Vladimir Jokic 389 997
Architecture Design Studio: AIR
Contents
Architecure Discourse
6 6 7 8-9
A Brief Outline on the Discourse of Architecture A Personal Project (Studley Park Boathouse) Blobwall (G. Lynn) Parametric Apartment Complex Proposal
Modern Computational Design
10 11
The Advantages of Computational Design Innovations in Computational Design
Performance Driven Design
12 The Pinnacle 13 Melbourne Recital Hall 14 Scripting 15 Performative Building Skins and Facades 16 EcoTect Analysis 17 Comparison of Old and New Design
Modern Scripting
18-19 CJ R&D Center (Kinetic facade)
Matrix of Design Exploration
20-21 Matrix of Grasshopper explration 22 Surface Exploration Matrix 23 Boolean Point and Curve Attractor Matrix 24 Promising design exploration
Contents
Reverse Engineered Case
25
Airspace Tokyo- Voronoi Pattern
26 27
Digital Fabrication Gantenbein Winery
28
Design Concept
Design Concept
29
Reflection
Reflction
Fabrication
Contents
Site Plans
30
Site Plans And Vector Perspective
Model Construction
31
Model Making Photos
Model
32-33 Model Photography
My Goals
34
My Personal Goals
Concept Reflection
35
Concept Reflection
Contents
36
Fabrication, Constructability and Digital Model
Fabrication and Construction
Presentation Reflection
37
Presentation Reflection
38
Goal Reflection
Goal Reflection
39
Final Words and Summary
Final Words
Architecure Discourse What defines Architecture?
The project for the Wyndham Gateway project needs to be an innovative and captivating installation that is to reflect the changing and developing area within the Wyndham region. For this project the use of parametric design seems the only appropriate solution because it represents the future of architecture which is one of the key points when ananlysing the region. It has many advantages over conventional design, and can play a role in creating an attraction that defines the region.
My Personal Project Studley Park Boathouse
The project involved designing a new boathouse in the mould of a certain architect, in this case Alvar Aalto, the renowned Finnish architect of the 20th Century. The focus of the project was to create a boathouse which would create a building which would become a local attraction to the site, whilst capturing key elements from Aalto’s works (in this case public buildings because of the scale of the project) and translating those same ideas and elements into the 21st century. What this project taught me was to how to select key elements, develop them and use them to drive a design which I intend to do with the installation in Wynhdam City Council.
1Tip!
My first point of focus in creating a work based on Aalto’s revered architecture was to focus on the interaction with the surrounding environment, using the landscape to shape the design using materials to represent the surrounds. material honesty was a key component of his work. He used materials to express structure or culture both local and national.
2
The second focus point of my design was the organisation of space according to importance, especially considering this was a public building.
3
The third area of focus was in creating a public space which would be both an attraction to non paying patrons as well, ergo be a place of socialisation and interaction.
4
The form had to represent the building’s strong public importance, which is why it revised the ‘tun’ form to bring the project into architecture more indicative of today.
The Blobwall installation is the first internationally renowned project I would like to ananlyse as part of my proposal for the use of technology driven approach to create the roadside installation in Werribee. The success of the Blobwall and the global interest in it lies with how Lynn was able to redefine what ‘building blocks’ could be. Instead of being rectangular as is the norm, he proposed, designed and built an installation that uses individually designed ‘blobs’ as the building blocks for construction.
The Blobwall By: Greg Lynn
It’s success also stems from Lynn’s daring and technology driven approach to architecture, the building form is computer and software driven to respond to certain drivers (wall curvature, number of ‘blocks’ etc.). The process of computer modelling allows for paperless architecture, one which is not relaint on people being able to read architectural drawings but rather have interactive 3D models to examine and study during construction, it allows for changes to be instantaneously reflected in the design/model. It is an adaptive and intitive process .
The installation redefined architecture by challanging people to think outside the norm. it was a groundbreaking project, but that is so often the case with new and groundbreaking works when they first appear. This type of installation creates several ideas which I hope to recreate with my installation, the primary being the creation of an installation that comes to define the region by creating an installation that creates global and local interest.
Advancing the Architectural Discourse This building along with Lynn’s Blobwall are moving architecture into a new domain. They are redefining the design process and buildings elements by pioneering a contraversial design system based in the virtual world. They have moved away from an archaic method of architecture towards a more adaptive and collaborative process by which the needs of all are taken into consideration. This allows for more responsive and immediate alterations to be visualised, for architecture which is designed to respond to drivers, for more flexible modelling allowing multiple designs, for the building to evolve with the changes around it. The movement away from paper architecture frees the architects to explore forms which cannot be achieved or realised with conventional methods, for more collaboration between architects, engineers, occupants, as opposed to a system by which th edesigns are passed on and redrawn as before. It turns concpetualised works into realisable projects.
