WYNDHAM CITY GATEWAY PROJECT
ABPL30048 ADS_AIR SEM 2 2013 STUDIO 2+5
GROUP 2_KAILING WANG
STUDENT NO. 514464
CONTENTS 1. PART A EOI: CASE FOR INNOVATION
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2. PART B EOI: DESIGN APPROACH
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A0. INTRODUCTION &PREVIOUS EXPERIENCE A1. ARCHITECTURE AS A DISCOURSE A2. COMPUTATIONAL ARCHITECTURE A3. PARAMETRIC MODELLING A4. ALGORITHMIC EXPLORATION A5. CONCLUSION A6. LEARNING OUTCOMES A7. REFERENCES
B1. DESIGN FOCUS B2. CASE STUDY 1.0 DESIGN CONCEPT B3. CASE STUDY 2.0 B4. TECHNIQUE: DEVELOPMENT B5. TECHNIQUE: PROTOTYPES B6. TECHNIQUE: PROPOSAL B7. LEARNING OBJECTIVES AND OUTCOMES B8. ALGORITHMIC EXPLORATION
3. PART C EOI: PROJECT PROPOSAL
C1. GATEWAY PROJECT: DESIGN CONCEPT C2. GATEWAY PROJECT: TECTONIC ELEMENTS C3. GATEWAY PROJECT: FINAL MODEL FURTHER DEVELOPMENT C4. ALGORITHMIC EXPLORATION C5. LEARNING OBJECTIVES AND OUTCOMES C6. REFERENCES
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PART A
EXPRESSION OF INTEREST CASE FOR INNOVATION
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A0 INTRODUCTION PREVIOUS EXPERIENCE
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My name is Kailing Wang, and I am 20 years old. This is my third year architectural study in the University of Melbourne. As an architectural student what has fascinated me the most over the last three years is drawing - the presentation of ideas through hand sketches and computeraided design softwares. Although I have very limited skills and knowledge of digital design tools and theory, I have participated in a Virtual Environments subject in my first year where I was exposed to Rhino. Learning the basic of Rhino I designed a lantern that could be worn or held. The forms and patterns of the lantern were abstracted from images of nature. I was fascinated by the design subject where computer software was used as tool to deliver a conceptual idea. My design focused on the movements of ocean waves, especially the shaper of bubbles. For the fabrication, I used six three-dimensional triangular boxes to create a hexagon, and I used different colours to illustrate the arrangement of bubbles. The fabrication process of my lantern involved a total of one hundred triangular boxes, each slightly different and needed to be unrolled separately for cutting. I find my experiences from the lantern project able to be translated to this studio’s Gateway Project as they share the process of computational design. The further challenge to this studio is the use of Grasshopper which in addition to Rhino are powerful tools to explore the digital design world.
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A1
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ARCHITECTURE AS A DISCOURSE Many people understand architecture through its material, form and beauty, but in my opinion, the concept of architecture is more than this. As Jonathan Hill (2006) pointed out, architecture is just as immaterial as it is material. The immaterial ‘idea’ of architecture such as the design concept and philosophy, the immaterial processes of architecture such as design and drawing, policy and regulations are all part of ‘architecture’ as a process and outcome. Dutton (1996) discusses a similar idea, stating that “Architecture, then as discourse, discipline, and form, operates as the intersection of power, relations of production, culture, and representation, to shaping how we know the world.” Therefore, architecture is both the material outcome of construction and the immaterial carrier of meanings, values, ideas and philosophies. The evolution of these different ‘ideas’ of architecture is its discourse, and presents the ongoing conversations of architecture put forth by architects, designers, users and the broader community.
The discourse of architecture can present different approaches to society and culture in different periods of history. In my opinion, architecture is composed of four essential components - form, structure, material and performance. Architecture can through these four components communicate and engage society to elicit particular cultural values meanings. In contemporary architecture, it is very important to create new forms, structure, materials and performances in order to propose new boundaries of architectural thinking. In on of Greg Lynn’s essays - ‘Why Tectonics is Square and Topology is Groovy’, in Folds, Bodies & Blobs’ (1998), Lynn challenges the ideas of architectural form. Lynn asks the question of why architecture conforms to the idea of pure and idealized geometry, why buildings are generally designed with rightangles and are extruded upwards. Lynn proposes the ‘blob’ as a new idea of architecture form and puts forth new construction techniques that can make such a new architectural form possible.
Air Studio is an opportunity to experiment and push for new boundaries in architecture. Both in form making through form-generating softwares such as Rhino and Grasshopper but also in how new forms can embody and propose new building performances. The brief of the project requires us to design a gateway sculpture on the highway to the Wyndham City that illustrates the connection between the urban area and the suburb, and stimulates interest for the local people in Wyndham City. The site which is situated in the interstitial spaces between two highways also presents the opportunity to use architecture to reflect on the landscape. Therefore, this project should demonstrate the understanding of the site and be able to capture meaning, through architecture, the people and place of Wyndham City.
Resources Dutton, T., ‘Reconstructing architecture: critical discourses and social practice’, 1996, Minneapolis: University of Minnesota Press, pp. 1-2 Lynn, G. (1998). Why tectonics is square and topology is groovy. In G. Lynn, Folds, bodies & blobs: Collected essays (pp. 169-182). Hill, J. (2006). Drawing forth immaterial architecture. Architectural research quarterly, 51-55.
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SEATTLE PUBLIC LIBRARY
ARCHITECTS: OMA AND LMN ARCHITECTS The Seattle Central Library is the flagship library of the Seattle Library system known for its innovative distinctive facade and interior design. OMA and LMN Architects are the principal architects for this building. The Seattle Public Library is a radical building in its approach to translating the functional needs of the twenty-first century library into innovative architectural form. The ‘skin’ of the building is both the façade of the building, the filter of natural light, as well as part of the structure of the building. The ‘skin’ is pushed and pulled by ‘programmatic volumes’ to create the form of the building. Thus, through the example of the Seattle Library, the relationship between architectural form and function is made possibility by new structural and programmatic organisational systems (Archdaily, 2009). The library’s ‘Book Spiral’, which is a spiralling ribbonlike spaces that allows books to be displayed in the Dewey Decimal System without rupture, is another example of innovation based on function (Fig 1). The Book Spiral, echoes Lynn’s proposals of rethinking the flat, ninety-degree spaces; finding new forms to better capture the functional needs of spaces.
Koolhaas believes that the twentyfirst century library should be a custodian rather than a repository for books, a place for dynamic user interactions, discussions and the creation of new information (Alstad & Curry, n.d). Additionally, the digital content of all libraries can be presented in the single library by using current technologies, thus “new forms of storage enable the space dedicated to real books to be contained; new forms of reading enhance the aura of the real book.” (ArcSpace, 2004) The interior space of the library that was designed by Petra Blaisse is a kind of innovative system that supports the communication between social, political and commercial relationships. The individual areas in the library are defined not by internal walls, but through the use of textures and ornaments such as the carpet and curtains (Fig 2).
Figure 1: Book Spiral at the Seattle Library (Source: archdaily)
As a public discourse, the function of the library is not only to provide the best services and materials, but to stimulate user engagement in the library. Therefore, the huge, open warehouse-like interior space is a good example that people can engage with the whole space of library, because there is no internal walls to obstruct any part of the library. In the contemporary architecture, the interior design of the Seattle Public Library is an innovative and risky idea that the soft furnishings are used to fix specific functions in a definite area.
figure 2: The ‘library stack’ of soft furnishing.
