimented wit process. However, aside from time constraints, we decided that these designs did not fulfil subtractive aspirati design matrices are photographs which further investigate the patterns. Adjusting the circle radii was a consc

USING SURFACE NORMALS + MULTIPLE MATHS FUNCTION

EXPLOCIT GRIDS + ATTRACTOR POINTS

USING SURFACE NORMALS + MULTIPLE MATHS FUNCTION

EXPLOCIT GRIDS + CURVE ATTRACTOR

USING SURFACE NORMALS + MULTIPLE MATHS FUNCTION

EXPLOCIT GRIDS + IMAGE SAMPLER

USING SURFACE NORMALS + MULTIPLE MATHS FUNCTION

EXPLOCIT GRIDS + MATHS FUNCTION

USING SURFACE NORMALS + MULTIPLE MATHS FUNCTION

OVERLAPPING PATTERNS + ATTRACTOR POINTS

BOOLEAN PATTERNING + ATTRACTOR POINTS

OVERLAPPING PATTERNS + CURVE ATTRACTOR BOOLEAN PATTERNING + CURVE ATTRACTOR

OVERLAPPING PATTERNS + IMAGE SAMPLER BOOLEAN PATTERNING + IMAGE SAMPLER

OVERLAPPING PATTERNS + MATHS FUNCTION BOOLEAN PATTERNING + MATHS FUNCTION

BOOLEAN PATTERNING + MULTIPLE MATHS FUNCTION

BOOLEAN PATTERNING + USING SETS

OVERLAPPING PATTERNS + MULTIPLE MATHS FUNCTION

OVERLAPPING PATTERN + USING SETS

th potential designs that could be CNC milled out of the timber sleepers. This would enhance the composting ions. Our design is focused on functionality and sustainability, rather than aesthetic objectives. Below the digital cious design decision, for I attempted to explore the depiction of control via circle inter-connectivity.

SURFACE GRIDS + CURVE ATTRACTOR

SURFACE GRIDS + IMAGE SAMPLER

SURFACE GRIDS + MATHS FUNCTION

USING SURFACE NORMALS + ATTRACTOR POINTS

USING SURFACE NORMALS + CURVE ATTRACTOR

USING SURFACE NORMALS + IMAGE SAMPLER

USING SURFACE NORMALS + MATHS FUNCTION

USING SURFACE NORMALS + MULTIPLE MATHS FUNCTION

Returning to the final design

Using Grasshopper we visualised how These digital to the left demonstrate how we the topology on site would grow models over landscape topography to grow and change time as more propose compost wasthe added and over time. Built up specifications can be viewed in the the new contours were built up After each wall segment was created

Using Grasshopper we visualised how the topology on site would grow over time as more compost was added and the new contours were built up

elevation drawings below.

the below image it is possible to see

of the walls. This is the visual effect w Due to computer difficulties/limitations, we were only wall segment was created were then assembled digitally on site. who From looking able to model After theeachwall system in they sections. We that discovstick’ people pass atthe site c Due to the sheer size and complexitytheofbelow the it is possible to see how over time, the contours will be built up to the full height ered that lofting theimage entire proposal caused GREAT of the is the visual effect we wanted to achieve by having the walls act as a ‘measuring geometry we created we weren’t able towalls. loft This been difficulty. Had we stick’ thatnot people who pass limited the site can useby to seetime how theconstraints, project is coming together. Due to the sheer size and complexity the entireof the surfacethis at theissame time without something we most definitely would have sought geometry we created we weren’t able to loft killing Rhino or the whole computer. assistance with. the entire surface at the same time without presented problems that would persist killing Rhino or the whole This computer. This presented problems that withwould us persist for the rest of the semester. Although this task brought with us for the rest of the semester.