1
These apartments are made using parametric computer modelling. Each of these apartments is comprised of individual elements of ‘blocks’ ala Lynn that are pieced together depending on the needs of the tenants. This design takes great inspiration from nature; natural growth (seed and up), phyllotaxis and phototropism.
2
There is potential in this design for it to become a dynamic design, in that the building is able to be adjusted to changes in the drivers. The building can update itself in the virtual world to changes in the drivers readily, which potentially be realsied in the real world with varying projects, like possibly at Werribee.
review Parametric Apartments London I have chosen this project because it builds on the princples of Lynn’s work with the Blobwall installation but translates them into a design proposal for an apartment complex in London. Whilst the connection between this and project and that of the Blobwall is not immediately clear, beside the obvious use of parametric modelling and the futuristic shapes, they do share the same design principles and forward thinking. The building form is driven by the design influences, problems, requirements or problems, as opposed to conventional procedure or deriving a form and inside it fitting the elements required by the stakeholders. The relationships of elements are the drivers in the form, as can be seen on the images to the left no building looks alike, as no combination of tenants is alike in their requirement and needs.
3
The image top left illustrates how these buildings rise up from the ground according to the different algorithms which are dependant on the who lives there, their occupation, number of occupants etc. This allows architects the freedom to focus on providing an appropriate structure to all stakeholders, which is needed at Wyndham Council.
The installation in Wyndenham needs to engage with modern and contemporary design and digital culture and use this to create an installation that becomes synonymous with art and culture.
Advantages of Computational Design The use of computational software has enabled architects and designers worldwide to experiment and create buildings, installations and fixtures previously unfathomable. The ability to transfer computer generated models straight to a digital fabrication facility has meant that architects and designers are not limited to ‘off-theshelf-components’ but instead allows for complex forms and geometries (double curves) to be easliy made and assembled.
Parametric Design Advantages of Digital Modelling
Parametric architecture needs to be used for the gateway project because it is symbolic of not only a cultural shift to more performance driven architecture but of a change in thinking of architects. the buildings, installations or sculptures are modelled around parameters. The parameters influence the design by setting restrictions on size, shape, geometry, rotation, etc., however these restrictions on the parameters should not be viewed as prohibitive restrictions but rather as design opportunities. The dynamic, growing and thriving area that Wyndham is in need of an installation that will create a cultural and visual representation of the community, which is why parametric architecture is most appropriate. The council is provided with a unique opportunity to represent the growth of the area by utilising a design system and methodology that is growing in popularity globally, thus positioning the area as a leader in design and ergo positively portraying the area internationally and nationally.
1
The models update almost instantaneously meaning they are always accurate reducing the chances of error in design or fabrication in comparison to paper arch.
2
The ability to easily fabricate the models using custom made pieces increases the scope of design.
3
Unlike paper architecture there is an error checking system in place to help diagnose errors in scripting and help to resolve these issues.
4
One of the key positives of 3D architecture is the ability to constantly preview what the designed object will look like unlike paper architecture.
One of the most widely used analysis tools by parametric designers in Grasshopper is the Geco plugin which connects to Autodesk Ecotect. The purpose of this software is to visualise performance data for easier communication, design feedback enabling designers to make amendments to designs to achieve a cooler and more energy efficeint building, which in a world heavily influenced by .
The
Scripting allows for designs to be developed from a bottom up approach, and to be free to derive the form from aspects of building performance. An example of this is the Jyv채skyl채 Music and Arts Center in Finland by OCEAN Design Research Association. The script follows 3 points to derive the form 1- location, orientation and density of struts, 2- structural, acoustic performance requirements and 3- design guidelines (i.e. 3 lattice systems, volume of space etc.)
The
Data simulation and modelling occurs in close to real time, allowing quicker responses by designers to problems. This can be seen in the AA Component Membrane in London, which used software to map the movement of the sun to guide the design of the rooftop canopy (to provide maximum shade) whilst also dealing with wind loads and precipitation. The response of the canopy to the elements was what drove the design. The upside of using computational software is that the software derives the data for manufacturing for the assembly members.
The Pinnacle Kohn Pedersen Fox This building is a glowing example of how mathematics and computational design and optimization can create buildings to respond to drivers and factors. The architects successfully blended factors of environmental performance, return on gross internal floor area, structural and constructional simplicity . The building was tapered by 2.5 degrees to reduce mass and for aesthetic reasons. The building is comprised of two skins, the external panels provide the weatherproofing, ventilation and light, whilst the interior panels provide openable windows for natural ventilation. Optimization in this building came in the form of studies to find the most suitable window system (interior) such that the gap between the interior and exterior is reduced to a minimum thus increasing the return on investment (greater floor area as a result of decreased gap). (Burry)
1
One of the main reasons that people do studies on buildings early on in the design process is that small changes in this stage can have enormous consequences (both positive and negative in the final built outcome).
2
The building was tested and optimised for wind loads imposed onto the building for a number of reasons. It helps shape ventilation design in the building, comfort for occupants, construction costs (materials and amount used), nosie, air quality, position of exhausts and air intakes as well as the surface pressure applied onto the surface by the wind loads.
