Journal, Lola Digby-Diercks

A COLLABORATION OF EXPLORATION, EXPERIMENTATION AND THE WESTERN GATEWAY DESIGN PROJECT

LOLA DIGBY-DIERCKS

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DESIGN STUDIO AIR ABPL30048// LOLA DIGBY-DIERCKS 538221 SEMESTER TWO// 2013.

TUTORS// DANIEL DAVIS AND KIRILLY BARNETT

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A journal to explore the journey through Architecture Design Studio: Air, semester one 2013.

A personal introduction is included as well as exploration into the relationship between architecture and digital exposure.

‘The pencil and computer are, if left to their own devices, equally dumb and only as good as the person driving them.’ Norman Foster

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CONTENTS ONE A1.0 CASE FOR INNOVATION

1.1.0 Personal Background 8

1.2.0 Architecture as a Discourse 13 1.3.0 Computational Architecture 18 1.4.0 Parametric Modelling 20 1.5.0 Algorithmic Explorations 26

1.6.0 Case for Innovation conclusion 28 References 30 Image References 32 TWO B2.0 DESIGN APPROACH 2.1.0 Design Focus 36 2.2.0 Case Study 1.0 42 2.3.0 Case Study 2.0 48 2.4.0 Technique: Development 60 2.5.0 Technique: Prototypes 68 2.6.0 Technique Proposal 74

2.7.0 Design Approach conclusion 76 References 78 Image References 78 THREE C3.0 PROJECT PROPOSAL

3.1.0 Gateway Project: Design Concept

3.2.0 Gateway Project: Tectonic Elements

3.3.0 Gateway Project: Final Model

3.4.0 Algorithmic Sketches

3.5.0 Project Proposal conclusion References Image References

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CASE FOR INNOVATION

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1.0.1 ABOUT ME I’m Lola and currently undertaking my third and final year studying Architecture within the Bachelor of Environments at The University of Melbourne.

I was born in Melbourne and grew up here but being half German, I have spent a lot of my time abroad as well as living there for periods at a time. I think this has had a huge impact on my interest in both architecture and urban design- the way in which cities do and don’t function and the interactions people have with their surroundings.

As well as studying I have a huge passion for travelling, photography and also designing some of my own jewellry.

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DIGITAL ARCHITECTURE EXPERIENCE Over the past two years undertaking my undergraduate degree, I’ve been exposed to many different computer aided design programs.

My skills however vary, I feel comfortable communicating my designs through programs such as the Adobe Suite and using AutoCAD to bring plans to life.

While I am not entirely competent with my 3D modelling skills, I did become familiar with Rhino earlier in my degree. This required me to generate a model digitally and then flatten its surface in order to assemble it as a physical being, as pictured above.

I feel that all digital programming should be used as a tool for enhancing and aiding the architecture industry and the greater world of design, not as a way of producing and churning out designs, this concept will be discussed further within the journal.

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PREVIOUS DESIGN EXPERIENCE

VIRTUAL ENVIRONMENTS

During the first year of my degree, I undertook the subject Virtual Environments in which we were to design a lantern that reflected a process or occurrence in nature. I chose to base my design on the connection between clouds and the form they take. For me this entire process was a challenge, I had not previously been exposed to digital design and at times found it frustrating as my skills were not adequate enough to deliver what I had initially indented. Virtual environments exposed me to a way of thinking I had previously not encountered. The rapid journey through the 12 weeks course taught me how to initiate an idea, develop it and then digitize and fabricate it. The skills I learn from this project will surely help me during this semesters work and I look forward to strengthening my knowledge both theoretically and technically.

MAIN ENTRANCE; CAFE SPACE

KIOSK SERVICE AREA

THE DESIGN INCORPORATES THE CRISP AND UNCOMPLICATED WORK OF ALVAR AALTO BUT ALSO REFLECTS THE AESTHETIC OF MYSELF. CLEAN LINES WITH PRACTICAL SPACES FINISHED WITH MATERIALS WHICH REFLECT THE HUMAN ABILITY. NATURE IS USED TO GLORIFY THE DESIGN AND ACTS AS THE CENTRAL FOCUS POINT. THE DESIGN ALSO COMMUNICATES THE USERS OF THIS AREA, THE AMOUNT OF SPACE THAT IS NEEDED TO ALLOW PATRONS TO COMFORTABLY PARTICIPATE IN RECREATIONAL ACTIVITIES AND ENJOY THEIR SURROUNDINGS.

