Studio Air Journal Final by Keli Murray

ARCHITECTURE DESIGN

STUDIO AIR

KELI MURRAY 517928

CONTENTS

02 03

1.0 CASE FOR INNOVATION

ARCHITECTURE AS A DISCOURSE, EAMES HOUSE, NATURAL HISTORY MUSEUM, ARCHITECTURE’S NEW MEDIA, ARCHITECTURE IN THE DIGITAL AGE, PARAMETRIC MODELLING, BLOOMBERG PAVILION, MUSEUM OF CONTEMPORARY ART PROPOSAL WARSAW

2.0 GROUP RESEARCH + CASE STUDY GROUP RESEARCH + ARGUMENT, FAULDER’S STUDIO, FERMID, CASE STUDY 1.0, CASE STUDY 2.0, MATRIX, MATRIX SELECTION, SYSTEM DEVELOPMENT+ MODEL ASSEMBLY

3.0 EXPRESSION OF INTEREST

TECHNIQUE FOR CONSIDERATION, DESIGN PROCESS, POST CRIT EVALUATION

4.0 THE GATEWAY PROJECT

PRECEDENTS, DESIGN DEVELOPMENT, SITE PLACEMENT, MODEL ASSEMBLY

111

5.0 FINAL PRESENTATION PRECEDENTS, DESIGN DEVLOPMENT, FINAL PROPOSAL, RENDERS, MODEL PHOTOS, FINAL CRIT EVALUATION

REFERENCES

CASE FOR INNOVATION

ARCHITECTURE AS A DISCOURSE EAMES HOUSE NATURAL HISTORY MUESUM ARCHITECTURE’S NEW MEDIA ARCHITECTURE IN THE DIGITAL AGE PARAMETRIC MODELLING

05 ARCHITECTURE ARCHITECTURE Hi, I’m Keli, 22 years old and I’m a third year architecture student. This is my second year at Melbourne University as I transferred from Monash. I grew up on the Mornington Peninsula but have lived in Melbourne for the past two years. I’m interested in design and jewellry making, particularly with the use of laser cutters. I have a very basic knowledge of rhino and various CAD programs, but my experience with digital architecture is very limited. I am looking forward to learning more of Rhino and Grasshopper, though I do find it a bit daunting, especially Grasshopper.

This is a project from one of my previous studios in which our task was to explore architectural geometry through digital means. By combining archimedian solids through 3d modellling we were able to create an incredibly intricate physical model seamlessly, along with the use of laser cutters. From this project I began to the see the potential of 3D modelling as it allows for objects and forms that may have been purely conceptual to become a reality, particularly within the architecture context.

AS AS AA DISCOURSE DISCOURSE

Images from own 3D modelling images from previous project

Perez , Adelyn . “AD Classics: Eames House / Charles and Ray Eames” 28 Jun 2010. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.com/66302> Image: Great Buildings, ‘eames house’, http://www.greatbuildings.com/buildings/Eames_House.html, accessed 18 sep 2012

EAMES HOUSE 08

Ray + Charles Eames 1945 I find the Eames House particularly interesting because of the idea of prefabrication and driven by the idea of a ‘kit of parts’. It was built with the intention of using prefabricated materials that would not interfere with the natural site, be easy to construct and showcase the modernist style. I believe this house achieves that through the simplicity of design. I like the idea of designing from a ‘kit of parts’ rather than having a pre-conceived design and figuring out what materials are required to achieve that. I’m also intrigued by the idea of prefabrication off site as a

means of speeding up the construction process. Built straight after the second world war, their idea began from a need for affordable and quickly constructable housing. I think they’ve achieved this by proving that constuction can be done quickly and cheaply, yet does not have to compromise on individuality and design. I feel that exploring parametric design may touch on similar ideals: designing without a preconcieved idea, with pre-fabrication in mind and trying to find individualism within mass production.

I find the Natural History Muesum in London, built between 1860 & 1880, inspiring mainly because of the intricate details used throughout. Built in the German Romanesque style, the architect wanted to, particularly with this building ‘to clothe over practical necessities with such beauty as

they were capable of recieving’. I think his intention was not to just build a practical building, but to completely dress it with delicate and intricate details as to simply create a purely beautiful building. He does this through his use of dramatic arches, towers and heavy detailing. I’m intrigued by this as it’s completely opposite

Natural History Muesum, ‘History and Architecture’, http://www.nhm. ac.uk/visit-us/history-architecture/, accessed 18 sep 2012 Image: Great Buildings, ‘muesum of natural history’, http://www.greatbuildings.com/buildings/Museum_of_Natural_History.html, accessed 18 sep 2012

to t Wa inst min furt tryin pra des

the Eames House in that aterhouse had an idea in mind tead of a way of designing in nd. I think we will explore this ther in parametric design, ng to bridge the gap between actical design and beautiful sign.