many re-occuring difficulties, ie. rhino ‘running out of memory’, there was great usingthat this digital platform to accurately develop In order to create our wallIn system thatto createvalue order our wallinsystem spanned the entire site we had to loft small a design of such great proportions and topographical spanned the entire site we had to loft small parts of our new topology and generate the speculation. Initially hesitant, and unable to compute parts curve of each wall that way. Belowofareour the new topology and generate the how and why we were desining such an “ugly” (comindividual lofts of each dividing wall for part of curve of each wall that way. Below are the our nal design. ments from peers) sculpture in comparison to others in individual lofts of each dividing wall for part of the studio, our design exposed us to even greater posour final design.sibilites and practicalities. A confrontational experience at times, we were pleased to have completed the task and expose ourselves to such functional possibilities. We really commited ourselves to our tutors’ suggestions of a low technology project, no matter how apprehensive we were. Image to the left exemplifies how we lofted each dividing wall surface for the final section model. 29

Elevations - South East looking North West 1:1000

Photography of Final Project : Progression over time Please see stop motion movie on DVD

Time proposal for composting process (HEADING)

Stage 1 : Build up 0 - 1.33 m Completetion Time : 19.5 months

Stage 2 : Build up 1. 33 - 2. 66 m Completetion Time : 39 months

Stage 3 : Build up 2. 66 - 4. 00 m Completetion Time : 58 months

Chapter Four part 1.1.1 week one Learning Objectives and Final Outcomes case for innovation: May - June architecture as a2012 discourse

THE OBJECTIVES - OUTCOMES JOURNEY

OBJECTIVES

OUTCOMES Symbiotic approach: How we can use digitalism to inform this Preserving a platform in which we can design upon... Futures, Speculations, Realisations

Resent the conventional Resist the need to be ignorant of emerging technologies of such calibre

What are digital methods?

The potentialities Limitleseness Expression and Function

Our role as designers, as humans in sustaining the environment Control Designer VS public reception

What is the role of emerging digital technologies in the realm of architecture? What is parametric design?

How can case studies inform our design direction?

What are fabrication methods?

What resources are available to us?

How has the discipline of architecture change/ changing within the broader realm of design?

Who is the designer? Project conceptualisation

THE JOURNEY NARRATIVE - A CRITICAL REFLECTION Initial apprehension on parametric design understanding and limitations did not quite reach an alarming stage. Course material, beginning with the question of addressing architecture as discourse, before moving into the metaphysical realms of parametricism, teased my appetite for the course content. Gradually, I grew more comfortable and confident. I was excited with the possibillity and limitless options offered by the subject matter, especially in the areas of challenging accepted boundaries, moulds and conventional understandings of space, architecture, art and science. I would envisage the liberating forces of critical architectural discourse, available to me for the first time through the interconnectivity of HUMAN intelligence and emerging digital technologies. Through my utilisation of computational tools in architecture- grasshopper, rhino and even the adobe suites, I was experiencing first hand, the POWER OF SYMBIOTIC and mutually reinforcing elements of creativity of the human mind and the exactness, precision, efficiency and fully defined options offered by technology. For the first time in my studies, I was hungry to research and discover the unknown that could be reached and attained through the non sentient machine, the non-animate object , be it computers or computer generated by-products. For example, I was quite impressed by the fabrication techniques and results. The laser cutting process was another way of revealing the benefits of technological availability. It almost seems ridiculous that it has taken a university like ours, with such prestige and global connections, for me to be exposed to these technologies and the range of outcomes that can be achieved, both in conceptual as well as the physical domains (ie. concepts, designs/drawings, ideas vis a vis physical, material constructs/developments). With the guidance of my tutor, I was able to discover my laiden/embryonic but intense interest in participatory architecture. Although hampered by having to concentrate on the task at hand, ie. completion of the Gatway Project, this awakening will drive my efforts in pursuing the undefined and ever evolving concept of architecture. I found the matrix task instrumental in developing my technical skills. The provided defintions assisted me immensely and I was able to feel a great deal of satisfication and encouragement. Conceptually creative by nature, I found the matrix equipt me with SPECIFIC parametric skills. I started to experiment with the software, very evident in the Second Chapter of my journal. The final task, the Gateway Project, started with huge aspirations, certainly in the conceptual area. As we started researching thematic concepts as a group, new potentialities emerged full of promise and anticipation. However, this was short lived for me personally, because of the practical demands of the project ie. concrete requirements of the project, time constraints and group dynamics. Where our design process began, and where it ended up was equally as exciting and frustrating. I found the over-riding concern to deliver the practical outcomes of the project stiffled my appetite to explore theoretical concepts and parametrically driven designs. Our groupâ&#x20AC;&#x2122;s emerging ideas and concepts, full of promise, eventually came to being exclusively of a functional, utilitarian nature project design. Although we were encouraged to pursure a low-technology project, breaking away from the accepted mould of aesthetically appealing design, as per the EOI of the Wyndham City Council Project, my feeling is that we did not pursue it with our full vigour. Although our final model rendered itself to very limited, non-intricate architectural outcomes, I have learnt immeasurable lessons and skills in the following areas: - Ability to use new emerging software - Value of physical documentation of models- both photographic and stop motion in a more appealing and engaging experiential outcome - Literature- good coverage of theoretical concepts of art, architecture and science through a series of interesting and challenging articles. I found particular interest in the lecture delivered in week 7, discussing the theme of air in architecture. And it pains me that our group did not have time to even look at the issue at all. - Ability to prepare documentation for laser cutting - Re-establish my understanding of what parametricism is, how to interpret and evaluate appropriate data -The important, synergic outcomes of technology products/ applications and human ingenuity -The value of diagramming, nurtured and encouraged by my tutor