DESIGN STUDIO: WATER

Last year during Design Studio: Water we were asked to provide a new design for the Studley Park Boathouse located in Kew. After studying our master Alvar Aalto’s key design concepts, we were to design a new boathouse that incorporated both Aalto’s aesthetic and our own. I found this project really enjoyable and many of Aalto’s design principals resonated with my own- functional spaces with a balance of clean and organic lines and exceptional attention to detail.

There is also a strong connection with the surrounding nature and no overpowering tones or areas.

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INTRODUCTION I think that the digital community and network will continue to merge into the architecture field.

Computational programs, parametrics and scripting will all become even more essential than they currently are for the 21st century architect.

My existing knowledge of digital architecture in theory is quite extensive, however my technical skills are lagging behind. I have been exposed to some 3D modelling during Virtual Environments but my technical capabilities still need improving and I hope to build up my skill set over the course of this subject.

I enjoy projects that use digitally enhanced architecture to a certain extent- in a way that enhances the space but not overpowers it. Projects such as Preston Scott Cohen’s Tel Aviv Museum of Art excite me, and I will explore this further within the journal. I appreciate the way in which digital tools have been used in a way to solve complex problems within the space, yet the result appears to only be a subtle touch of digital design.

I have concern that digital architecture will take over traditional ways of designing and thinking, as with the computer, it becomes more automated and the process is sped up to a degree that I don’t always find appealing. I personally don’t like work that has so obviously been affected by digitization.

While I have concerns, I do also believe that regardless of your ability to design, architects of the future will need to think algorithmically. The education and mind-frame will need to shift and that includes my own.

I think this poses quite a radical change in the way students will need to approach their studies and also their career afterwards. I really believe strongly that we must become adaptable in order to keep up with the industries growing demands. We will need to become open to having a hybrid career and equipping ourselves with multiple skills from many backgrounds. I look forward to becoming more confident with digital design and adding it to my repertoire of skills.

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RELATIONSHIP BETWEEN WESTERN GATEWAY DESIGN PROJECT AND CASE FOR INNOVATION Using architecture as a way to link Wyndham to the city [of Melbourne] along the Princes Freeway will be the key component within the Western Gateway Design Project during this semester.

In my opinion, architecture forms a physical object that is able to provoke discussion or discourse in some manner.

In the case of this Western Gateway Design Project, architecture will be used to create discourse involving the link between two independent urban spaces and the journey connecting them.

It will be vital to use the stages within Case for Innovation, to explore the way architecture, computational architecture and parametric modelling can help mould the final design and also the way it influences architecture as a whole. The later stages of Design Approach and Project Proposal will further cement this idea that designing is an indented process, modified and altered along the journey.

Wyndham City is seeking an ‘exciting, eye-catching’ installation that both inspires and enriches the municipal and this can only be achieved through careful, thoughtful and experimental exploration, followed by a sufficient design process which is informed by earlier investigation. I intend to use Case For Innovation as a starting point of research, exploration and experimentation, before starting the design process of the Western Gateway Design Project.

Ultimately, to form a successful piece of work and to fulfill the brief, I believe the final structure will need to involve the users emotionally, intellectually and/or physically.

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1.2.0 ARCHITECTURE AS A DISCOURSE Architecture was once more simple to define, a type of art where a professional worked to confine spaces and buildings were independent pieces (Williams 2005, 104-105).

As William states, architecture is more than just architecture. It is unavoidable in our every day lives and to a certain extent, every inhabited part of the world is faced with some sort of architecture lining its streets. It has the ability to define and determine the way we navigate through cities and suburban dwellings (Williams 2005, 103).

Architecture can also be used to construct knowledge and map the world to signify and highlight specific points or zones (Dutton and Hurst Mann 1996, 1).

As Greg discusses in Fold, Bodies and Blobs (1998, 170), no two blobs are alike and while they have the ability to be disconnected from any given place, they are also responsible for melding with their context.

When discussing architecture as a discourse, it is the relationship between architecture and its publics that is explored (ArchDaily 2013). It functions at the junction of power, relations of production, culture and representation (Dutton and Hurst Mann 1996, 1). It is an integral link between the building of our identities and dissimilarities, and constructing and shaping the world as we know and understand it.