Alfred waterhouse London

ATURAL HISTORY MUESUM 10

11 Design is a process in which we engage in activities that are aimed at achieving pre-defined goals with a specific set of conditions. As architecture moved away from the traditional â&#x20AC;&#x2DC;masterbuilderâ&#x20AC;&#x2122; construction method towards a planned process, new ways of communication needed to be developed for an architect to demonstrate their vision. Drawings and scale models were used to communicate these ideas with builders and clients, but also as a means of experimentation to produce alternative design ideas. this also allowed more people to become involved and visualise the building during the design process.

ARCHITECTUR

renderings and 3D modelling. As the design process is on-going and often includes a combination of problem solving and puzzle making, and solutions are constantly being evaluated, often specific aspects of the design or constraints must be changed. Computers allow for changes and revisions to be made much faster. Computers also allow for complex geometries and ideas to be explored that would not otherwise be possible due to the limits of our imagination. This aspect alone has benefited architecture in the way we construct and explore structure and materials. Projects such as the BMW Welt The use of computers in by COOP HIMMELb(L)AU in architectural design is an munich, germany demonstrates extension of this and has many the benefits of computer aided benefits in the design process. design. this project explores the Ultimately it allows for fast and complex geometry of a effective communication of ideas changing cloud and translates visually through drawings, that into architecture.

RE’S NEW MEDIA

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 Saieh , Nico . “BMW Welt / Coop Himmelb(l)au” 22 Jul 2009. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.com/29664>

ARCHITECTURE Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 Rosenberg , Andrew . “Yamaha Ginza / Nikken Sekkei” 20 Feb 2011. ArchDaily. Accessed 18 Sep 2012. <http://www.archdaily.com/112205>

E IN THE DIGITAL AGE 14 The use of CAD has opened architecture up to a way of designing in a non-conventional way. New forms and shapes can be explored in a way that was previously unimaginable, and from that the representation and construction of the design can be more complex and direct because the information can be extracted, manipulated, exchanged and utilized much easier and quicker. Within computational architecture a range of discourses have been developed, including ‘performance architecture’. Performance Architecture uses building performance as a guiding design principle and focuses on the performance of a building over form-making. This concept of design broadly looks at the financial, social, spatial and technical aspects when designing. It’s as though the building is a shell for activities and experiences, and it shaped

by it’s use. The building is then understood by the effect it has on those experiencing it. This concept is enhanced through the use of digital means as the performance of the building can be analysed and altered to achieve it’s optimal performance. The Yamaha Ginza Building by Nikken Sekkei architects in Tokyo, Japan explores perfomance architecture as they try to express the essence of Yamaha’s brand. They wanted to design a building that ‘exudes the feel and sound of music.’ They achieved this by calling on the concept image of a woodwind instrument in a glass case, using it as a theme for the building. The facade aims to reflect the rythmn and change in music. Internally the building is very acoustically complex as it aims to accomodate a hall, shops and music teaching rooms.

Parametric design within architecture involves the process of designing based on relationships and rules using the computer. Through the use of parametric software objects are easily manipulated to quickly generate multiples and form complex free form shapes. Instead of designing in a conventional way where parts are added independantly with no lasting relationship between them, designing parametrically takes the bottom-up approach where the relationship by which the parts connect is established first - ultimately creating a system. A design is then built up from this system without an end product in mind. The designer is then able to modify the system based on the results effectively. There are many advantages to designing parametrically, particularly within the architectural discourse as it allows for changes and outcomes to be made quickly. Unlike a conventional design method, this does not limit exploration or restrict the design in any way due to the time it

takes to do this conventionally. This ongoing generative and reactive process allows for much more design exploration, ultimatley resulting in the best possible outcome. There are also some disadvantages to designing parametrically. Mainly that the focus may become on the logic or system of the design rather than the actual design itself. The idea behind the design may be lost if it is not looked at holistically. ‘For example, think of an elevation with windows, each window must have an area equal to 1/8 of room’s floor area. It’s simple, but when next day You’ll decide that 1/7 will do better, and there are 1000 windows? Let the PARAMETRIC design handle this algorithm.’ Ceborski