This building demonstrates the capabilities of optimization in respect to acoustic performance. Throughout this building are examples of thorough research and care taken to ensure that the optimum acoustics are present for both performers and the paying public. The shape of the building has been chosen based on acoustic performance, the interior cladding (plywood) has also been chosen for its acoustic properties. Most interestingly however is the relief patterns that are applied to the plywood as illustrated top right. The scipt developed for this particular building mapped the reverberations around the hall after each change (ornament, wall thickness, balcony position and shape) thus that the architects and acoustic technician were able to ‘tune’ the building to maximum acoustic performance. The relief pattern on the plywood whilst appearing highly decorative and ornate for a modern building, is infact there for acoustic purposes. The pattern selectively diffuses higher frequencies whilst the varying thickness and recralinear patterns diffuse lower frequency waves (Burry).
Melbourne Recital Hall By:Ashton Maggatt McDougall
This building is an example of a building which has been optimized for acoustic performance. It is designed with the intent of having only ‘A’ Grade seats throughout. The hall has to perform perfectly acoustically for not only the 1000 audience members but also the performers themselves. Everything in this box shaped room (boxes perform very well acoustically) has been designed with acoustics in mind, down to the mathematically derived stage, the thick revolving stage doors and even the air conditioning system (Burry).
The ability to recreate or take inspiration from nature is one of the main advantages of digital design as it allows the recreation of complex patterns (Voronoi etc.). The main example of this is The Water Cube in Beijing. The architects created an array of digital foam and then subtracted it from the building’s volume. “Computational procedures automatically created the building’s geometry, performed structural optimization and produced construction drawings” (Roudavski). It is a key example of the “implementation of a large-scale cellular structure in a project that is acclaimed for its visual impact as well as for its performance.” (Roudavski). What it fails to capitalise on however is the adaptability of cell like structures. It is part of a growing global trend of non-uniform complex structures. Biological systems are not only capable of just physical organization but are also capable of ‘adaptive self-organization,’ which enable the structures to arrange and rearrange themselves according to the environment in which they find themselves. As Menges writes “form-finding as pioneered by Frei Otto, is a design technique that utilises the self organization of material systems under the influence of extrinsic forces.” (Roudavski).
Whilst scripting does allow for buildings to seemingly rise from the ground in response to drivers, Kalay questions whether a building can trully ever be purely a response to drivers, that is form following function. Form generation with scripting comes in usually 4 steps. Firstly the generation of the building envelope, secondly the creation of the floor plans and spaces, creation of the building elements (windows, facade etc.), and generation of building details. The barriers to a building being an ‘optimal’ response to drivers inlcude the conflict that arises from drivers and the need to adjust paramaters or to create a ranking system for the drivers like at Jyvaskyla Music Centre. In some cases it is impossible to quantify or name all the drivers in the creation of the building (cultural values). The final design can be driven by subjective perceptions and feelings as opposed to statistical data when measuring and ranking performance drivers or criteria. “Nevertheless, it can be argued that computer form generation has significant advantages over traditional design when it comes to a small number of criteria and smaller well-defined problems such as the generation of a building’s envelope/initial form or the generation of elements in the building.” (Grobman, Yezioro, Capuelto)
Scripting
Performative Building Skins & Facades
One of the main areas for development with regards to digital and Modern architecture stems from the separation of load bearing members and the facade. The separation has resulted in facades being able to convey meaning and take the form and design that expresses the architect’s ideas and intentions. Form has to consider ornament, and materiality. This change has opened up a world of possibility in the process of production with new materials arriving on the market at an increasing rate. It opens facades to a “new spectrum of choices and possibilities that will broaden the expressive vocabulary of architects contributing to the generation of increasingly genuine architectural forms.” (Voyatzaki). The elevation in today’s digital design domain becomes not only an expressive and communicative artefact but a building element that also serves to protect the building from the elements, respond to climate, noise, light or other specified stimuli. Advancements in fabrication and materials enable facades today to be comprised of composite materials such as to ensure optimum performance. Materiality becomes a key design component and one which requires consideration about how the parts join together and how they perform as a whole. Materiality decisions are interwoven in the design process. In the new realm the “design of architectural forms is being perceived as the analogous of the genetic process, a morphogenesis that generates siumltaneously forms and their materiality and which gradually transforms into a new architectural paradigm, the digital.” (Voyatzaki).
“The experimentation in form generation is simultaneous and identical with the experimentation in the material that not only will best express the idea, but will be an inseparable and indistinguishable part of it. As material is born with the form, its production as well as its manufacturing and place in the construction constitute part of the same design processquestion.” (Voyatzaki). What is also adding to more innovative and unique facade design is the reduction in cost associated with the production of one-off buildings. Production is rapid and more affordable. Data simulation and modelling occurs in close to real time, allowing quicker responses by designers to problems. This can be seen in the AA Component Membrane in London, which used software to map the movement of the sun to guide the design of the rooftop canopy (to provide maximum shade) whilst also dealing with wind loads and precipitation. The response of the canopy to the elements was what drove the design. The upside of using computational software is that the software derives the data for manufacturing for the assembly members.