This is particularly evident in the two precedents I have chosen to discuss below- Klein Bottle House and Helios House. Both deal with different social issues within different contexts. The Klein Bottle House relates directly to this idea of linking the building to our identity through architecture. It deals with using space and shape to give

representation to those who inhabit it.

Helios House deals with social concerns in a much more public manner. Its primary function is not to be a physical being but to use its existence to create awareness for a deeper cause.

So why is it, that traditionally, architectural discourse debates have been based on inquiry of style and moralistic dispute? (Leach 1997, xiii). Not on social or locality reasons, or based upon the very public that will most view it? This seems particularly important when assessing and undertaking the upcoming Gateway Project, in which the architectural ‘solution’ will be viewed by different backgrounds with no cultural and social limitation and not limited to highlighting location, instead aiming to emphasize the journey between Wyndham City, full of natural, cultural, social and historical feature, and the City [of Melbourne].

I think when architecture is used as discourse, it would always be more than just the physical being that is discussed. Its stature should be used to discuss larger issues and I am to do so throughout the semester.

The following precedents are architecture projects that I believe also operate as discourse. These works will act as examples to further strengthen my argument that the final piece of architecture produced within this project will fundamentally act as discourse and benefit both the people of Wyndham City and the general public.

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PRECEDENT PROJECT Klein Bottle House by McBride Charles Ryan, Mornington Peninsula.

The Klein Bottle House (2008) has always been a favourite of my mine. Before I began studying architecture, I enjoyed the house for it’s what in my naivety seemed like a simple, minimalist piece of architecture with a twist. It seemed playful yet also functional and strangely, despite its angular surfaces, does not overpower the vast natural surrounds of the Mornington Peninsula.

Klein Bottle House also highlights my particular interest in residential architecture. I enjoy designing solutions for the real life. As a discourse it deals with not only the physical issues but the social and political ones too.

I have since learnt since undertaking my degree that the Klein Bottle House stands for much more than just in my opinion, clever design. Mathematicians have developed the surface, which allows for new spatial relationships and configurations (ArchDaily 2013). This is where computer programs (CAD) have played a large role in developing these shapes within more complex spaces, such as the topography of this site. I’m looking forward to exploring this further within this studio subject.

As a discourse this design is used as a way of speaking about exploration and ‘playfulness of holiday time’ (ArchDaily 2013). And I think this is an extremely important function/part of architecture, to be able to be used for more than just a shell for living in.

Its presence also illustrates how this project was designed in a time where pieces of work were carried among copious amounts of people via the internet, this created quite a hype towards architecture that combined both more traditional techniques and these newer styles of computational architecture. I myself became exposed to this house well before studying architecture.

I think this proves the point that architecture can be used as a discourse to discuss more than just design. It [architecture], in my opinion, needs to evoke emotion and be able to stand for social, contextual and design issues, which the Klein Bottle House does.

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PRECEDENT PROJECT Helios House by Johnston Marklee, Los Angeles.

Helios House (2007) is the perfect example of how good design can help break down social moulds and be used as discourse, without compromising on cutting edge design. It’s architectural status acts as a way of discussing and exploring greater change, rather than just focusing on its physical status.

Designed to ‘take small steps towards a sustainable future’ (Johnston Marklee 2013). Helios House is aiming to be the gas station of the future.

The client, BP, is using Helios House as a way to show off its research into cleaner fuels, which unlike many other companies, has invested large amounts of money into its research and development. The design and concept behind it encourages users to discover ideas and carry them back into their own lives by fostering dialogue and education within an environment that normally promotes anything but (Jodidio 2011, 98).

I particularly enjoy this interactive type of architecture, it has the ability to give back to the very people that view and use it daily. Users are encouraged to take part in the ‘living lab’ where they can encounter ideas to translate back into their own lives (BP 2013). This is a very different concept to other petrol stations.

From a design point of view, its stainless steel, triangle shaped shell, mimics the way in which programs such as Rhino, which we will be using during the semester, are able to create a tessellated structure. And in the case of Helios House, it is the cladding that has integrated technical innovation with careful composition.

Its prefabricated panels also allow the whole design to unify into one structure through its complex geometry (MetalMag 2013).