Resources Alstad, C., ‘Public Space, Public Discourse, and Public Libraries’, http://libres.curtin.edu.au/libres13n1/ pub_space.htm ArcSpace. (2004). Seattle Public Library, OMA. Retrieved from ArcSpace: http://www.arcspace.com/ features/oma/seattle-public-library/ Archdaily. (2009). Seattle Central Library / OMA + LMN. Retrieved from Archdaily: http://www.archdaily. com/11651/seattle-central-library-oma-lmn/
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figure 3: The open space of the library
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ION ORCHARD SINGAPORE
ARCHITECTS: BENOY ARCHITECTS Ion is an iconic Singapore shopping centre situated on the Orchard road. This shopping centre was designed by British Architects Benoy with RSP Architects Planners & Engineers, and received ‘‘best retail development over 20,000 square metres’ awards in 2010. Giving the metaphoric context of ‘Orchard Road’, the design of the building’s façade and canopy was inspired by the contour lines of ‘fruits and nuts’ (agfacadesign, 2009). Adopting computer-aided parametric design, the monocoque facade and canopy structure was produced to help support both the loads of the building as well as act as a digital media wall for the shopping mall.
figure 3: Ion Orchard at night
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The design metaphor of fruits and nuts is further developed in the form of columns that resemble tree branches (agfacadesign, 2009), powerfully communicating the organic and free-form design of the shopping mall. Furthering what Greg Lynn has proposed as a new architecture of curves and blobs, ION Orchard is a striking example of how parametric design has assisted in the design and procurement of double-curvature building surfaces; producing both a visual statement of flamboyance and luxury suitable for the programmatic functions of a shopping mall, and pushing new boundaries in architecture design and construction.
Cartledge, the chairman of Benoy Architects said, “We are delighted that Ion Orchard has been recognised for its outstanding quality and innovative design. Ion Orchard makes a meaningful, breath-taking urban contribution to the built environment” (Benoy, 2011). To extend the built value of ION Orchard, our design proposal at Wyndham City also aims to use digital design to produce a striking and break-taking urban contribution to Wyndham.
Page 9: figure 4 Ion Orchard with lighting effects Top: figure 5 Ion Orchard with lighting effects Left: figure 6 ‘tree’ structure of Ion Orchard
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A2
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COMPUTATIONAL ARCHITECTURE Brady Peters (2013a, 2013b) in his articles in the journal - Architectural Design, asks the questions ‘how is computation changing the way architects design? How can computation create new forms of architecture? Is there an aesthetic to computational architecture? Are the design tools and methods related to the result?’ These questions are important in the current practice of architecture where computers are an inseparable part of the design and documentation process. In order to understand better the influence of computers on architectural practice, several authors (Mengest & Ahlquist, 2011; Terzidis, 2012) draw the important distinctions between computerisation of architectural design and computation design. Where the computerisation of design is the transfer of architectural ideas into computer languages; computation design is the use of computers and digital design software, as tools to generate the architecture design. These two distinctly different approaches to computer-aided design create vastly different design outcomes.
The computerisation of design can improve the efficiency of the design process through the digitisation of design information for better design communication and coordination (Kalay, 2004). Computerisation also tends to encourage precision in documentation and construction, however, in terms of the initial conceptual design stages of a project, computerisation plays a relatively small role in helping to generate the design itself. Computational design, on the other hand, is the approach of using computers and digital design software to create the design itself. Adopting the algorithmic logic of digital software, design parameters are entered in the software to directly generate and/or calculate the design. Computation design therefore has a direct impact on the design outcome, although the outcome, at this stage of the evolution of the practice of architecture, remains largely in form generation.
Resources Terzidis, K., ‘Algorithmic Architecture’, 2006, Boston: elsevier, p.xi Peters, B. (2013). Computation works: The building of algorithmic thought. Architectural Design, 08-15. Peters, B. (2013). Realising the architectural intent: computation at Herzog & De Meuron. Architectural Design, 56-61. Menges, A., & Ahlquist, S. (2011). Computational design thinking. John Wiley & Sons.
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BEIJING NATIONAL STADIUM ARCHITECTS: Herzog & de Meuron The Beijing National Stadium is a good example of both the computerization of design and computation design. However, more notably computation design in terms of the use of parametric modeling to create the external mesh form of the stadium (Peter, 2011). More than 33 iterations of the ‘bowl-shaped’ external mesh form were developed through parametric modelling to fine-tune the shape that of the stadium that would accommodate both the 2008 Olympic events.
Therefore it can be said that the envelope mesh of the stadium is both the product of computation and computerized design. The mesh itself also serves as both the structure as well as functional envelope of the building, including the partial shading structure for the spectator stands; reiterating my key argument that the added value of new computerized forms is the simultaneous offering of solutions to evermore complex functional problems.
It is important to note here that although the shape of the external mesh envelop can be regarded as an example of computation design, the mesh pattern itself was originally drawn from Chinese ceramics (Fig 7) and patterns of wooden windows (Fig 8), which in a sense can be regarded as computerized design because the ideas were translated into design through a computerization process.
Figure 7: Example of Chinese ceramic
Figure 8: Example of traditional Chinese wooden window patterning
Resources Peter. (2011). Beijing National Stadium. Retrieved from Designing buildings wiki: http://www.designingbuildings. co.uk/wiki/Beijing_National_Stadium
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figure 9: Beijing National Stadium
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ABSOLUTE WORLD TOWER
ARCHITECTS: MAD Studio and Burka Architects “The Absolute Towers stretch the limits of paired sculptural form to create a marker on the skyline for a regional center” (CTBUH, 2013). The Absolute World Towers project is located in Mississauga, Ontario Canada and was completed in 2012. As a high-end residential condominium skyscraper complex, the project design was conceived of through competition which was won by MAD Studio, based in China. The curvaceous form of the twin skyscraper is achieved through subtle twists in the oval floor plates. Twists of 1 to 8 degrees were applied to sections of floor plates in the first tower to create a total cumulative floor plate rotation of 209 degrees. In the middle section of the tower, 8 degree rotations create the most dynamic rotation form, recognized as the ‘hip’ of the building. In the second tower 4 degrees rotations were applied to individual floors for a total cumulative rotation of 200 degrees.
The rotational parameters applied to the design form, although exhibit a form of parametric design logic, should be understood more as computerized rather than computation design. In the case of the Absolute World Tower, the architect derived the design concept through ‘thinking like a parametric modelling software’ without actually using form-generating software. Therefore what is interesting about this project is that the influence of parametric and computation design has far stretched beyond a design tool but has fundamentally influenced the thinking of architects. The form of Absolute World Tower also delivers functional benefits such as allowing distinctive views to the suburb of Toronto. The result of a building with natural, human sensibilities is evoked by the towers’ torsional form.
Resources CTBUH. (2013). Absolute World Towers, Mississauga. Retrieved from Council on tall buildings and urban habitat: http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/FeaturedTallBuildingArchive2012/AbsoluteWorldTowersMississauga/tabid/3840/language/en-US/Default.aspx
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Top: figure 10 Absolute World Tower Left: figure 11 Conceptual diagram of torsional degrees of each floor
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A3
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PARAMETRIC MODELLING Parametric modelling is an approach to architectural form making that uses algorithmic parameters to produce computational geometry. As a mode of computational design, parametric modelling provides an alternative approach to design, as the designer is involved in the scripting of algorithmic parameters that then produces the design (Burry, 2011). Design as a set of algorithmic parameters changes the approach to form-making as the designer has to consider the entire form as a system of inter-relating parameters. For instance, when the designer changes one parameter, other relevant parameters are also recalculated to produce a new outcome. Parametric modelling espouses to the idea that all elements of architecture are parametrically producible and malleable, therefore through parametric modelling, the relationship between designer and architecture form is transformed through the process of scripting. The architect has become the designer of both the building and the tools for the design of the building.