Ceborski, Jaroslaw, Introduction to param thinking-architecture.com/introductio

Melbourne University, Architecture Building

16 PARAMETRIC MODELLING

Images: Aggregated Porosity, DAL WKSHP, http:// designplaygrounds.com/blog/aggregated-porosity-

metric design, Rethinking architecture, http://www.reon-parametric-design,354/, accessed 18th Sep 2012

g & Planning department Parametric Design,Lecture slides, 2012

BLOOMBERG BLOOMBERG

The Bloo to the to M Tokyo, bo of trees a shade for triangular a series o

Design Playground, Bloomberg Pavilion, http://designplaygrounds.com/deviants/bloomberg-pavilion-by-akihisahirata-architecture/, accessed 18 sep 2012

GG PAVILION PAVILION 18

AKIHISA HIRATA

MUESUM OF CONTEMPORARY ART TOKYO

omberg Pavilion, at the entrance Muesum of Contemporary Art in orrows its form from the structure and acts as is meant to provide r the area. White walls grow from a r base, which begin to unfold into of pleats.

Design process of the Bloomberg Pavilion

Hirata uses parametric design techniques as he experiments with growing the surface without an end result in mind. Hirata plays with the surfaces by bending and folding them trying to create an overall tree effect. This is done by using the bottum-up approach as he creates a system which the design follows. This allows for outcomes to be altered and reworked efficently as he desires.

19 MUESUM OF CONTEMPORA

Kycia, Agata, Muesum of Contemporary Art Warsaw, http://agataky com/2011/12/30/___museum-of-contemporary-art-in-warsaw/, accessed 18 sep 2

ARY ART WARSAW PROPOSAL

This design proposal by a final year architecture student in Warsaw looks at parametric design through the use of real time simulation during the design process. The project consists of five crystal-like forms embedded into the ground, around a central courtyard. Kycia looks at controlling different lighting conditions internally specific to their exhibition space use. Kycia ycia. used parametric design

2012

AGATA KYCIA

ARCHITECTURE STUDENT, WARSAW

techniques in the form finding process of the crystal shapes as they were defined by the light shafts that were orientated and shaped according to studies done of the sun circulation of the site using a simulation. The form was then dictated by what type of light opening was needed for the internal requirements including sun exposure, accessability and views.

21 group GROUP RESEARCH + ARGUMENT

rese

CASE STUDY 1.0

earch + case study CASE STUDY 2.0

EXPRESSION OF INTEREST DEVELOPMENT

PARAMETRIC DESIGN JOURNEY So far we have explored parametric design through studying projects, built and nonbuilt, as well as beginning to understand the basics through Rhino and Grasshopper tutorials. I have found the idea of parametric design quite hard to grasp, but after looking at more examples of work I have begun to understand the devolpment of a system with many variables rather than a finished product. Through the tutorials and case

studies I have also started to realise the benefits of designing parametrically particularly the ease at which you are able to make changes. As we started to research our chosen area of perception and response and have started to play around with the case studies I have become more interested in using parametric design as a technique as I didnâ&#x20AC;&#x2122;t quite undertstand the potential of using it until now.

2323 GROU

As a group we are interested in pursuing â&#x20AC;&#x2DC;perceptionâ&#x20AC;&#x2122; as a starting point to our Expression of Interest within the Wyndham Gateway Project. We think perception and illusion are relevant to the project because there will be a moving privileged point of view for the passengers of the car, making it an interactive and memorable architectural experience. Even though the structure can be static through the use of different

parametric design techniques it can become visually and physically dynamic through shadows or some sort of interaction between the driver and project. Perception and illusion do not necessarily exclude the use of passively responsive design, which coud react to stimuli from the environment or the cars themselves. Our key focus would be to create a structure that portrays a message that is reflective of the Wyhndam community.

UP ARGUMENT + RESEARCH

25 Faulders studio, Moca @ lbc, http://faulders-studio.com/proj_moca. html, accessed 18 sept 2012

F P

FAULDERS STUDIO DESIGN PROPOSAL This project was a submission for the Muesumâ&#x20AC;&#x2122;s new building that was adjacent to the freeway, allowing the facade to act as a visual icon for the muesum. The design plays of the driverâ&#x20AC;&#x2122;s perspective as the text, colour and images are made visible from certain views. The facade also plays on the unique geometry of the stacked tubes as they are sculpted to create varying surface depths, allowing for certain images to be made visible only from certain view

points. Designed parametrically it allowed for effective placing of the tubes, and accurate testing from specific points to see the exposed images. This project specifically relates to ours as it combines parametric design, perception and is also a freeway project. We are particularly interested in the revealing of the images and test as you move past the project, allowing the specific messages to be displayed as we aim to do.