Helios House gels with many of Schumacher framework for architecture in his writing New Framework for Architecture (2011, 18), especially in terms of how the discourse of architecture should also reflect its social and political impact and responsibility. I think this is extremely important, that architecture be flexible and adaptive to not only its physical surroundings but also its social and contextual ones too.

Helios House is a perfect example of success, without compromising innovative and clever design. It is able to involve its users physically, to see, touch and understand the issues surrounding the problems with oil consumption and use.

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1.3.0 CONTEMPORARY COMPUTATIONAL DESIGN TECHNIQUES Contemporary computational design techniques have become almost an extension to the architect and many others in the design field. They have become a tool to better express ourselves and to communicate ideas.

In more recent years, it’s certainly the tools and programs that have become available that have allowed designers to explore beyond the confines lay down by more traditional design approaches.

They (computational design techniques) have the power to record and then recall an almost unlimited amount of commands, tasks and memories in a fraction of time, which humans are just not capable of undertaking.

Even with the aid of technology, designing involves a process. It’s made up of different stages no matter what equipment is being used and requires certain steps to be undertaken to achieve a final result.

It is with the use of computer aided programs, that this process is able to be probed, altered and recorded, and then recalled in far less time than before we gained access to its use.

Yehuda (2004, 7) speaks of how computers by default, if programmed and used correctly, are able to follow any command to their own logical conclusion. They are able to do it quickly, repeat themselves over and over and follow a set of guidelines given, to complete the task to the most minute of details. They are then able to format and present the chosen information, in the largest array of ways possible, all with a few clicks of a button.

So how are humans able to compete? Or do most forget

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that there is indeed a human behind these computer programs that has ultimate control over the outcome?

This raises a very valid point, even with computer aided programming available, it still only functions on the basis that there is a human behind the computer, someone to express and input ideas. As Kostas Terzidis states (2006, 11), the dominant mode of utilizing computers in architecture today is the process of using already conceptualized ideas from the designer and entering, manipulating and storing them within the computers system.

This cements the fact that no matter the technology being used, it is still the human that must make up new sets of instructions for the computer. Using computers in the design world relies on communication and shared knowledge.

While it is fairly easy for the computer to transmit information to the human, it is extremely difficult for the human to communicate to the computer (Yehuda 2007, 7).

This is very evident when a designer is not familiar with a program and must painstakingly try to transfer an idea or design from their mind to the computer, which relies on receiving information through interpreted codes. Does this mean, in some cases, that designers choose to avoid this hurdle by opting to design something within the computers limitations rather than their own? In some cases, yes. Or does this then mean that in some instances, when the wrong human is behind the screen, or perhaps a less familiar [to computer aided programming] human, that

contemporary computational design techniques become less of an advantage and more of a hindrance? Also in some cases, yes.

As Kolarevic (2003, 6) supports, for many architects in particular, this arrival of curvilinear forms, after being trained in the process of ‘euclidean geometry,’ presents many difficulties.

Below are three key types of techniques related with the ‘assistance to human designers’ as identified by Yehuda (2007, 8). They summarize the different ways in which computational techniques can be used to a certain extent, depending on what the designer wishes to achieve.

This places the emphasis again on the fact that while a computer is capable of achieving almost every task given, it comes down to the communication skills between it and the human.

Contemporary computational design techniques are not exactly new, however with time they continue to update and grow.

I believe that ideally, this unison between designers and computers should not result in the computerisation of anything and everything but to use the technology available as a tool to integrate ‘conception and production’ in a manner that was not possible before its possession (Kolarevic 2003, 4).

As with all things computer based- the possibilities are endless and it’s a matter of wait and see.

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Drafting or modelling; where computers are restricted to just supporting humans by creating lines and geometric objects- communicating the humans ideas.

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Analytical systems; where the computer is able to issue evaluation of the designers’ result.

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Knowledge-based; the computer is able to put forth design solutions for the human designer.

It seems many designers use a combination of techniques.

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1.4.0 PARAMETRIC MODELLING ‘Can architecture afford not to use computation’ was one of the statements put forward during the various learning’s in week three. It seems that all arms point in the direction of no; no archiecture cannot afford to ignore computational design and therefore also parametric modelling.