However, there are also some disadvantages of parametric modelling. The first disadvantage is the disconnection between the designer and the design outcome due to the need to translate the design through parametric modelling software. This additional step in design can limit design outcomes, as the architectural design is limited by the language and logic of parametric modelling. Another disadvantage is the limitation of form making, as parametric modelling requires the final design outcome to be an integrated system. Any ‘nonconforming’ and random design decisions cannot be integrated into the rigorous system of algorithmic parametric modelling.
Resources Burry, M. (2011). Scripting cultures: architectural design and programming. Wiley.
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SERPENTINE GALLERY PAVILION
ARCHITECTS: ALVARO SIZA AND EDUARDO SOUTO DE MOURA WITH CECIL BALMOND
Alvaro Siza and Eduardo Souto de Moura’s pavilion for the Serpentine Gallery in 2005 is a temporary structure, parametrically designed to respond to the natural landscape of the parkland where the structure was sited. The Pavilion is constructed out of 427 custom wooden panels, joined together in an almost waffle pattern to create a blanket structure, housing a café. The timber structure as well as the curvaceous form of the pavilion responded well to the natural setting of the parkland, while the waffle patterning stood out against the natural setting to reveal the mechanical and engineering logic behind the almost free-flowing form. In order to provide shading for the café, additional polycarbonate panels were fixed onto the grid structure as a translucent skin.
Resources
. The form of the pavilion was derived through parametric design; the parameters being the number, density and thickness of the waffle structural system. Although these parameters are effective at creating free-flowing forms, they do present certain limitations. One limitation being the inverse relationship between the openness of the waffle system and the smoothness of its curvaceous form – the smoother the curve, the greater density of waffles needed, which will compromise the porosity of the structure and the light penetration into the internal spaces. Therefore, in any parametric modelling system, the parameters chosen for manipulation can also present shortcomings within its own parameter qualities.
As part of the discourse of architecture, Alvaro Siza and Eduardo Souto de Moura’s pavilion is a good example of evolving a new architectural language through parametric modelling. Although the idea of a wooden pavilion may seem traditional, the adoption of a wooden waffle system to create a landscape-inspired form is both conceptually and technically innovative.
Brooker, G., ‘Basics Interior Architecture’, 2010, Switzerland: AVA Publishing, pp. 58-59
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Top: figure 12 Serpentine pavilion 2005 Left: figure 13 detailed waffle structure of the pavilion
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SNOWFLAKE TOWER
ARCHITECTS: Laboratory for Visionary Architecture The Snowflake Tower is located in Abu Dhabi and it was designed by LAVA – Laboratory for Visionary Architecture. The conceptual idea of the Snowflake Tower was influenced by the geometrical order of a snowflake (LAVA, 2013). No two snowflakes are ever identical but each follows the same geometric parameters that dictate the overall form. The cross sectional form of the Snowflake Tower follows the natural patterns and geometric organization of snowflakes. In addition, LAVA also drew inspiration from the aerodynamic form of Formula 1 race cars to design a building that incorporates the sense of speed, fluid dynamics and futurism. The Snowflake Tower is a good example of parametric modelling, where the geometric forms of snowflake are translated into algorithmic parameters to produce the cross sectional form. As shown in Fig 14 to 16, the form of the snowflake can be changed by controlling the parameters of their geometry.
The parametric design philosophy adopted in the Snowflake Tower exhibit some benefits in this type of high-rise buildings. By altering the parameter of each floor, the overall extruded form of the building can be algorithmically calculated without the need for the designer to individually design each of the intermediate floors. However, the disadvantage of such parametric modelling is that spatial volume of each floor is influenced by all other floor plates in the building, making it difficult for one floor to stand out as a ‘separate design’ to the rest of the tower, i.e the need to separately design penthouse floors to look for luxurious.
figure 14: parametric form of snowflake
figure 15: parametric form of snowflake
figure 16: parametric form of snowflake
Resources LAVA. (2013). LAVA - Snowflake Tower. Retrieved from Green building and sustainable strategies: http:// gbssmag.com/2013/04/lava-snowflake-tower/
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figure 17: example tower with corresponded snowflake configurations and parameters
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A4. ALGORITHM EXPLORATION
Lofting and offset surface
In the first three weeks, I have learnt the basic parameters in Grasshopper, and I tried to write some simple definitions with these parameters. This is a very important stage that allow us exploring the ideas by using parametric modelling tools. In addition, this is the first time that I touched this design area, which the outcomes are controlled by the parameters in Grasshopper.
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A5. CONCLUSION Through readings on architectural discourse, computational architecture and parametric modelling and the study of design precedents, I am beginning to appreciate the importance of this new trajectory in architectural thinking and design. Innovations in form making to solve complex problems and to challenge the boundaries of traditional architectural thinking are all made possible through these new technologies in modelling and computation. These new tools for design allows us to create and refine new design ideas as well as reconsider the design process with a greater involvement of high-capacity computer software.
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The exploration of precedents in particular, has been helpful for me in understanding how such digital design processes have already contributed to the built environment. Through the examples of precedents I also found many computational design techniques useful for my exploration of the Gateway Project in Wyndham City. Going forward on the Gateway Project, I would like to first explore the relationship between the site and the residents of Wyndham City. Identifying any new functions needed for this Gateway Project and investigating new forms that can achieve such an outcome.
A6. LEARNING OUTCOMES Initially, I felt incredibly challenged by the project brief, the proposed methods for the formulation of the design concept and how it relates to the practice of architecture. However, after the readings and lectures, I began to understand that the emphasis of this project is less on the direct design of the building or structure but more on the design or the ‘design parameters’ informing the architectural outcome.
From the first part of the project, I have learnt how individual design projects can and needs to engage with the larger architectural discourse. This allowed me to reconsider how I think about design and how my design is relevant to the history and evolution of architecture thinking as well as new technologies involved with computational design. Through reading, thinking and designing, I am able to better grasp the advantages of computational design and parametric modelling and how these techniques can be of value to the proposed Gateway Project in Wyndham City.
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A7. REFERENCES agfacadesign. (2009, September - October). ION Orchard singapore’s most iconic mall opens. Retrieved from agfacadesign.com: http://agfacadesign.com/images/Layout-on-ION-Orchard.pdf Alstad, C., & Curry, A. (n.d.). Public Space, Public Discourse, and Public Libraries. Retrieved from Curtin University, LIBRES: http://libres.curtin.edu.au/libres13n1/pub_space.htm Archdaily. (2009). Seattle Central Library / OMA + LMN. Retrieved from Archdaily: http://www.archdaily. com/11651/seattle-central-library-oma-lmn/ ArcSpace. (2004). Seattle Public Library, OMA. Retrieved from ArcSpace: http://www.arcspace.com/features/ oma/seattle-public-library/ Benoy. (2011). Benoy’s ION orchard, Singapore receives quality building award. Retrieved from Benoy.com: http://www.benoy.com/press/benoy%E2%80%99s-ion-orchard-singapore-receives-quality-building-award Brooker, G., ‘Basics Interior Architecture’, 2010, Switzerland: AVA Publishing, pp. 58-59 Burry, M. (2011). Scripting cultures: architectural design and programming. Wiley. CTBUH. (2013). Absolute World Towers, Mississauga. Retrieved from Council on tall buildings and urban habitat: http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/FeaturedTallBuildingArchive2012/AbsoluteWorldTowersMississauga/tabid/3840/language/en-US/Default.aspx Dutton, T. A., & Mann, L. H. (1996). Reconstructing Architecture: Critical Discourses and Social Practices. Hill, J. (2006). Drawing forth immaterial architecture. Architectural research quarterly, 51-55. ION orchard. (n.d.). About ION orchard. Retrieved from ionorchard.com: http://www.ionorchard.com/en/aboution-orchard Kalay, Y. E. (2004). Architecture’s new media: principles, theories, and methods of computer-aided design. Cambridge: MIT Press. LAVA. (2013). LAVA - Snowflake Tower. Retrieved from Green building and sustainable strategies: http://gbssmag. com/2013/04/lava-snowflake-tower/ Lynn, G. (1998). Why tectonics is square and topology is groovy. In G. Lynn, Folds, bodies & blobs: Collected essays (pp. 169-182). Menges, A., & Ahlquist, S. (2011). Computational design thinking. John Wiley & Sons. Peter. (2011). Beijing National Stadium. Retrieved from Designing buildings wiki: http://www.designingbuildings. co.uk/wiki/Beijing_National_Stadium Peters, B. (2013). Computation works: The building of algorithmic thought. Architectural Design, 08-15. Peters, B. (2013). Realising the architectural intent: computation at Herzog & De Meuron. Architectural Design, 56-61. Terzidis, K. (2012). Algorithmic architecture. Taylor & Francis.