FAULDERS STUDIO DESIGN PROPOSAL FOR MUESUM OF CONTEMPORARY ART

27 FERMID

Triangulation, Fermid by Behnaz Babazadeh, http://www.triangulationblog. com/2011/05/fermid-by-behnaz-babazadeh.html, accessed 12 sept 2012

Fermid by behnaz babazadeh This project is a sculpture based on kinetics, which explores the relationship between movement and space. Through the use of technology and parametric design principles the artist was able to create piece that mimics the movement based on that of living organisms. The sculpture reacts to movement around it making it seem like a living, breathing object. Though this project is based on

kinetics rather than perception, as a group we decided we would like to pursue the idea of â&#x20AC;&#x2DC;perception evolving from reactionâ&#x20AC;&#x2122;. This project inspired us to combine both perception and reactive parametric design as we would like to explore the idea of specific messages being being revealed as a result of movement from cars passing on the freeway.

Using the grasshopper definitions as a starting point we looked at manipulating it in a way that relates our chosen area of perception. Firstly we changed the design by refrencing in cylinders and cubes rather than the basic 2D images used in the McCormick design. We then changed the height of the cylinders and cubes so they would create a sort of â&#x20AC;&#x2DC;pinboardâ&#x20AC;&#x2122; when the images were overlayed. We then referenced in basic .jpeg images of trees and clouds. the images were created not from shading but rather the positioning of cylinders or cubes of the z-axis.

MCCORMICK TRIBUNE CAMPUS CENTER GRASSHOPPER DEFINITIONS

30 CASE STUDY 1.0

31 CASE STUDY The BKK Pavilion began as an exploration of the translation of ditigal design information into physical construction. They looked at precendants such as the Buckminster Fuller’s Geodesicsphere and Toyo Ito’s orthogonal Serpentine Pavilion as both projects involve a system of a continuos skin that doesn’t differentiate between the walls and roof. the structure is generated by projecting a geodesicsphere onto a cude which is then projected to a centre point. the cube is then trimmed by a smaller internal cube. we are particularly interested in the BKK pavilion as it have a priveliged point of view when standing within in it looking out.

BKK PAVILION BKK ARCHITECTS

- We will begin trying to reverse engineer the BKK pavilion by firstly creating the the external cube. - From there we will attempt to project a voronoi pattern onto the cube. - We will then extrude the voronoi pattern to a central point. - Then we will create a smaller internal cube - We will trim the extruded voronoi with the internal cube leaving the area between the smaller and larger

2.0

Sial Projects, RMIT University, BKK pavilion, http://www.sial.rmit.edu.au/ Projects/Pavilions_for_New_Architecture.php, accessed 18 spet 2012

33 case study 2.0 reve

As we began reverse engineering the BKK pavilion we realised that our original idea of projecting a voronoi pattern onto the cube and extruding it did not work as we hoped. We realised that we had to use a plugin called ‘Geometry Gym’ which allowed us to use a geodesicsphere template which we then projected onto a dodecahedrom shape. From this we were able to extrude the geodesic pattern to an i nternal point. We then created two cubes, an external one

BKK PAVILION

and a smaller internal one. We used this to cut away from the dodecahedron shape, leaving the area between the two cubes. Ultimately this created a structure very similar to that of the BKK, though slightly different as we couldn’t get the extrusion point exactly the same. Through this exploration we have learnt a lot, and have become particularly interested in creating a self supporting structure from a sytem of a skin. We will be exploring this parametric design method further as we look at our own Wyhndam Project.

erse engineering

SKINS

SURFACES

As we began exploring perception and response through parametric techniques we realised in relation to the Wyhndam site there wasnâ&#x20AC;&#x2122;t anything particularly interesting on the site that we could direct attention to. From this we decided to explore perception and response through shadows and what interesting outcomes we could get from this technique. Our main aim through this developmental matrix was to apply different skins to differnt types of surfaces to find interesting forms and ultimately what shadows could be generated from them which would be seen on the road by drivers. We remapped hexagonal, circular, square and triangular grids onto the surfaces and evaluated the outcomes, then moved forward with the ones that created the best shawdows.