As Robert Woodbury (2010, 7) states, ‘design is change.

Parametric modeling represents change.’ And isn’t that what architecture and design is all about, evolving and adjusting to variation along the process or over a period of time?

However I pose the question, has the use of parametrics within architecture and the greater design field shaped up to be what everyone expected? Or what indeed did they expect? And what will the future hold?

Woodbury (2010) and Mark Burry (2011) both agree that the use of parametrics for designers is overall positive.

Having said that, they both also agree that its use is not easy, one must be mathematically informed and more than computer literate. And to both teach and learn parametric modelling requires a deep understanding of more than just what is seen at the surface.

Some of the key problems [with parametrics] that were identified within the lecture (Smith, 2007) are as follows: 1. Front loading; projects need to be carefully planned, step-by-step. This removes some of the spontaneity and the freedom to explore.

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2. Major changes; changing the skeleton/fabric of a parametric model can cause it to ‘break’, this means that again, the design needs to be carefully planned or changes greatly alter its completion.

3. Reusing and sharing; with parametric design [and scripting], it is extremely difficult to share models/designs/ scripts with those that do not possess the same level of knowledge. Burry also concluded this within his research.

4. Seeing change; smaller changes are much harder to recognize when they are embedded within a larger data set. Thus harder to also find faults.

These disadvantages [with parametric design] were supported by Burry to a certain extent; he put forward some further potential dangers within the scripting community.

These dangers included: “Death of the pencil sketch” “Enfranchising the amateur” Design becoming ‘automated’ Becoming repetitive Concern for emergence of a style over substance.

I think these are all valid concerns. It seems a shame that because of the inevitable amounts of current and new programs emerging, that designers could potentially loose sight of their true designs, their underpinning reason for creating objects and structures.

Once programs become popular, they also hold the likelihood of spreading a certain style, or perhaps a certain trend. Thus generating a repetitive style or manner.

Another key point that was identified throughout week threes lectures, readings and discussions, that I think is particularly relevant, is that the education for students needs to be updated to reflect this change in what will become obligatory skills for the future.

On the flipside; once the skills to operate parametric programs are obtained, they are able to give opportunity that otherwise wouldn’t be there. Designers are able to explore new design avenues and have greater freedom to create projects that wouldn’t be achievable to the same extent or standard using conventional methods.

The development of scripting has also allowed consultants to provide ‘a generic solution to a shared problem’ (Woodbury 2010, 8), working with large data sets and proceeding in many directions to work beyond perceptual capacity (Burry 2011, 40). This is undoubtedly a huge achievement that wouldn’t be made possible with more conventional methods.

I think that parametric modelling can only continue to enhance the design community, by providing tools and solutions to problems constantly being faced. While there are certainly concerns in regard to its use, they (parametric modelling) have the ability as discussed, to explore and experiment in a way that previously wasn’t possible.

It’s important to remember, that even with the assistance of computational design, we should not loose sight of what our minds are capable of producing before turning to the computer.

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The two following precedents are projects that I believe have successfully combined parametric modelling with more traditional construction, which I find most appealing.

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PRECEDENT PROJECT Tel Aviv Museum of Art by Preston Scott Cohen, Tel Aviv.

Placed in the middle of Tel Aviv’s cultural hub, lays the Tel Aviv Museum of Art building (2007-2011), an architectural challenge that required the tension between a tight and triangular site and the need to house impartial rectangular galleries to be soved.

Preston Scott Cohen’s resolution was to subtly contort the geometric surfaces (hyperbolic parabolas) that connected the contrasting angles between gallery and context. This also meant that natural light could be refracted into the furthest spaces of the building (Preston Scott Cohen 2011).

The museum is made up individual gallery spaces, all ordered around the “Lighfall”, which is an eighty-seven foot tall atrium, centered amongst floors comprising of multiple axis which change from floor to floor.

I enjoy the way Lightfall “doesn’t consume the whole museum” as Cohen states (Architectural Record 2013).

It’s spectacular sculpture like space is entwinted into the already existing building and works in my opinion, in harmony with its surrounds.

Lightfall operates by having each gallery mounded upon each other in a stacked structural system, with each storey then rotated 22.5 degrees from the level directly below. The design was also able to achieve exhibition spaces that were almost column free and meant that ductwork and other forms of equipment could be stored in the depths of the structure, so that it was unable to intrude with gallery space (Architectural Record 2013).