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ILLUSTRATIONS Figure 1: http://www.archdaily.com/11651/seattle-central-library-oma-lmn/ Figure 2: Brooker, G., ‘Basics Interior Architecture’, 2010, Switzerland: AVA Publishing, p.57 Figure 3: http://commons.wikimedia.org/wiki/File:Seattle_Public_Library.jpg Figure 4: http://www.shkp.com/Pages/press-release-detail/1266 Figure 5: http://www.shkp.com/Pages/press-release-detail/1363 Figure 6: http://www.flickr.com/photos/naterobert/4008129237/ Figure 7: veniceclayartists. (2012). veniceclayartists. Retrieved from Crazed-bowl: http://www.veniceclayartists. com/wp-content/uploads/2012/10/Ian-Clare.-Crazed-bowl.jpg Figure 8: thedesignquest. (n.d.). Hanshan Temple. Retrieved from thedesignquest: http://www.thedesignquest. com/uploads/859407_859407_hanshan-temple2.jpg Figure 9: http://www.pixhd.net/wonders/View/1/preview4.html Figure 10: http://forum.skyscraperpage.com/showthread.php?p=5951440 Figure 11: http://archweekpeopleandplaces.blogspot.com.au/2012/12/mad-architects-in-mississauga-ontario. html Figure 12: http://architecture.about.com/od/outdoorart/ss/London-Pavilions_7.htm Figure 13: http://www.flickr.com/photos/megapiksel/59985013/ Figure 14-16: http://www.grasshopper3d.com/photo/snowflaketower7-1?context=album&albumId=2985220%3AA lbum%3A22665 Figure 17: http://www.grasshopper3d.com/photo/snowflaketower18-1
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PART B
EXPRESSION OF INTEREST DESIGN APPROACH
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B1
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DESIGN FOCUS In this section of the journal, a combination of case studies were exploded to explain our initial design ideas and approach. There is a variety of material systems that we can choose from for our design. To begin with, our group wanted to design a gateway that was striking, breath-taking and of monumental proportions. We began experimenting with the ‘grid and lattice’ system and focused on the repetition of basic geometries to develop forms that we believed suited the site. Through the exploration of precedents in Part A of the report, we found that the best way to approach our gateway design was to look at not one but multiple precedent projects, in order to extract what were most relevant for our gateway design. In this initial stage of experimentation, the analysis of the material system case studies gave us a strong understanding of parametric modelling and how to use the Grasshopper plug-in. We found that by adopting the grid and lattice system for the design of the gateway project at Wyndham City, we could approach the concept, form and structure of our gateway all at the same time.
Since the grid and lattice system is the structure as well as the form of the project, the architecture could be considered simultaneously to the structural design and the entire project will could be a single system. In approaching the project through parametric design, it allows us to understand how structure can dictate the form in order to support our concept for the Wyndham City Gateway. Our design response to the gateway project in Wyndham City was to provide a unique sculptural gateway that would identify with the place of Wyndham as well as symbolize the local community. Given that the site is situated in the interstitial space between two highways, we also wanted the gateway to be appealing to motorists and visitors to the area. Two projects – the Canton Tower by Information Based Architects and ‘B of the Bang’ by Thomas Heatherwick studio were particular sources of inspiration for our project. The following pages of Part B will discuss in more detail our experimental case studies, the two projects that served as inspiration to our gateway design, and our proposed design drawing from this process of exploration.
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B2. CASE STUDY 1.0-- LUNCH BOX
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In case study 1.0, we tried to create as many design variations as possible through controlling and experimenting with different parameter combinations in Grasshopper. Working on a grid and lattice system we tried to find particular parameter combinations that would serve as an interesting and suitable approach for the gateway project. We used 3D truss structure to find the most effective design solution to the project.The highlighted solutions were more successful than others, not only in its form, but also in the density of the structure. The other solutions that had larger numbers of controlling points were too dense to construct. After producing a series of study in a matrix format, we found that the ‘Lunch Box’ case study we have been experimenting with was very limited in terms of the degree of manipulations possible on the form. So we decided to abandon the Lunch Box form and opted for other forms more susceptible for manipulation in Grasshopper.
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DESIGN CONCEPT
figure 18: people was isolated by barbed wire
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At the outset of the whole design, we were inspired by a fictional novel called ‘Blueprints for a Barbed Wire Canoe’ (Macauley, 2012). This novel depicted some serious social issues facing the life experiences of people living in isolated suburbs. The sense of neglect and disconnection to the city can create a string of negative emotions. In the fiction, as the old neighbours move out of the community, residents left there are unavoidably becoming more and more hopeless, empty and aggressive.
They huddle tightly but stand lonely and fearfully in that forgotten wild. Their life looks like a journey to death. The issues associated with isolated suburbs resonated strongly with our impression of Wyndham. Drawing from ideas in the novel, our initial design approach was to use the gateway as a metaphor to raise awareness of the anxieties of isolation and offer a solution by building a gateway that would attract attention and connection back to the larger community of Melbourne.
Resources Macauley, W., ‘Blueprints for a Barbed Wire Canoe’, 2004, Melbourne: The Text Publishing Company
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B3. CASE STUDY 2.0 CANTON TOWER
Architects: Information Based Architects The Canton Tower is a building that was designed by Information Based Architects. The most visible feature of the tower is its twisted structure. The design of the Canton Tower illustrates the potential for structure to also be the skin and the main aesthetic feature of the building. Inspired by such functional and beautiful structural form, we tried to create similar versions of the Canton Tower structure through Grasshopper. Through experimenting with different geometric parameters, we tried joining two ellipses together in a twisting motion, then rotating it around a central point.
We then created a grid using ‘divided curve command’ in Grasshopper and rotated it using the ‘slider’ command. In the Canto Tower, the connections between the twisted curves and the straight supports were able to achieve twisted grid mesh structure. Taking inspiration from the idea of a series of twisted and connected curve structures, we found the idea translatable to the sense of a tightly knit community while at the same time communicating people’s anxiety through living in an isolated suburb such as Wyndham.
RESOURCES http://www.archdaily.com/89849/canton-tower-information-based-architecture/
CURVE CURVE
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LOFT SURFACE
GRID BRACED REVERSE SURFACE
GRID BRACED
LINE
PIPE
LINE
PIPE
figure 19: the structure of Canton tower
EXPLORATION OF MAKING SPIRAL PIPES
EXPLORATION OF MAKING STRIP PIPES
EXPLORATION OF MAKING SPARIAL CUSTOM RECTANGULAR LATTICE
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B4. DESIGN TECHNIQUE MATRIX ROTATIONAL DEGREE VARIATION 1: 0 NUMBER OF LINES DIVIDED POINTS ON CURVE
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VARIATION 2: 45
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VARIATION 3: 90 2
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VARIATION 4: 180 5
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B 4.1 TECHNIQUE: DEVELOPMENT After experimenting with a series of parameters based on the structural idea of the Canton Tower, we discovered that in order to create greater depth to the project we needed another structural system to work in tension with the Canton Tower-inspired structure. Drawing inspiration from the sculpture - ‘B of the Bang’ by Thomas Heatherwick Studio, we found the explosive and aggressive shape of the sculpture would create a powerful tension with the Canton Tower-inspired structure. The sculpture by Thomas Heatherwick inspired us greatly. We believed the sculptural form communicated the inner anxiety and frustration of people living in isolation. We considered using the ‘thorns’ of the sculpture to represent the people living in Wyndham City.