CASE STUDY 2.0

MATRIX

HEXAGONAL GRID EXTRUDED TO A SCALED SURFACE

BASIC GRID ON SURFACE

37 CASE

STUDY 2.0

MATRIX SELECTION

D ON SURFACE, SMALLER E

RENDER OF SHADOWS CREATED FROM EXTRUSIONS

From our matrix we developed a system that we felt created the best shadows what would be cast on the road. We did this through testing renders of the extrusions to see which skin generated the most distinct

shadows. We agreed that the hexagonal grid created the best shadows and would be the best for a self supporting structure as all the components fit together without gaps.

curves to create surface

surface from curves

hexagonal g

system development

grid on surface

scaled internal surface grid

extrusions from external surface to internal

+ model assemembly 40

A PROPOSAL IN PERCEPTIVE TECHNIQUES FOR THE C

EXPRE

CITY OF WYHNDAM’S ‘FREEWAY ART’ PROJECT

ESSION OF INTEREST

As a group we were interested in pursuing perception and how we could manipulate it in such a way as to create a dynamic, interesting and changing Freeway Art Project for the city of Wyhndam. As we began our exploration we expanded our field of interest to include response, as we looked at passivley responsive techniques, mainly how the structure would naturally respond to sunlight and creating shadows. As the cars would be travelling at very high speeds along the highway on a predicted path we would like their view to be directed to a privileged point

view. As the site has nothing particularly interesting to view and fairly unpopulated, directing their view to a point of interest would not work. Therfore we explored directing their view inwards through the creation of shadows and patterns on the road, made by the structure. as the patterns on the road evolve passively due to the natural movement of the sun, we are interested in pursuing what patterns/shapes would be relevant to for certain times of the day. Conversely we are also interested in what images could be made from the headlights of cars passing through the structure at night.

TECHNIQUE

PERCEPTION + RESPONSE 44

FOR CONSIDERATION

Bkk Pavilion Our main case study directly influences our design as we aim to direct the viewers eye as this project does through the use of an extruded geodesicsphere pattern. We would also like our projects components to fit together seamlessly as they do in the BKK pavlion.

Buckminster Fullerâ&#x20AC;&#x2122;s Biosphere We were particularly intersested in this project as itâ&#x20AC;&#x2122;s completely self supporting. We would like the components/system to be the supporting stucture as well as the main idea, as sometimes supporting structure detracts from the visual.

45 preced

University of Porto Constructive Geometry Pavilion This project directly relates to ours as it uses hexagonal extrusions which we explored in our design proposal. This project is self supporting, and also controls the amount of light it lets through with the size of the extrsions.

Faulders Studio Muesum of Contemporary Art Proposal This project explores the use of a privileged point of view on a freeway setting, which directly relates to ours. We would like to explore the portrayal of a message or image at a high speed as they successfully did in this project.

dents for argument

proof of techni

We began our design process by attempting to reverse engineer the Bkk pavilion. This went on to directly influence our design proposal. Using this as a starting point we kept the idea of

a skin system that was extruded to a central point creating a priviliged point of view from within the structure. We then manipulated this exploring the shadows created by it.

REVERSE ENGINEERING BKK PAVILION

ique:design process

proof of techni

We set out as a group to create a structure that portrayed a visual image that would relate to Wyndham in an artistix sense. We created this as a starting point, a structure with preforations which would cast a

shadow saying Wyhndam on the road. After we created this we decided this is exactly what we dont want. We donâ&#x20AC;&#x2122;t want our image or message to be too literal, becoming tacky.

ique:design process

We developed a matrix of various skins on surfaces. We then made renders from the extruded surfaces to test the shadows that they created. From here we selected the skin and form that created the most dynamic and interesting patterns.

51 proof

of techni

matrix development

ique:design process

53 proof

of techn

We generated our design proposal system by firstly lofting three curves to create a surface. A hexagonal grid was then made to conform to the skin of the surface. A second set of floating

hexagons was made on an internal smaller scaled skin, at random sizes and spaces. The two skins were then lofted to create cells that can funnel light through, creating shadows.

design system proposal

nique:design system

proof of techn

Through this render we were able to explore how light may shine through the structure at night from the headlights of cars

This render shows the patterns created on the road from the natural sunlight

renders design proposal

nique:design system

We produced a physical model through the use of a laser cutter. Each cell was assembled seperately, then attached to the overall skin, slowly building up the structure.

Our physical model was able to demonstrate in real life the shadows that would be created by the sun from the hexagonal extrusions. It was also able to demonstrate the structural intergrity of the hexagons fitting seamless as a whole.