Lightfall itself proposed both design and construction problems, it is made up of 28 poured-in-place concrete hyperbolic paraboloids. Each hypar is supported by adjoining hypars, forming a self-supporting structure which is independent of the adjacent gallery (Architectural Record 2013).

The project could not have been possible without the use of parametric modelling, the mechanical systems and the steel members were all vigorously prototyped during the design process.

As Preston Scott Cohen states himself ‘the capacity to integrate structural and mechanical systems by means of three dimensional computer modeling is having an enormous impact.’

In the Tel Aviv Museum’s case, three dimensional computer modelling allowed ‘the development of a complex and super tight project in a site that required the most efficient use’ say Cohen (Architype Review 2013).

I think this highlights the huge advantages three dimensional computer modelling brings. Projects such as the museum in my opinion wouldn’t be achievable without its use, or at least, certainly not in the same time frame. One is also able to experiment and explore designs at leisure and to test the implications of alterations before they become physical.

So while the initial design came from the head and the hand, it is the use of parametric modelling that brought it to life.

Digital modeling has not only allowed the development of the museum’s surface geometries but it also helped create a space that is dedicated to producing diverse social experiences and interactions within a space that houses art but does not wish to compete for the viewers attention (Architype Review 2013).

As discussed earlier within ‘Architecture as a Discourse’ I think it’s important that pieces of works such as the Tel Aviv Museum also hold social and/or cultural representation, regardless of whether they involve parametric modelling or not.

They need to involve users and induce emotion and I think Preston Scott Cohen’s Tel Aviv Museum of Art has achieved this while still embracing three dimensional computer modelling and using it to its advantage.

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PRECEDENT PROJECT Walt Disney Concert Hall by Frank O. Gehry & Partners, Los Angeles.

Frank Gehry’s work has always resonated with me but it is the Walt Disney Concert Hall (2003), with it’s bright silver gleam shining in a historically prominent part of downtown L.A that intrigues me.

It provides an almost futuristic exterior, yet the project began in the late 1980’s. It’s sculpture like shell is contrasted with a soft interior, which is quite unlike many other ‘modern buildings’. Internally, timbers are mixed with whites and curves. The feelings that are evoked are very different to what you expect from the cool, clunky, shadowing exterior.

The design process began with physical models initially being constructed, stacking forms together to create shapes without the aid of any computer modelling at all. It was all about spontaneous experimentation and exploration and from that process, a pattern of sail like forms emerged (Kolarevic 2003, 152).

It wasn’t until a much later date that the design was then exported into a computer based programming tool called CATIA (Computer-Aided Three-Dimensional Interactive Application). Using the initial physical model, a scan is taken by a laser tool that then transmits the coordinates to the CATIA program. CATIA then produces a 3D section of the model which can be viewed and is able to provide structural coordinates and a time schedule for the projects completion, and that’s only the beginning of its capabilities! (Arch Space 2013).

This design in my opinion, challenges the way modern architecture of today interacts with digital technology and programming. Here is a design which has come firstly from conventional and physical methods and then undergone a series of digital remodelling. It is undeniable that its creation, with its grand steel curves would not be exactly achievable without the use of computational modelling, but it certainly does not succumb to the idea that a building needs to be entirely designed with the use of three-dimensional modelling tools. In saying that, without its (computational tools) use, Gehry and many others would be limited to what only hand drawings can produce. In the case of the Walt Disney Concert Hall, this meant that hand drawings were not adequate for contractors to go ahead, as the structure appeared more complicated than it really was. This for Gehry, and many others, meant that in the past, designs had to be compromised and conform to more traditional configurations (Arch Space 2013).

Frank Gehry’s Walt Disney Concert Hall resonates with me; this technique of designing where three-dimensional modelling is used secondary to designing from ones mind. It seems today that too often designers oversee the prime reason architecture exists- to service the public and provide significance to the city, instead choosing to use grand technological innovations.

I would like to be able to achieve this balance between personal exploration, physical experimentation and technology enhanced designing in the upcoming Western Gateway Design Project.