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By using the sculptural forms of the ‘B of the Bang’ we felt that the gateway would be visually engaging and powerfully representative of the issues of isolation-cause anxiety and aggression. Therefore, in this stage of the design, our gateway consisted of the reverse engineering of the Canton Tower-inspired structure as well as an inner structure inspired by the form of the ‘B of the Bang’ sculpture. In addition to these two structural and formal systems, we were also drawn to the metaphor of the ‘life of star’ as shown in Figure . The metaphor of the exploding star, as a spherical ball of energy building in energy and exploding to release its inner tensions, translated well our intensions with the gateway design. With this metaphor we took on the spherical form for the outer structure for our gateway project.
Top: figure 20 the B of the Bang sculpture Left: figure 21 the self-compression energy of the star
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B 4.2 TECHNIQUE DEVELOPMENT MATRIX OF THE NETWORK SURFACE
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In developing the idea of isolation, we considered using the spherical form as a ‘cage’ to encapsulating within it ‘thorns’ that represent people living in isolation. As if living in a circular cage, disconnected to the outside world, the gateway both exhibited powerful tensions of inner and outer worlds and the opportunity to break free.
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B 4.3 TECHNIQUE DEVELOPMENT
In developing the idea of individual ‘thorns’, we translated each thorn into 3D triangle segments, each representing the residents experiencing anxiety and frustration living in isolated suburbs. The triangular segments were then ‘arrayed’ into a strip to represent the continuous life experience of residents. We decided to organize all the strips into a central point, the centre of the outer spherical structure; which for us represented the compressional energy of an ‘exploding star’. We believed that such an organization maximizes the tensional energy of the project. In the next stage of the project, we wanted to connect the other ends of the strips to the outer spherical ‘network surface’.
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We wanted the number of the strips to represent the different groups of people in Wyndham City, such as cultural groups and neighbourhood groups. We also wanted each of the thorned strips to represent a force against the spherical outer surface, capturing the tension of the rupture and the desire to break out of isolation into the open world. Developing this idea of explosion, we faced technical difficulties of connecting the strips to the outer surface. In the following section, we discuss the prototypes we built in an attempt to solve the problem of connections.
THE CONNECTION TECHNIQUE OF ‘PEOPLE’
MATERIAL AND METHOD TO PRODUCE THE NETWORK
The process of construcing the network surface is really difficult. Therefore, we consider to use the basketball as a reference. However, the size of it is too small and out of the scale. Then, we used a box as a reference to make a plain network and then bent it into a curve.
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B5. TECHNIQUE PROTOTYPES
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After exploring the design ideas in Grasshopper, we made some physical prototypes to test the buildability of our design. For the prototypes, we focused mainly on using different materials to achieve the desired outcome. We experimented with connecting each thorn strip to the outer surface by wire. Using the metaphor of the ‘barbed wire’, each connection was secured by a wire knot, similar to the barbed wire effect. However, this idea did not work effectively due to the triangular shape of the strips which generally got in the way of the sphere surface.
We also tested other materials for the strips such as MDF and clear plastic, thinking that the different materials could represent people that had different experiences living in Wyndham, such as those that were happy living in isolation. Using a variety of materials could better represent the diverse experiences of people living in Wyndham.
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B6. TECHNIQUE PROPOSAL
In siting our gateway proposal, we considered a few key conditions. We wanted the project to be highly visible and impactful from the motorists’ point of view. We also wanted the project to be in the motorists’ sight lines for some time, so it would stimulate intellectual or emotional reactions. With these conditions and the fact that we wanted to propose a project of ‘monumental’ proportions, we ended up choosing Site A. We believe Site A offered motorists views of the whole project from both sides of the freeway, especially when they were going into Wyndham City.
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In further developing the prototype in digital software we faced challenges in trying to tie both elements of the gateway (the sphere and the strips) into Grasshopper. The connection details between the strips and the outer surface were particularly challenging to build in Grasshopper. We needed to write a definition in Grasshopper to connect both elements as a whole structure in order to make it strong and stable.
B7. LEARNING OBJECTIVES AND OUTCOMES Feedbacks from the mid-semester presentation pointed towards two issues prompting us to revisit the whole scheme entirely. First, the critics suggested that the overall scheme was too negative and criticising of Wyndham as a place. It was recommended that we find a way to express the positive side of Wyndham and to capture the positivity through a more harmonious proposal and connection to site.
Second, the critics suggested that the thorn strips were too ‘strong’ and would obscure the visitors’ understanding of the whole project. It was suggested that we find another formal expression for the people of Wyndham. We were also encouraged to think about how the project would be lit at night and how it could be built and presented to the public.
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B.8 ALGORITHMIC EXPOLRATION
Blue Block The definition in the blue block represent the first stage of the waffle system. It divided the surface into x and y direction and created a box with 8 corners. And then divided the curves on the x-plane and y-plane. Next, it oriented the planes in it direction of each division point according to the reference point A.
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Green Block The definition of the green block is made so you can set up the number of sections in the X and Y axis separately , also you can set up the height of each sections as well as the thickness of the material you are going to work with.
Pink Block The next stage is to make the x and y oriented plane into a surface to form the waffle system. Finally, the lattices in the x and y direction are created the grid of the waffle system. Then, we can bake the planar surface in the x and y direction to form the waffle system.
Red Block The definition in the red block shows the method to create the gap for the construction of the physical model. Finally the definitions orients al the parts to the X-Y axis with an ID tag so you can easily organize them and get them ready for the CNC mill or the laser cutter.
Y direction
X direction
Perspective view
Right view
Top view
Front view
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THE SWARM
The exploration of the swarm structure is very important in our design approach because the form of the people was abstracted from the individual part of the swarm structure.
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REFERENCES http://www.archdaily.com/89849/canton-tower-information-based-architecture/ Macauley, W., ‘Blueprints for a Barbed Wire Canoe’, 2004, Melbourne: The Text Publishing Company ILLUSTRATIONS: Figure 18: http://www.blackbirdtree.co.uk/Barbed%20wire.html Figure 19: http://wordlesstech.com/2010/12/19/canton-tower-guangdong-china/ Figure 20: http://www.kakinan.com/alex/archives/2009/06/Dismantling-B-of-the-Bang.php Figure 21: http://scitechdaily.com/colliding-neutron-stars-produce-gold/
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PART C
EXPRESSION OF INTEREST PROJECT PROPOSAL
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THE VINE
A MANIFESTATIO
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ON OF THE GENIUS LOCI FOR THE WYNDHAM CITY
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C1.0 DESIGN CONCEPT INITIAL CONCEPT MAP Blueprints for a Barbed Wire Canoe
CONTEXT and
figure 22: Blueprints for a Barbed Wire Canoe
William Heatherwick Studio The B of Bang
STRUCTURE PRESENTIN GRAVITY
figure 23: The B of the Bang
The Death Process of Neutron Star
PROCESS REFERENC FORM
figure 24: The death of Star
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d IDEA
CONCEPT
E NG STRUCTURE
WIRED DOME
FORM
S CING
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C1.1 DESIGN CONCEPT PRECEDENT RESEARCH
Figure 25: — A number of points — Evenly spaced — Predictable, symmetrical — Inefficient
Figure 26: — An 8% over-length — Messy, chaotic, inefficient
Figure 27: — Merge and cluster — Large voids open up — Idealization and contingency
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WOOL EXPERIMENT The feedback from the mid-semester presentation were negative towards our design focus which was centred on the problems of living in isolated suburban areas. Since we wanted the gateway project to be a dynamic symbol of the present and future of Wyndham City, moving forward, we decided to shift our design focus to the idea of growth. Growth, especially the process of organic growth was chosen as the idea to represent the growing community of Wyndham City. In shifting our design focus to a more positive idea, we found our current gateway design inadequate because the wired spherical outer surface created a sense of the limitation of growth.