ECOTECT
SPORTS STADIUM DESIGN Design Proposal
1
Autodesk Ecotect Analysis is a sustainable environmental design software. It is a software that allow for stimulation of mutiple building analyses. It can calculate greenhouse gas emissions, energy usage, building thermal performance, water usage, solar radiation, daylight and shadows as well as many other environmental analyses.
2
The advantage of using software like Ecotect are significant. They allow for building optimisation to occur as a result of a series of data simulations of building performance. Building optimisation is of great importance in the 21st century because of issues arising from global warming and increasing material scarcity.
3
The ability to receive feedback on design performance and subsequently making the necessary adjustments to fix points of concern or make more efficient design decisions based around opportunities for better design is another advantaged offered by software like this. It allows for design to be influenced by the opportunites presented by performance to shape form.
Nem cor aligent
Mod quaspic tecusam et quatus eicabores
One of the biggest advantages of parametric architec-
Parametric design does however come with some
ture and design is the ability to create complex
downsides. Design can be restricted by the
geometries like in the example above of ... The software in the above example was able to calculate the loads exerted on each of the individualised members, such that the structure would be able to function properly. It allows for repetetive tasks to be completed with ease which is important for our design which features a repeating
capabilities of the computer program
new vs.old
pattern over a number of panels.
and software to compute or analyse elements. Certain aspects of the design might be unachievable in the digital realm because the software does not have the necessary function to achieve the desired result, however as more people are becoming involved in scripting, problems are being solved as they arise. However the biggest hurdle for many to overcome is the initial
trepedation which comes as a result of being exposed to something new, and having to learn and adapt to a completely new way of design.
1
Parametric modelling and architecture is more flexible because it allows for the designer’s or architect’s true intent to be brought to fruition as the designer has full control of all elements and is not reliant on elements which can be bought of the shelf.
2
The reason that many choose to design and work with paper architecture is the fear of designing in a new method, the fear associated with being exposed to an unknown especially one as frightening as computer programming.
Conceptual Design At this stage in the design process the team to design a pattern or image which is to guide the design process, it allows the team to subsequently work on finding the conflicts between the design idea and building performance.
Modelling In this stage, the team uses modelling and parametric techniques to analyse and develop the design to respond to the stimuli analysed (sun, wind etc.). These can be done by a variety of methods, either scripting (Grasshopper) or modelling (3Dstudio Max).
Analysis & Tuning At this stage the building performance is measured using software and based on the results the building is adjusted to perform more efficently. It creates a circular process of design by the presence of flexible parameters.
Documentation In the last stage, the desings are presented in documentation drawings, the files are prepared for manufacturing, vreate physical models for the clients to visualise the final outcome.
1
The biggest advantages that this type of construction provides over the usual ‘static’ designs is that they enable the architects and clients to set crieria or parameters which allow it to be built in response to those, especially in regards to exterior skins as in this example, it results in design without preconceptions. The building is seen and performs like a living organism.
2
One of the biggest concerns when designing buildings as such is that they can be designed purely to respond to certain conditions and as such the buildings can be impractical, too complex or become an eyesore, but this building has managed to create an environmentally firendly building that not only performs well environmnetally but has a focus also has an aesthetic quality provided by the use of long flowing curves whcih are linearly stacked. The horizontality balances the use of rounded towers and curved passageways between the two towers.
CJ R&D Center -Kinetic Facade This is a project which uses modern scripting techniques in order to create architecture which is both representative of future architecture as well as architecture which responds better to environmental conditions or other facrtors specified by the clients or architects to create fundamentally better buildings. This is a design by Yazdani Studio as part of Cannon Design research initiative into individual surface system components which are able to better respond to environmental or other local stimuli. They refer to these systems as Paratronic surfaces, in reference to a biological term used to describe this system whithin plants.
3
One of the areas most where there is room for most improvement with such design comes from the ability to use software to adjust buildings to certain parameters which is key in designing a suitable structure for Wyndham City Council.
4
The kinetic facade was modelled using 3D mechanical modelling software that allowed for the creation of multiple relationships with complex geometry. However the designers noted that programs like Inventor and Solid Works could potentially in the future be able to run more complex problems and identify points of stress and recommend improve-
ments in real time.
This building is an attempt to create a building with a outer skin that responds in real time to solar radiation by using a scissor mechanism onto which the membrane would be placed. The membrane would filter out direct sunlight and minismise glare whilst also allowing for natural light to enter when opened. What this project shows is the capability of software to design focus driven fixtures, and the design process in general.