57 proof

of techn

photographs of physical model

nique:design system

59 pos

Following our mid-semester crit we have realised our design technique lacks an overall idea. Whilst the panel said we had developed a very complicated and good system, the idea behind it wasnâ&#x20AC;&#x2122;t showing, particularly what message we wanted to portray. We knew that was our weak point and it was through lack of research or agreement as to what we were trying to show, Wyhndam specific, with this system we developed. The panel gave some good suggestions to make it more relevant to this site possibly using a historical basis, or something that reflects the moods or feelings or those travelling through the structure.

Ultimately learning parametric techniques and programs such as Grasshopper has been very challenging, yet eye-opening. Whilst there is a lot more to discover on my parametric design journey, I have enjoyed it so far and have really started to understand the concept of designing with a system rather than an overall idea in mind. Through this project we have begun to understand some of the possibilties of parametric design, and especially the endless possibilites of Grasshopper. I am really looking forward to expanding my knowledge on these programs as their advantages are limitless.

st -crit evaluation

63 61 63

HE GATEWAY PROJECT

63 WHERE TO FR

ROM NOW Following our mid-semester critique as a group we have decided to redirect our focus on exploring other avenues in which our proposal could interact directly with the cars. We have decided that basing our proposal solely on the idea of shadows patterns created on the road from the structure was not

strong enough. We want to explore ways in which our structure directly reacts to the cars passing by, making it each time they pass it a personal experience. We are interested in exploring interaction through non-visual means. We also want this interaction to be both immediate and passively based.

65 67 BREA 65

AKFAST IN NEW YORK CITY

INSTALLATION FOR TNT IN NEW YORK CITY This project by Breakfast in New York City is an interactive installation in Manhattan that mimics and responds to movement. It utilizes metallic spinning dots on a computerized surface to broadcast messages, text and images. It becomes interactive as it allows the interface to respond to movement coming from directly infront of the display. It is able to respond to passersby, traffic and any sort of movement directly in front of it, which then interupts the scrolling messages, mimicing the movement by flipping the mettalic dots from black to white.

This could directly relate to our project as we are looking for a unique way in which to display messages and remain interactive to those passing by on the freeway. If we could some way incorporate a system that mimics or displays messages relevant to those passing by into our established system, it would redefined our goal as to what message we would like to display. The major problem with this project though is that itâ&#x20AC;&#x2122;s highly technical and mechanical, and we were aiming for something that was passively interactive.

Pacheco, Antonio, Evolo, Interactive, Tactile, Digital, Analog: Breakfast in New York City, http://www.evolo.us/architecture/interactive-tactile-digital-analog-breakfast-in-new-york-city/, accessed 4th oct 2012

67 69

GROZDANIC, LIDIJA, Aeolus â&#x20AC;&#x201C; Acoustic Wind Pavilion / Luke Jerram, Evolo, http://www.evolo.us/architecture/aeolus-acoustic-wind-pavilionluke-jerram/, accessed 4th Oct 2012

9 ACOUSTIC WIND PAVILION 7 LUKE JERRAM: AEOLUS

Basically this project is a very large musical instrument that both amplifies the wind patterns, making them audible, and captures the light visually creating shadows which change throughout the day. It works as the wind vibrates strings which are attached to some of the 310 steel tubes and transfers it downwards, allowing the public to visualize the shifting wind map by interpreting the sound around them.

This project looks at sound which we never considered as an interactive means. We could combine this method with our already developed skin to create a system that is both visually and audibly interactive as we try to define our design intent. We could explore ways in which the cars themselves could create wind which reacts, making a sort of giant instrument in which they travel through.

CAMPBELL-DOLLAGHAN, Kelsey, A No-Tech Ventilation System That Changes With Humidity, co.design, http://www.fastcodesign. com/1670629/a-no-tech-ventilation-system-that-changes-with-humidity#1, accessed 4th oct 2012

Steffen Recichartâ&#x20AC;&#x2122;s system looks to organic materials and their capability of adapting to climate change. His system looks at harnessing these natural properties in a controlled way to make smarter, cheaper and lighter buildings. Reichart spent 5 years at Stuttgartsâ&#x20AC;&#x2122;s Institute for Computational Design developing a system that exerts control over the reaction between wood and moisture. The project works as a fragile wood structure of 4,000 modules that opens and closes in response to humidity levels. In controlled conditions water

molecules are released, which then bind to the fibers of the wood and cause them to expand, creating curling openings on the veneer surface. When it is dried the holes then close up. This project could directly relate to ours as we look for an interactive way in which our system could respond to stimulation. We could maybe develop a system could be work in reverse where the holes are closed when they react with water, and open during sunlight.