FREI OTTO The wires were tangled together and were not effective in communicating the concept of random connection and growth. To find inspiration for the idea of growth we looked at the wool experiment of Frei Otto. From Otto’s first two wool experiments, we found that evenly spaced rings, made the result efficient and predictable. Otto’s third and last experiment however, had a more organic pattern. The threads of wool merged and clustered to form major and minor paths, opening up voids to create what we saw as a good geometry of contingency and natural growth. This system is what we want to apply in our project.
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C1.2 DESIGN CONCEPT SITE RESEARCH
Figure 28: The current city boundaries of Wyndham, Melbourne and Geelong
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Figure 39: The Princess Hig Melbourne, Wyndham and
Before the refinement of the concept, we did a map analysis that showed the expansion and growth of Wyndham, especially the linkages between the larger suburb and the central city. These diagrams illustrated the relationship between the Wyndham City and the surrounding urban area. Currently, Wyndham City is growing at a rate of 7.1 %, with an 187,788-people population. According to the State Government of Victoria, Wyndham is the largest and fastest growing suburb in Victoria and third fastest in Australia.
ghway which connects d Geelong
As we researched further into the background of Wyndham City, we also learned of its consistent rapid-pace development. We wanted the gateway design to be a monument that represented Wyndham’s great potential as an up and coming suburb and city, rather than a knell of decay. In addition, we wanted the gateway to represent the growth of the city in order to also highlight to the local government, issues related to the isolation of the larger Wyndham suburban area.
Figure 30: The expected urban expansion --- Convergence of metropolis
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LINK ISOLA GRO
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KAGE ATION OWTH
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C1.3 DESIGN CONCEPT REFINEMENT
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In the previous stage of the design, our initial concept for the gateway was inspired by a novel called “Blueprints for a Barbed Wire Canoe”. From this novel, we explored the idea of isolation and hopelessness associated with distant suburbs. From the novel we initially adopted the idea of isolation, as a problem of Wyndham City, which the gateway could address and bring awareness to. We also referenced the precedent project - the ‘B of the Bang’ by Heatherwick studio, as a sculpture that powerfully communicated explosiveness, aggressiveness and gravity. Combined with the death process of a star, we came up with the idea of a spherical dome-shape that represented the sense of self-compression and the emotions of inner conflict and turmoil. Within the spherical dome, strips of arrows symbolised the people of Wyndham, their individualities and their communities.
Therefore, with the encouragement of the feedbacks from the midsemester presentation, we decided to shift our focus away from the negative emotions of people living in isolating areas to instead use the gateway to reflect the growth that Wyndham has made over the last few years. Through the shifting of our design focus we also found our approach to be better because by focusing on the positivity of growth, we believed our design refinement also became an indirect solution to the problems of sprawling development and isolation. Therefore, by incorporating inspirations from Frei Otto’s wool experiments, our final design concept for the gateway project is a concept based on the development and growth of the communities in Wyndham City.
However, after our research on Frei Otto’s wool experiments and the growth rate of Wyndham City, we began to realise that Wyndham City has developed quickly over the years and may no longer be as ‘isolated’.
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C1.4 DESIGN CONCEPT THE VINE INSPIRATION
Lin re th
Fa re th
G re th
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nkages of branches epresent he connection within community
allen leaves [voids] epresent he isolated individuals
After we refined our design concept, we considered the natural process of vine growth as a diagram for the expansion of Wyndham City. We believed that the idea of vine growth also captured the sense of community in Wyndham as the form was a diagram of connection. Therefore, vine growth, as a secondary inspiration of the idea of growth is also adopted for our Gateway Project. As seen in the growth of vines, we considered using the linking of branches to show the connections between the growing communities in Wyndham City.
The ‘hidden message’ within this diagram of growth is the gaps and voids ‘between’ the branches which we believed also communicated the idea of ‘isolation’. As the branches divide and grow, the void spaces found in between the vine branches become smaller; which communicates the idea of the long-term growth and the bridging of gaps, which also translated to the eventual diminishing of isolation.
Growing progress of the vine epresents he growth of Wyndham
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C1.5 DESIGN CONCEPT REDEVELOPMENT OF PARAMETRIC DE POTENTIAL NEIGHBORHOOD
HOPE
INTERSECTION
LINKAGE
FUTURE
MOVEMENT
VEGETATION RELATIONSHIP RESIDENTS
ENVIRONMENTAL
CONNECTION
GREEN
COMMUNITY DESIRE GROWTH IMPROVEMENT
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VOR ME
ESIGN METHOD
RONOI ETHOD
CHAOTIC SYSTEM
ORGANIC FORM
MERGE STRUCTURE
VOID PATTERN In order to produce the concept of the project, we adopted parametric design methods to create the forms that can communicate the ideas of branching and growth. As mentioned in the previous part of this report, in the Case of Innovation, parametric design adopts a system’s approach to design, using algorithmic calculations to create variations on design. If we change a single parameter, the whole outcome can change. We believe this feature of parametric design also reflects our design idea, in that communities in Wyndham City are connected to one another in a ‘system’ of relationships.
Although the relationships between communities may be complex, the consequences are logical as changes experienced in each community can also affect the entire population of Wyndham City. To convert these design ideas into a 3D form, we worked out a Voronoi system in Grasshopper to visualise these connective forms. This method features chaotic system, organic form, merging structure and void pattern - qualities of which satisfy our design intent. We adopted Grasshopper as a plugin for Rhino to produce these ides in 3D. The parameters in Grasshopper focused on the function of each component and the interactions between one other.
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C1.6 DESIGN CONCEPT GRASSHOPPER DEFINITION DIAGRAM Define a box in 3d region and populate it by discrete points
Decompose the brep into component parts
Create mesh
Produce the whole structure
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Vorono in box
Extract po the joints
Cull the box to g central skeleton
oi
Scale the box of voronoi into two different levels
oints in groups forming of voronoi skeleton
get n
Use Weaverbird to make the skeleton lighter and smoother
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C1.7 DESIGN CONCEPT EXPLORATION OF PARAMETRIC MODE
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ELLING
FORM FINDING
Digitalization of the growing process of vine [Main parameter: discrete points numbers]
Through manipulating the parameters, we discovered a series of possible outcomes. From these outcomes, we selected a geometry that best fitted our expectations. The geometry selected reflected the early stages of growth as a sign of potential for expansion.