This series of Grasshopper experimentations dealt with surface articulation, in order: - Applying a diagrid to a surface. - Applying a pattern (triangular) to a surface and rotating them around an axis. - Applying cut-outs (circular) to surface using surface normal. - Applying geometry to a surface dependant on angle to a vector line. - Making a 3Dimensional lattice structure. - Applying a train of circles along a surface.
This series of Grasshopper explorations is in relation to pattern making using Boolean Points and Image Sampler, they are in order (running down the page): - Boolean combination with curve attractor of True, True, False - Boolean combination with curve attractor of True, False - Boolean combination with curve attractor of True, False, True - Boolean combination with curve attractor with colour - Boolean combination with curve attractor of True, False, True, False, True - Boolean combination with curve attractor of True, True, False, True - Boolean combination with curve attractor of True, False, True - Boolean combination with curve attractor of True,True, False, False
The above exploration in Grasshopper promised to have the most potential as it was a true representation of parametric design and surface manipulation driven by a parameter. In this case the surface “windows� are either populated by a box or another quadilateral depending on the surface relationship to the sun in radians (vector)
The above exploration in Grasshopper is of punched out circles to a curved surface using surface normals to ensure that they are aligned with the surface. The exploration to the right in Grasshopper is of to do with creating patterns using RUnions and Attractor Points. The exploration to the left in Grasshopper is ofpattern creation using Boolean points and Arbitrary points. These patterns in particular are reflective of changes in the Boolean Pattern (True and False values).
The above exploration in Grasshopper is of mathematical equations (multiple) and using then and RUnion to create interesting growth patterns.
Reverse Engineered Case In order to gauge a better understanding of scriting and how it has translated to real world finished articles of architecture, I have reverse engineered a finished project in Airspace Tokyo. The purpose of this exercise is to understand how to translate the architectural ideas for an installation into Grasshopper scripts. This will help in the task of creating the Gateway project because it will help us with developing a suitable script to match our design intent. For this study I have chosen to recreate the Airspace Tokyo because our group is interested in pattern movement and overlays of layers to create a changing or moving image. This building utilises different laters and pattern overlays to create varying effects with light and shadows within the structue.
Nem cor aligent
Mod quaspic tecusam et quatus eicabores
The process of fabrication using a laser cutter using with Grasshopper and Rhino is a simple and intuitive process. The Rhino model has to be flattened into 2 dimensional strips (unrolled from a 3 dimensional form). These strips are labelled according to their location within the model, i.e. strip 2, row 3, left etc. The fabrication allows for the creation of individual pieces which join together to create smooth and curved surfaces. The fabrication process allows for the creation of complex geometries through the assembly and cutting of simpler geometries and shapes which when connected result in the creation of complex shapes.
1
The use of laser cutters has become almost common place in both the educational and professional domain with regards to architecture and design. They provide enormous advantages over non pre fabricated models, as they provide incredible accuracy when cutting the irregularly shaped individual complex geometries that often define parametric and computational design. The cost of machines varies significantly and the amount of programming and modes also varies, but generally speaking they are easy and intuitive to use.
Fabriaction process and how it could apply to this project. We envisage the fabrication process to involve the creation of tabs, cutouts, clamps and folds to create curved surfaces of the panels and louvers. The joint system could possibly take the shape of the connections in that of the above image, which are basically clips from one piece or strip of cutout material with a similar cutout which is perpendicular to the other strip.
2
The second most common method of digital fabrication comes in the form of 3D printing .This method prints the models in layers comprised of fine plaster dust. The model is reproduced in high detail, however the practice in the professional world is considerably less in comparison to than that of laser cutters and in the education sector because the cost is considerably higher for professionals. The biggest concern with 3D printing is designing the scale models as opposed to the proposed installation as the models have to be thicker than necessary in full size realised projects.
Digital Fabrication
As discussed previously one of the biggest advantages to a parametric and computer based modelling approach is the ability to build using digital fabrication methods such as lasers cutters, 3D printers, and construction facilitated by the use of robots. The advantage of these methods to other regular construction methods is that they provide a more efficient and accurate realised project whcih are often comprised of irregularly shaped complex geometries which have many complex connections and joints based around the unique and irregualr patterns which would be non realisable without these technologies.
3
The above image above is of the Gantenbein winery in Switzerland. The brick facade was fabricated by a specialy designed robot. It individually placed all the bricks, cut them to size and applied a specially designed bonding material to the bricks to join them. The panels were transported and lifted onto the site.
4
We believe that the way this would be fabricated would be through a series of flat surfaces with the perforations and then tabbed together to create the curved surface. The louvers would be attached with a locking tab system to ensure structural stability.
Architects tend to draw what they can build and build what they can draw. This stems from architects being limited to design with elements like steel and bricks that come in size and shapes provided by the manufacturers but the ability to create individual non uniform buildings elements opens up a whole new world for designers by releasing them from the confines of regular forms to one where they are free to experiment and design and build as they envisage.