(continued from previous page) - Group dynamics - a challenging, difficult and at times exacerbating experience, I feel it has been of immense value to me as it is a microscopic reflection of whatâ&#x20AC;&#x2122;s out there in the world. It certainly dampened my enthusiasm and high spirits, at an academic and personal level, as we did not quite sniff at what could have been achieved. Our project had such potential, if only all of us could find convergence of ideas and followed a common direction. The reality was, with all the constraints and challenges at hand, we had to deliver a design product, which we eventually managed to accomplish. I only have the perspective now, at the end of semster, that I should have pursued my own design aspirations further, regardless of the group situation. Had I engaged with the physical testing process more, I could have experimented, at early stages of generating patterns to be mapped onto a surface, or overlaid to create various effects. This has been a valuable step in my learning during the semester: believe in your design, donâ&#x20AC;&#x2122;t be affraid to test your designs and have a greater awareness and initiative to take ideas beyond paper, and beyond peers. There is a whole other world of architecture out there, and I cannot wait to engage with it in the years to come. This is only the promise of things to be had and experienced, as we look forward to qualifying for and practising the profession. Free, aspirational and hard driven, as students, if ever there is a time to be rebellious, non-conformist, all challenging, and breaking the shackles of conventions and mediocrity...., this is the time!

POTENTIAL GUIDANCE

DIRECTION

My outcomes My desires

(MIS)DIRECTION GROUP DYNAMICS TIME CONSTRAINTS

OBJECTIVE

Parametric Desgin Tools

OUTCOME

Digital Fabrication Technologies

How my learning goes beyond that

Reference list: Burry, Mark. “Scripting Cultures: Architectural Design and Programming”. Chichester: Wiley (2011): pp 8-71. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 Kalay, Yehuda E. “Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design”, Cambridge. Mass: MIT Press (2004): pp 5 -25. Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press), pp. 6 - 24. Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Terzidis, Kostas. Algorithmic Architecture. Oxford: Elsevier, 2006. Selected Pages Williams, Richard. “Architecture and Visual Culture”, Exploring Visual Culture: Definitions, Concepts, Contexts ed. Matthew Rampley, Edinburgh: Edinburgh University Press (2005): pp 102-116. Webjournals: Biothing Repositrory of Computation, Copyright 2012 Biothing Design by Graph Paper Press, viewed March 2012, <http://www.biothing.org>. Reas 2002- 2012, Casey Reas, viewed March 2012, <http://www.reas.com> Stelarc 2012, Web by Andreas Lustig, viewed March & April 2012, <stelarc.org>