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ALGORITHMIC EXPLORATIONS Throughout the Case for Innovation stage, I have been undertaking my own individual exploration of algorithmic pieces within Grasshopper. These pieces of experimentation have been used to apply the knowledge learnt throughout this Case for Innovation in a more practical way after discussions, lectures and readings. They have also been useful to trial and test various techniques before the upcoming stages.

A more interesting example of my work is shown, however more experimentation will be undertaken in the next stage.

To the right is a driftwood surface that has been created from quite a regular shape but has been altered after the initial finish was generated.

As a surface, I think driftwood provides a really interesting fabrication technique and as I demonstrate, it can be manipulated to form many different finishes.

Having the ability to alter a surface post creation shows the potential it has to be used in a project such as the one we will be undertaking. Small alterations can be made to the surface to reflect perhaps social, contextual or physical changes that need to be displayed.

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CASE FOR INNOVATION CONCLUSION After concluding this section, I have some clear direction about where I would like my design to head for the Western Gateway Design Project. I feel there a few key elements that need to be captured within the design and subsequently need to be explored during the design approach stage.

I believe that the brief calls for a strong link between design and context while still encapsulating place-making aspects and qualities.

The journey between Wyndham and the city needs to be captured but careful consideration also needs to be taken towards the physical surroundings and the fact there is lots of traffic moving through this area.

I think it will be crucial to design in this manner so; that as the brief calls, the wide public can enjoy its installation and it can be used as an indicator that metropolitan Melbourne is arriving. It also needs to be new, inspiring and brave. I hope to express this within my design so that a new discourse along the site can be created.

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LEARNING OUTCOMES Up until this point, the journey through this studio is becoming more and more exciting.

I am becoming more confident and informed about both the theoretic and technical side of computational design. While I am still not overly competent with my technical skills, I am more so than ever appreciating the benefits of using it across the whole design field and after extensive research and reading, I can see that there is no turning back- it’s here to stay and we will all have to adapt to using it within the future. And while I maintain that I don’t believe computational architecture should take over traditional techniques is all regards, I am more open to the idea of combining the two disciplines.

I think this reflects how my understanding of the topic has greatly developed from the beginning of the semester. I am excited to keep exploring further and applying the knowledge learnt within this semester to the final project but also to the broader scheme of things.

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REFERENCES Arch Daily. 2008-2013. “NYC Event: Four Conversations on the Discourse of Architecture.” http://www.archdaily. com/200466/nyc-event-four-conversations-on-the-discourse-of-architecture/ And “Klein Bottle house/ McBride Charles Ryan.” http://www.archdaily.com/7952/klein-bottle-house-mcbride-charles-ryan/ Architectural Record. 2013. “Tel Aviv Museum of Art, Preston Scott Cohen, Tel Aviv, Israel. A spiraling and twisting core.” http://archrecord.construction.com/projects/portfolio/2011/11/tel-aviv-museum-spiraling-core.asp ArchitypeReview, 2013. “Architype Dialogue presents Preston Scott Cohen.” http://www.architypereview.com/2-art-museums/projects/235-tel-aviv-museum-of-art-amir-building/dialogue BP. 1996-2013. “About the station.” http://www.bp.com/sectiongenericarticle.do?categoryId=2222&contentId=7028375 Burry, Mark. 2011. Scripting Cultures: Architectural Design and Programming. Chichester: Wiley.

Dutton, Thomas A. and Lian Hurst Mann, eds. 1996. Reconstructing Architecture: Critical Discourses and Social Practices. Minneapolis: University of Minnesota Press.

Illumin. 2012. “Curves of Steel: CATIA and the Walt Disney Concert Hall.” http://illumin.usc.edu/printer/177/curves-of-steel-catia-and-the-walt-disney-concert-hall/.

Jodidio, Philip. 2011. Architecture & Automobiles. Victoria: The Images Publishing Group Pty Ltd. Johnston Marklee. 2013. “Helios House, Los Angeles, 2007.” http://www.johnstonmarklee.com/?n=archive&id=2&info Kolarevic, Branko. 2003. Architecture in the Digital Age: Design and Manufacturing. New York; London: Spon Press.

Leach, Neil. 1997. Rethinking Architecture: A Reader in Cultural Theory. London: Routledge.

Lynn, Greg. 1998. “Why Tectonics is Square and Topology is Groovy.” In Fold, Bodies and Blobs: Collected Essays edited by Greg Lynn, 169-182. Bruxelles: La Lettre volée.