CONCEPT
Cultural Bridge
1
The thinking behind our concept design was that we wanted to create an installation that would create a cultural bridge between modern scripting and architectural techniques with the existing indigineous culture of Australia and in particular the Werribee area.
2
Our concept was to create a moving/morphing image or roadside flip book that would show a transition between a series or images (possibly with cultural reference) seperated by large verical louvers to create a visually stimulating design, and feature. The design would create a moving image as people would drive by.
3
We hope to integrate indigineous Australian dot painting techniques and colour schemes into the panels to create a cultural link to the past inhabitants of Werribee region. We were inspired by the geometric shapes and colours of the Spanish pavillion of 2005 and of course dot paintings by native Australian inhabitants.
Reflection On reflection the development process of design facilitated by the use of parmetric architecture and modelling is undeniably more efficient and appropriate than paper architecture when it comes to design of the roadside installation at Wydenham. The process of design is more streamlined, and quicker because the manipulation of surfaces and patterns in Grasshopper and Rhino are almost instantaneously reflected in the model and the result of this is that there is more exploration of design and the outcomes which will result in better architecture. The fabrication process of laser cutting has many superior qualities to that of hand made models, installations. The precison in cuts is unmatched, the speed of fabrication and cost are further advantages, but perhaps the biggest advantage lies in the ability to fabricate unique and complex geometries which without the use of digital fabrication methods would be impossible.
1
Digital design is superior to archaic paper architecture because it is able to produce complex geometries, is a more efficient and streamlined form of design and is something which is being increasingly used whcih very much makes it a style and way of thinking for future architecture, which presents Wydnham a unique opportunity to get ahead of the curve.
2
The biggest concern we have with this design concept proceeding forward is the possibilty of being racially insensitive which was brought up as a possible outcome of trying to create a monument which attempts to bridge two societies which do have animosity between them, which is we need to focus on creating a less polarizing and less socially sensitive installation.
Digital design and fabrication is the future and Wyndham Council needs to choose this method to demonstrate that it is one of the main centres of future growth, development and modernity.
ND BO U
BO UN D
ST EA
INC ES
WESTS
PRINC ES
ST WE FR
EE WA Y
FR
ROA D
EE WA Y
M FRO
PR
HAM
YND
TO W
S
ARD TOW ONG EEL G E M FRO BOURN MEL ND BOU
ST
EA
RO
AD FR
AY
W
EE
D UN BO FROM MELBOURNE ST
IN PR
W
ES
TS
CE S
WE
FR
TO WYNDHAM
PR FROM GEELONG TOWARDS MELBOURNE
IN
S CE
AY
W
EE
RNE
BOU
MEL
WINGS FOR WYNDHAM
E PLAN 00
ND
BOU
ST
EA
RO
AD FR
AY W
EE
D UN
BO
ST
FROM MELBOURNE
IN
CE S
WE
PR
ST
S
E PLAN 00
FR
PR
IN
S CE
GEELONG TOWARDS OURNE
AY W
EE
ELEVATION 1:500
My Expectations Of The Subject Going into a subject that had such a focus on both model making and digital design (using programs of which I had no previous experience in), I thought I would struggle immensely as these are two of my pet hates when it comes to design. Previous to this subject I had never designed with the aid of computer software and had struggled with model making. I had severe reservations about this subject as a result of this, but soon realized it was as an opportunity to improve these skills which could be useful in the immediate (university) and not so near (employment) future. Both these skills are incredibly important in the field of architecture as they can aid design documentation, visualization, experimentation as well as design development. Model making is a great tool in visually representing the design ideas and as such model making is of great importance in the architectural and other design orientated professions. Digital fabrication was something I was interested in before, but never had the opportunity to try, as it was never a core requirement and the process seemed difficult which along with the cost seemed off-putting.
My Personal Goals
What I Had Hoped To Learn
My personal goal for this subject was to develop certain skills which I personally have struggled with during my tertiary studies. These have been lack of experience and unwillingness to experiment with digital design techniques as well as digital fabrication. I have always been cautious and proceeded with the road I have always used hand drawn, and for this reason I want to use this subject to gain valuable experience in the realm of digital design. Digital design offers many advantages over paper architecture but equally it is a difficult skill to grasp, which is why I wanted to develop a knowledge of basic Grasshopper scripts and mainly model making experience.
3
1Tip!
The first point of focus in this subject for me was to become more comfortable and proficient with 3 dimensional and parametric design. My aim was to become comfortable enough with the programs (Rhino and Grasshopper) that I could possibly use these skills in the future to aid design development and visualization. My aim was to be comfortable enough with parametric design (Grasshopper) such that I could possibly animate some design elements which would otherwise be not only repetitive but also time consuming, but also to possibly experiment with designs in Rhino and Grasshopper before choosing a design to proceed with. As this is one of the main benefits of digital design- the ability to quickly visualize and experiment, it could be a useful tool to have when designing in future projects.