A No-Tech Ventilation System That Changes With Humidity

Hygroscope: HygroScope: Meteorosen Meteorosen

nsitive nsitive Morphology Morphology

71 DESIGN DEVELOPMEN We decided to explore of passive based musical interaction. Taking inspiration from Luke Jerramâ&#x20AC;&#x2122;s Acoustic Wind Pavilion we were intrigued by the idea of the wind created from the cars passing at 100kms along the freeway being funneled in some way and making sound from this reaction. We thought that we could adapt our previous system of extruded hexagons to create a sort of large scale musical instrument installation, giving our project meaning which we lacked.

We started researching to see whether there would be adequate wind created from the passing cars to cause a reaction. We struggled to find any data that would support our argument, or any that we could really understand. So we looked at gathering our own information and purchased an anemometer and tested it in the highway. From this we found that there was a slight increase in wind speed created from the cars, but not enough to make an insturment react.

NT We experimented with making large scale wind instruments out of PVC pipe. Though it worked we discovered the sound was far too low and wouldnâ&#x20AC;&#x2122;t be audible from within a car, especially with the minimal wind speeds coming from the passing cars.

Proefrock, Philip, Windbelt: Innovative Generator to Bring Cheap Wind Power to Third World, Inhabitat 3rd August 2010, http://inhabitat.com/ windbelt-innovative-generator-to-bring-cheap-wind-power-to-thirdworld/, accessed 10th November 2012

74 DESIGN DEVELOPMENT Though our original idea of creating a large scale instrument by capturing the wind from the passing cars did not work, we were still intrigued by the idea of utilzing the minimal wind that was created. We then looked into Windbelts as a way of capturing this wind. Developed by Shawn Fayne who wished to create a new way of generating electricity in third world and developing countries.

The Windbelt works by utilizing the oscilation of a thin strip of material which is held in tension. As the strip vibrates in the wind, it then reverberates to a connecting magnet, generating electricity. Through research and by building our own Windbelt we found that from a minimal speed of 8kmph it can generate upto 5 watts of power, enought to power a LED or a small motor.

Our home-made Windbelt being powered by a fan

After some thought we realised that we wanted our design to remain fairly passive, as we evaluated after our mid-semester critique. We decided that to create a large scale instrument powered from motors which ran off the a Windbelt would be far too mechanical and require many parts that could easily be broken. We then decided to revert back to visually based design that was powered by Windbelts. Knowing that the Windbelts could generate enough electricity to power LEDâ&#x20AC;&#x2122;s we came up with the concept of the cars passing past at high speeds, generating electricity which then powered LEDâ&#x20AC;&#x2122;s on the opposite side of the installation, making an instant, passive reaction.

Concept diagram of Windbelts powering LED’s

76 DESIGN DEVELOPMENT

We began developing our structure using the system we had generated fro mid-semester. Using parametric techniques we changed various depths and extrusions of cells, keeping in mind that the structure had to be self supporting and hold a windbelt.

Progression from road side

Progression from embankment side

78 DESIGN DEVELOPMENT

Elevation road side

Elevation embankment side

Perspective road side

Individual cell progression

Elevation of side

Perspective embankment side

We began developing the individual cells keeping in mind the structural integrity of the whole installation. We struggled with trying to extrude the cells in order to funnel the wind from the cars as the tessalating hexagonal grid could not overlap, though we did achieve this by setting attractor points at various stages of teh structure. Our final design used the extrusions on the bottom row as a base, allowing the structure to lean slightly over the road. The wind belts would be placed within the centre of each hexagon and LEDSâ&#x20AC;&#x2122;s attached to the ends of the extrusions.

80 DESIGN DEVELOPMENT

Our proposal consists of two structures, one at either side of the road of the embankment at a fair distance from each other. The idea is that when a car passes the structure and sets off the LEDâ&#x20AC;&#x2122;s drivers on the other side of the road would see the lights from a distance.

81 DESIGN DEVELOPMENT:

As the car travels past the wind it creates sets off the internal windbelts in the structure, causing the LEDâ&#x20AC;&#x2122;s on the opposite side to react. The cars on the other side of the road will see flickering lights in the distance and not know where they come from until they pass the structure on their side of the road.