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C1.7 DESIGN CONCEPT EXPLORATION OF PARAMETRIC MODE
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ELLING
FORM FINDING
Digitalization of the growing process of vine [Main parameter: density]
Digitalization of the growing process of vine [Main parameter: strength of branches]
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C1.8 DESIGN CONCEPT EXPLORATION OF PARAMETRIC MODE
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ELLING
DIGITAL MODEL
The result of the digital model is one that demonstrates the flexibility in connection, the order of organisation and the potential for growth. As shown in the final outcome, the entire structure expands from the central joint. This final outcome reflects our design concept strongly; the proportion of branching and connections in relation to the area of void represent the relationship between expansion and development as compared to the isolated areas of Wyndham City respectively. From the final digital model, it is easy to see that the voids within the structure eventually becomes smaller and smaller from the centre of the structure; which as mentioned previously, represents the growing community connection in Wyndham City. Through growth, the idea is that communities also eventually become more and more tightly knit. The final outcome is a form that suggests infinite expansion, as each joint can also expand by further branching – this communicates the idea of the continued development and expansion of Wyndham City.
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C1.9 DESIGN CONCEPT STAGES OF DESIGN DEVELOPMENT IN
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In order to create a really ‘dynamic’ gateway, we decided to incorporate actual vines into the gateway design, so that growth can be literally witnessed through time. We researched into features and qualities of vine and discovered that it naturally climbs up structures, becomes intertwined with one another and roots where possible along its climb. These features vine growth serve our design intent. Hence, we decided to plant Hedera Algeriensis in each of the connecting joints of our gateway structure to facilitate the natural growth of vines. These diagrams illustrate the growing process of vines and how they are planted in each joint of the structure. It is the intention that after several years, the vines will cover the whole gateway structure to powerfully reflect our idea of growth and development.
The irrigation of vines on the project also reflects our idea of linkage and growth. The growth of vines will represent the continued growth and development of Wyndham City. In addition, the ‘live’ vines will better represent the concept of the gateway than an inanimate sculpture. As the vines grow, they will also begin to close the gap between the sculptural branches which will further communicate the idea of a well-connected and close-knitted community. We also believe that having vegetation on the gateway will further assimilate the project into the natural surrounding.
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C2.0 TECTONIC ELEMENTS STAGES OF DESIGN DEVELOPMENT IN
Movement
Model
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on site
Viewing
In order to allow the project to be more visually striking, we investigated its siting and scale. From the site analysis, we decided to sit the project on the eastern slope of site A in a large size, to draw the attention from the majority of visitors travelling on the motorway. Given that the gateway is of monumental proportions (26 meters high and 23 meters wide) it was also important to consider how it would be grounded in order for the gateway to be stable and safe.
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C2.1 TECTONIC ELEMENTS FOOTING SYSTEM
figure Tower
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e 32: footing system of Dudai r
figure 31: bolted footing system
Part of the reason for the monumental scale of the project was to offer the small town of Wyndham a sense of significance and magnificence. However, to safely fix such a large structure, we need to first consider its footing design. This diagram shows how the gateway will be fixed onsite. The footing of the gateway extends into the ground and is secured through bolts into the concrete slab. To ensure the stability of the foundation, several reinforcedconcrete piles are extended from the slab into the ground.
The design of the footing system is inspired by the foundation designs of the Burj Dubai Tower which is the tallest building in the world. The Burj Dubai Tower is around 800 meters high and has an elaborate foundation system to support the super structure. The tower sits on a thick triangular frame foundation, which was supported by 192 rounded steel piles. These piles extend 50 meters into the ground. As our project has a large and irregular structure, we decided to use a similar foundation concept to that of the Dubai Burj.
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C2.2 TECTONIC ELEMENTS CONSTRUCTION METHOD OF JOINT
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We continued to investigate effective materials and detailed connection methods for our gateway structure. For the branching structure, we choose to build it out of wireframe for its durability and plasticity in allowing free-flowing forms. The wireframe also allows a support for the climbing of vines. For the design of joints, we decided to have steel rings with holes in it, welded to the mesh branches and further connected to two rings with bolts. A circular cap with a small hole allows water pipe to go through watering the vines. In addition, the soil in the joints is stored by HDPE (High Density Polyethylene) with small openings to allow the vines to grow up and out.
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C2.3 TECTONIC ELEMENTS PROTOTYPE WITH SITE CONTEXT
This is a trial prototype for our project. For this trial prototype, we used clay to test the practicability of the form, and the relationship with the site. Because of the topography of site A, it is very important to consider how the structure will integrate with the site. Site A is a gently hill with an elevation from 14 meters to 18 meters. Therefore, the joints that touch the ground should be carefully considered against the existing elevations of the site. For this prototype, clay was used to make the joint and then connected with wire. In addition, we used melted glue to make the connections stronger. In the next stage, we decided to use 3D printers to make the high quality physical model on site. Since our project has an organic form, we used the 3D printer to produce the model in order to allow for greater accuracy, as the physical model will be translated directly from the digital model.
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C2.4 TECTONIC ELEMENTS JOINT PROTOTYPE
We used the detailed prototype to test the connection method for the joints. During the modelling process, we used clay instead of soil because clay allowed us to produce the geometry more easily and could be dried by air. In addition, we used clay to make the connection rings for the joints and the pipes. The aim of this clay prototype was to test whether or not the joint design will work and whether the form of the connection ring could be achieved. The clay prototype was also used to test the connection method between the ring and the pipe. Additionally, we used chicken wire to make the wireframe pipe. The workability of chicken wire allowed us to easily form the geometries to produce the prototype models. One of the shortcomings of our clay prototypes was the brittle nature of clay. Although we were able to test the form with clay, we were not able to put screws and nuts onto the clay rings, because the clay would crack and fail in the load of the whole structure.
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C3.0 FINAL MODEL DETAILED JOINT In order to better test the joint connection methods, it was very important to fabricate a better detailed model with the connection rings. We decided to make the joint model out of foam because it is lighter than clay and could support the weight of the rest of the model. We trimmed the joint design into layers in Rhino and reproduced the joints using layers of foam. Each layer was cut and sanded before being stuck together to produce the overall shape. Next, we used plaster cloth instead of the HDPE cover in order to protect the ‘soil’ in the middle. Plaster cloth allowed the joints to be harder and stronger and shared similar features to that of HDPE. We then covered the joint with wireframe and connected the wireframe to the connection ring. The connection ring was digitised in Rhino and fabricated using a laser cutter. We chose MDF to fabricate the connection ring. However, we used silver spray paint to illustrate the effect of the rings in the real situation. Finally, we connected the rings with bolts in order to show the connection in detail.
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C3.0 FINAL MODEL DETAILED JOINT
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C3.0 FINAL MODEL DETAILED JOINT
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C3.1 FINAL MODEL MODEL WITH SITE CONTEXT
3D printing was used to fabricate the final model with precision in order to test its performance of the gateway within the site context. Testing the physical model on the site, we found that the proportion of the gateway design met our expectations. The gateway was large enough to be visually striking but not too big to overpower the site. Before we decided to 3D print the gateway, we tried other method such as clay to fabricate the physical model. However, in the end we went to 3D printing as we found it was difficult to fabricate the gateway accurately with clay due to the organic geometry. However, to produce the 3D printing file was another challenge on its own because the Voronoi method in Grasshopper can only create the form using hollow tube. The 3D printer however, requires a single continuous mesh which needed be exported to stl file. Therefore, we needed to cover the opening of the hollow tubes in Rhino in order to convert the Voronoi form into a continuous mesh. In addition, we also need to make sure that the smallest part of the digital model is no less than 2 millimetres in order for the 3D printed model to be firm.
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C3.1 FINAL MODEL MODEL WITH SITE CONTEXT
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C3.1 FINAL MODEL MODEL WITH SITE CONTEXT
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C3.2 CONSTRUCTION: MATERIALS
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Soil protection: HDPE (High Density Polyethylene)
figure 33: Material HDPE application
We decided to use high density polyethylene to hold the soil in the joint. HDPE is an effective material for tensile structures. This material provides incredible strength and longevity features which are quite suitable for what we need as a pocket to plant the vines. The HDPE is also a good material choice because it has good plasticity and waterproofing qualities in terms of holding the soil in place. In addition, the plasticity of the material makes it easily to add openings in order to allow vines to grow out of the joints.