2
Secondly I wanted to experiment with digital fabrication as the models that are produced using this method are more accurate, precise, clean and professional.
Lastly I wanted to use this subject as a one for exploration of digital design and the capabilities (benefits and drawbacks) of it. This subject has provided students a unique opportunity to ‘play around’ with digital design and fabrication which many would have not had the opportunity to do in other design subjects or even in the professional domain.
1
The size and location of the project were key considerations when designing this gateway. We wanted to position it such that the ‘hero’ view would be from Geelong on the way to Wyndham, thus that this would be seen as the point at which to turn off and enter Wyndham. It is located in the highest and most central section thus it can be seen from miles away. Standing at over 12m in height and spread over 100m it has a sense of monumentality and iconicism about it.
2
We wanted to link the project to the other famous roadside gateway in the region - The Seeds of Change. The connection between the two gateways is readily visible - from taking a similar feather/leaf like panel, to having panels with different articulations. Perhaps most importantly they both use a number of planar panels to create an image. The link is important because it ties the projects and area together as one, almost as signifiers of the start and end of Wyndham.
Reflection On Concept On reflection our final design varied significantly from the initial concept idea we had for the first crit. We took onboard the criticisms from the panel (dot paintings, cultural bridge) and focused on the positives which were the sense of movement and explosion specifically in the creation of an image, and looked to build on that along with some other helpful advice like making the feature not only an ‘image’ but rather as also a sculptural element which can be enjoyed by all for miles. What we focused on in the design stage was in making a sculptural element which would capture the imagination of the residents and road users. It would be something that would be layered or multi faceted. We tried to expand upon the ‘explosion’ and appearing image idea by creating a roadside gateway which from afar would look like a series of what appear to be random sculptural panels that would slowly converge into a symbolic and iconic image of the Brolga wings spread over the highest point on the way to Wyndham as an iconic welcome post for visitors and residents alike. After the image would converge for a fraction of a second it would proceed to ‘explode’ into a series of random panels with a series of punched out holes. We tried to create a roadside gateway which would be appreciated by as many people (through layering - pattern, image and panels) as possible and would create local, national and possibly international discourse.
The process of making the digital model was one
The fabrication process was not as simple as we first
which relied heavily on where we were to position our
imagined it to be. The biggest issues however sur-
structure, how many panels we needed/wanted and
rounded the laser cutting of the panels themselves.
what general shape they were to take, and finally the
On the first attempt at fabrication, the smaller more
point at which we wanted the image to appear and
intricate and detailed panels either melted and shriv-
subsequently explode. Once these points were agreed
eled up or morphed into one shape. We then trialled to
upon it was just a matter of finding a suitable image of
fabricate with fewer holes but this was to no avail as
a Brolga and scaling it to the desired size, and tracing
the panels melted again. We trialled fabricating with
the wings to feather like panels (3 size variants) and
cardboard, and different plastics but to the same result.
projecting these panels to a point 300m away from the
This is one of the inherent problems with digital fabri-
panel at the rear of the structure. The panels were then
cation: the conundrum of designing for scale models or
moved equally along a 100m path. Finally the panels
for full scale projects. As suggested by Seeley 2004,
were given a feather like appearance with a feather pat-
the best option is to fabricate full scale models to the
tern in Grasshopper.
best capabilities of the fabrication process.
1
The issues we had with this process was that we tried to bend the panels such that they would be slightly curved however we decided in the end that this was unnecessary as they were to be positioned at an angle to the road and the road itself was curved such that the effect we were trying to create was already being created by the road itself.
2
With real life constructabilty of this project, our group proposed that the panels (in proposal made from acrylic or other plastic) featuring the cutouts of Brolga feather cutouts be surrounded by a galvanised portal/welded steel frame. The cutouts not only serve to create interest and detail within the Gateway, but also to reduce the windloads imposed on the large panels that sit atop a hill. The steel frame would be placed into a concrete base (unreinforced) to prevent the panels from falling over from the wind loads and self weight (for panels inserted at angles other than 90Ëš to the ground).
WINGS FOR WYNDHAM SITE PLAN 1:100
The overall impression from the presentation was that the idea was well received as the concept was both interesting and appropriate for both the context (roadside sculpture) and as a representation of Wyndham. The models were constructed to a high standard (laser cut, to a scale which represented the design idea and intent). The structural model showed clearly how it would be put together and assembled on site.
D BOUN
T
S EA
SITE PLAN 1:500
RO
AD FR
AY W
EE
D UN
BO
ST
FROM MELBOURNE
IN PR
W ES
TS
CE S
WE
FR
TO WYNDHAM
PR
IN
AY W
EE
S CE
FROM GEELONG TOWARDS MELBOURNE
1
ELEVATION 1:500
The first and most important critique of the presentation came in the form of criticism of the presentation panels themselves. They lacked clear images (contrast between black and white was off-putting), images lacked borders, there were no comparative images of the inspiration/ source material (Brolga wing) and the final outcome, most importantly however was that there were no vector images of the ‘explosion’ as images using the model to communicate this ‘explosion’ did not illustrate this clearly enough.