SITE PLACEMENT

83 MODEL AS

We laser cut our model from a slightly frosted plastic as our proposal would be made out a frosted perspex, as this wou give the LEDâ&#x20AC;&#x2122;s a hazy glow. We then soldered together ea individual cell, then built up th structure by connected the ce

SSEMBLY

of uld

ach he ells.

85 F

FINAL PRESENTATION

PERCEPTION ‘Inspire and enrich municipality’ Experiential longevity Defines Wyndham geographically and culturally

87 TECHNIQUE

+ RESPONSE Interacting with the landscape and drivers Direct and control incoming light Displaying shadows on road

E FOR CONSIDERATION

A20 Installation: Jonathan Grinham We looked at this precedent as we changed our direction to reaction. This installation reacts to movement around it, opening and closing as passersby get closer to it. We wanted our project to be instantly reactive as this project is.

PRECEDENTS

Three curves to create surface

Lofted curves

Hexagon on surfa

MID-SEMEST

nal grid ace

Smaller scaled internal hexagons

Lofted between external and internal skins to

At mid-semester our design consisted of a series of hexagons extruded to a central focal point. This allowed for distinctive patterns to be made on the road.

TER DESIGN PROPOSAL

Mid-semester physical model

MID-SEMEST

Following our mid-semester critique we realised our proposal lacked meaning and context. The panel suggested that we had a good system developed by the idea behind it was too weak.

From this we looked at redirecting our focus exploring different types of passive reaction. We reset our brief to include a meaningful, passive based, instant reaction from the passing cars.

TER DESIGN PROPOSAL

We began looking at more precents, including Luke Jerram’s Acoustic Wind Pavilion (top left) which works like a giant musical instrument amplifying the sounds of the wind. This helped by as we began exploring other form of reaction. We were also drawn to Cinimod Studio’s ‘Walk the Line’ installation. This installation has a light that follows people as they walk through a London tunnel. We were intrigued

by the idea of the instant reaction of the light as it followed the people. From both these precedents we started looking at ways of incorporatoing this type of reaction into our proposal, giving it meaning and interacting directly with the passing cars. We looked to creating a large scale musical instrument, but were unsuccessful as wind from the passing cars would not not be enough.

DESIGN DEVELOPMENT

Following our unsuccessful attempt at making a large-sca musical instrument we looked into Windebelts. From our own personal research we discovered that there was minimal wind created by pass cars. We thought we could

MID-SEMEST

utilize this wind through a ale windbelt system which could generate about 5 watts of n electricity, enough to power a small motor or LED. We decided to make our own windbelt to see sing if it was possible to generate electricity from it. It was

successful, and from this we decided to develop this system where the cars pass by the stucture at a high speed, setting the wind belt off, which in turn sets of a series of LEDâ&#x20AC;&#x2122;s, making our proposal fairly passivley reactive.

TER DESIGN PROPOSAL

We began using parametric techniques to find the best structural form that would allow for the wind to be funneled, house a windbelt and allow for the structure to be self supporting .

DESIGN DEVELOPMENT

Perspective road side

Elevation road side

Elevation embankment side

Our final proposal used the extrusions of the hexagons as a base for the self supporting structure. This was done as the structure slightly leans over the road to maximise the funneling of the wind. The windbelts are placed at the centre of each of the hexagons to capture the wind. The LEDâ&#x20AC;&#x2122;s would be placed internally at the ends of the extrusions within the frosted perspex, which would give off a soft glow visible from quite a distance.

Perspective embankment side

102

FINAL PROPOSAL

104

FINAL PROPOSAL

105

FINAL

L PROPOSAL: RENDERS

107

FINAL PROPOS

SAL: PHYSICAL MODEL

From our final presentations we got some good, critical feedback fro our proposal. Basically the panel had outlined that they thought we now had achieved a good idea and system behind our proposal but some further work was needed to clear up some possible technical issues. They outlined some problems that we might face including issues that the ambient wind might cause, interferring with the inention of our structure. They liked the fact that we had done a lot of our own research, but suggested we should have thought about the actual construction of the structure some more.

Overall this design studio has been a massive eye-opener to a way of designing that I had never considered before. Though the concept of parametric design was hard to grasp and learning Grasshopper was a challenge, I really learned to like the possibilites that came with designing parametrically. It really made producing various outcomes quick and easy, which our design process so much easier as we had many problems to fix. After our final presentation I only wished we had had more time to do some better renders and to really sort out the actual construction of the structure, as I think we got caught up during the design phase.

109

OST CRIT EVALUATION

111

REFERE

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