Bolted Joint The stainless ring can be welded to the wireframe and then connected to the joint and pipe together with bolts. The stainless rings are designed with holes for screw and nut connections.
figure 34: bolted joint
Reinforced wireframe We chose steel wireframe for its qualities of durability and plasticity as well as the surface support it provides for vines to climb. The idea is that in several years’ time, vines will cover the entire structure and become an important part of the gateway design.
figure 35: reinforced wireframe pipe
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FURTHER DEVELOPMENT The feedback we got from our final presentation was very important in highlighting the areas of our design that were undeveloped. As a significant public project in Wyndham City, the concept of our project and the idea of incorporating vine growth are efficient in reflecting the development and expansion of Wyndham City. Going into the presentation, we had a very clear concept and presented well through the use of many diagrams. However, the main criticism of our project was our detailed model, which did not transfer the idea from digital model accurately. We did the detailed model by measuring the approximate width and height of the joint in Rhino and then fabricating it with foam by estimation. Although we trimmed each layer of the joint as a reference in Rhino, the outcome of the joint is not accurate enough. In addition, the fabrication method was not innovative. The detailed physical model which we chose to fabricate using 3D printer was the most accurate as it follows the parametric modelling fabrication method. In order to further develop the project, we can use 3D printer to fabricate the joint of the structure and then try the connection method to the joint.
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Although, the 3D printing method of fabrication lacks the ‘handmade’ experience, the printing process follows the algorithm of the digital model and is more accurate because it is printed layer by layer. Therefore, this type of fabrication is an important experience of the parametric modelling. Another aspect of our design that was questioned was the scale of our model. Although we knew the scale of our model, we did not present it well. A suggestion was made to incorporate drawings or referencing elements to define and visually communicate the scale of the project. For instance, we need to put people, cars or trees beside the model to illustrate the scale of the model. These important feedbacks helped me to think about more essential dimension of design, communication and fabrication.
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C4. ALGORITHMIC SKETCHES
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The algorithmic exploration of project proposal illustrates the voronoi definitions that we used in finding the final form of the project. However, these definitions are not successful and they cannot reflect our idea well, because the parameters can only be controlled in a limited aspect. For instance, the first voronoi definition is not successful because the connection between them cannot reflect the relationship in Wyndham City and it is the single surface that cannot form a structure. The second definition showing in the next page is better but the only strength of ‘branches’ can be controlled by the parameters. Therefore, after the exploration of the practice definitions, we worked out another voronoi 3D form that could be suitable to our concept of the project. Both of them use the voronoi 3D definitions in grasshopper. Variations are depend on the boundaries of the form, the density of each voronoi cell and the thickness of individual voronoi form.
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C4. ALGORITHMIC SKETCHES
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C5. LEARNING OBJECTIVES AND OUTCOMES
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The Air Studio provided us the opportunity to learn about parametric design as an innovative approach to the design of contemporary architecture. By researching precedent projects of parametric design, we are able to understand how architects around the world have already embraced this new approach to design through the development of new software such as Rhino and Grasshopper. The Snowflake Tower by Laboratory for Visionary Architecture is for me, particularly appealing in that parameters of each floor section are controlled to influence the overall form and structure of the building. During the exploration of the way to represent the idea of growth in our gateway project in Grasshopper, we decided to use Voronoi skeleton definitions and weavebird plugin to illustrate the growing process of the vine. However, we found that the outcomes of the Voronoi skeleton were significantly different by manipulating with the parameters of the original definition. Using these various plugins have allowed me to understand better the intricacies of parametric modelling and manipulation. I believe that the study of parametric design this semester has developed and increased my knowledge and skills of architectural design. By analysing and emulating found precedent projects in Grasshopper, I have gained a lot of experience in using parametric modelling software. From the algorithmic explorations in Grasshopper, I have gained an appreciation of the various definitions and how to how to use them in different ways to produce a different outcome.
Through the experience of parametric design from the Air Studio, I found that the parametric design tools are not only effective in producing a variety of design outcomes based on a similar family of ideas, but this design methodology also allows an efficient fabrication process as all the parts of the design are computerized and therefore can be directly ‘outputted’ through fabrication tools such as 3D printers and laser cutters. Through digitizing our vine idea with algorithmic explorations in Grasshopper, we had the opportunity to develop our design idea with the parametric design method. It was a good experience understanding the difference between computational design and traditional design methods. For instance, through computation design, design parameters can be manipulated to create a series of possible outcomes. As designers, we can select the geometry that best fits our design intent. Traditional design exploration by comparison, cannot produce variations on the design efficiently, therefore in the process of exploring variation can be more labouring. Therefore, parametric design is an efficient way to produce different results with composition of software definitions. In addition, through the use of parametric design software, the fabrication process of irregular forms can be quite easy with complicated shapes that can be ‘unrolled’ in Rhino Grasshopper for physical fabrication. However, the parametric design as well as the computational design also has some shortcomings. One of the main shortcomings is the limitation posed by the parameter design approach itself.
For instance, with the same design parameter applied to an object in Grasshopper, two designers can get an identical design outcome. In this project, the idea of vine growth was illustrated efficiently through the exploration of the design both conceptually with the Voronoi skeleton form and ‘literally’ with the incorporation with vines. The natural process of vine growth was what we want to demonstrate in the project in order to represent the development and future expansion of Wyndham City. In my opinion, architecture is a kind of language that captures what the architect wants to communicate through the project. Architecture, as a message, can therefore be used to reflect the present city as well as to record the changes that happen to the city over time. Through the design process of the Gateway project, we tried to use an organic form and organic growth of vines to both represent and record the constant growth of Wyndham City. As a contribution to the larger architectural discourse, our hope is that our gateway design bridges both the past and the future by embracing both common elements such as using vines as a natural surface and embracing new design technologies to create organic forms. Somewhere in that marriage we believe is the potential for a new type of architecture.
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C6. REFERENCES “HDPE Shade Structure”, About Bait Al Nokhada Tents& Fabric Shade, http://pvcshadestructure.blogspot.com. au/ “Skyscraperpage”, 2007, The Making of the World’s Tallest Building, http://forum.skyscraperpage.com/ showthread.php?t=127449&page=2 “Wyndhamcity”, 2013, Demographics and Population of Wyndham, http://www.wyndham.vic.gov.au/aboutwyndham/wyndhamcity/demographics
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Figure 22: http://www.blackbirdtree.co.uk/Barbed%20wire.html Figure 23: http://www.kakinan.com/alex/archives/2009/06/Dismantling-B-of-the-Bang.php Figure 24: http://scitechdaily.com/colliding-neutron-stars-produce-gold/ Figure 25: http://berkshirereview.net/2011/02/08/tangled-in-webs/#.UnaMJI1NV38 Figure 26: http://berkshirereview.net/2011/02/08/tangled-in-webs/#.UnaMJI1NV38 Figure 27: http://berkshirereview.net/2011/02/08/tangled-in-webs/#.UnaMJI1NV38 Figure 31: http://blog.mechguru.com/machine-design/example-of-concrete-anchor-bolt-design-calculationpart-1-determining-steel-strength-of-anchor-bolt-in-tension/ Figure 32: http://forum.skyscraperpage.com/showthread.php?t=127449&page=2 Figure 33: http://pvcshadestructure.blogspot.com.au/ Figure 34: http://www.windenergynetwork.co.uk/enhanced-entries/neta-training-group/ Figure 35: http://www.made-in-china.com/showroom/shelleywin/product-detailAbBxyePoXfUK/China-Steel-MeshSkeleton-Polyethylene-Plastic-Composite-Pipe.html
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