Presentation Reflection
2
The other big criticism came in the form of materiality in the final realised project. The panel did not see that acrylic or another plastic material should be used when constructing this structure.
The criticisms of the project were firstly that the panels should not be constructed from acrylic or similar plastic material as it is prone to weathering and staining as well as not being appropriate as it goes against the environmental and nature concept from our design. To remedy this, the panels could be made using coloured metal sheeting (galvanised). Secondly and perhaps most importantly; the presentation panels were not as well received as the idea and models. The photography did not capture the moment the project ‘exploded’ so vector drawings or 3D renderings could have been served to demonstrate this more appropriately. The images didn’t have borders around them, and the combination of images that were a mixture of dark and light did not work well enough as it had too much contrast and became confusing and distracting. Finally an image of the Brolga wings would have been useful in allowing people to compare the final realised project against that of the source material.
At the beginning of the semester I had set myself un-
I set out at the onset of this subject to gain experience
realistic targets in regards to how much I wanted to
with new professional but mainly tertiary model mak-
know with digital design. Learning two new programs
ing practices; that is laser cutting or 3D printing. This
is a challenge at the best of times and this being some-
was something I had wanted to experiment with in
thing I was very apprehensive about contributed to me
earlier subjects but did not have the necessary skills
learning less than I ideally wanted. The problems I had
or endeavour to attempt fabricating using digital meth-
ranged from Rhino and Grasshopper having differing
ods. The allocation of marks in this subject for models
names for the same things or Grasshopper having la-
was something which highlighted the importance and
bels on script tools that did not match what they did
need for professional, crisp and detailed models, which
or what they were actually called, brep components /
is why digital fabrication was seen as the only viable
explode springs to mind. In the end I was satisfied with
choice.
the knowledge that I did accrue as it did cover the basics and tools which are useful in new projects.
1
Throughout the semester I had to adjust my goals in terms of how much I had expected to know about both Rhino and Grasshopper to gaining knowledge about surface manipulation (for facade work), and some basic parametric work. In the end I gained valuable experience and knowledge of facade manipulation and process automation which I will hopefully use in the future.
2
In regards to model making, I am very satisfied with what was achieved by the end of this subject. We collectively were given the knowledge and tools (scripts) to fabricate our models, giving us valuable experience in the realm of digital fabrication. I was very satisfied with the models that my group made, as they were a significant improvement on previous models, such that I will continue to digitally fabricate models in the future.
Final Words This subject has been a great opportunity to experiment with programs and tools I would otherwise had not had the chance to if it was not for this subject. This subject has put me squarely out of my comfort zone as is the case for many who are tasked with learning computer programming and scripting (Burry, 2011).It is very much to do with the fear of the unknown and something as foreign and ‘unnatural,’ as digital design makes people apprehensive and uneasy about it as it is not like second nature to people.
1
Questions about how relatable this exercise is to practical real life architectural practice were raised at the outset of this course and even throughout. Many including myself struggled with the notion of designing buildings and structures through Grasshopper scripts, and the scripting part in itself was confusing, like any computer programming. As someone who struggles with digital design it was especially difficult to have enough knowledge to translate some of the design ideas my group and I had in our heads and on paper into the digital realm through scripting. What I did pick up on and will possibly use in future projects was surface articulation and transformation especially with regards to facades; be it applying patterns, shapes and images and even openings and closings that are designed to respond to a vector (symbolic of the sun). These were very interesting projects which could be simply applied to create interesting facades to future designs. What also could prove to be useful in the future is how Grasshopper can automate process (ie updating – parametric) such that the whole design process is sped up.
2
I went into this subject thinking it was going to be in large extremely unhelpful and one which caters to a very niche market or sector. Scripting was something I envisaged as completely irrelevant in architecture and design but over the course of this subject through researching and exploring computational techniques, projects etc., I found it to be interesting area in design and one which may not entirely apply to me but one which is definitely growing in popularity and influence in architecture. what was annoying however was that Rhino and Grasshopper have conflicting names for some items and the labels on the Grasshopper don’t match what had to be searched for and the whole notion of writing a script to build a building is still hard to wrap my head around.
This is the reason that this subject overall has been a success in my view, students have been asked to experiment with a practice which is becoming more commonplace and offers countless advantages over previous design methods (flaws too: programs may be limited in what they can do, long time to familiarise yourself with the program and its tools and capabilities). Obviously the workload was very cramped as students were not only required to achieve a final design but also learn to use two new pieces of software, which is a challenge at the best of times. However the teaching staff has been incredibly helpful throughout and have made themselves available at all hours to help students out. One major criticism for this subject is that the fab lab is often backed up for long periods of time which means students have to fabricate off site at great expense.
Architecture Design Studio: AIR