MetalMag. 2013. “Helios House - Metalmag Architectural Awards Winner: Wall Panels, Architecture and Eco-Friendly Materials Reinvent the Gas-Station Experience.” http://www.metalmag.com/industrial-projects/helios-house.aspx Preston Scott Cohen Inc. 2013. “Tel Aviv Museum of Art.” http://www.pscohen.com/tel_aviv_museum_of_art_lightfall.html Schumacher, Patrik. 2011. “Introduction : Architecture as Autopoietic System.” In The Autopoiesis of Architecture, 1-28. Chichester: Wiley.

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Smith, Rick. 2007. Technical Notes from Experiences and Studies in Using Parametric and BIM Architectural Software. http://hokrenew.com/2010/02/09/bim-bam-boom-how-to-guarantee-greener-high-performance-buildings/.

Terzidis, Kostas. 2006. Algorithmic Architecture. Oxford: Architectural.

Williams, Richard. 2005. “Architecture and Visual Culture.” In Exploring Visual Culture: Definitions, Concepts, Contexts, edited by Matthew Rampley, 102-116. Edinburgh: Edinburgh University Press.

Woodbury, Robert. 2010. Elements of Parametric Design. London: Routledge.

Yehuda E. Kalay. 2004. Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design.

Cambridge, Mass.: MIT Press.

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IMAGE REFERENCES 1. Klein Bottle House Image obtained via: http://www.home-designing.com/wp-content/uploads/2009/07/klein-bottle-house-australia.JPG 2. Helios House Image obtained via: http://farm4.static.flickr.com/3220/2972898105_133cf38094_b.jpg 3. ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart Image obtained via: http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/ 4. Tel Aviv Museum of Art Image obtained via: http://candelafilms.files.wordpress.com/2012/02/amit_geron_tlv_museum_125.jpg 5. Walt Disney Concert Hall Image obtained via: http://beauty-places.com/wp-content/uploads/2012/10/Walt-Disney-Concert-Hall-Wallpaper-HD-.jpg

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DESIGN APPROACH

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2.1.0 DESIGN FOCUS This section of the journal will explore and explain the area of interest chosen. Evidence will be provided to illustrate design explorations that have been undertaken within case-studies and also general research. Specific techniques will also be used and further developed for the future design.

The chosen design approach will have a clear reason for its choosing, reflecting why it is the most suitable method in comparison to other approaches.

Our group selected the research field of sectioning. We believe sectioning offers: • A dynamic surface allowing for diverse manipulation which can relate to given inputs. • Flexibility both as a surface- the way in which the voids between each individual section can be controlled to represent information and also in terms of what views are created; control over what is revealed and concealed. • A practical approach to achieving the brief; sectioning allows for views to be framed and for the design to house single members while still maintaining a complete form.

The brief calls for an exciting structure to be designed, in order to create a defining experience for Wyndham. It is sectioning that is capable of representing natural or given movements and able to capture a moment in time rather than being a static object like many other techniques.

As put forward in Case for Innovation, I believe architecture needs to stand for more than just being an object. It needs to create discussion and/or harness a concept or meaning. This notion will continue to be probed throughout Design Approach.

As the brief calls, this project is about creating a new discourse for the city of Wyndham and we hope to be able to deliver that within our final design, using sectioning as a delivery mode.

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CASE STUDY 1.0 INITIAL DIRECTION Using our chosen research field, the following conceptual ideas were generated.

While they are quite sketchy, and still in the initial stages, our group feel they are a good starting point and I hope to capture how the following ideas have develop throughout the remainder of this journal: 1. Correlation between Wyndham City and neighboring cities.

Physically there is a change in topography. And that can then have a profound affect emotionally on users.

Wyndham is quite open, more natural, while the city tends contains harsher angles, linear shapes, compacted and constricted.

Plugging in points from the site’s contours to create a physical representation juxtaposed against the city-scape could be interesting to explore.

2. Using time as a motivator. Sections can represent moments in movement, perhaps simulate a natural or artificial process.

Explore the distances between each individual ‘slice’ of the section.

What could those distances represent? Speed, travel, growth, particles of time? Or could they be manipulated to represent something more conceptual? Could provide information or be left bare so it’s open to interpretation.

3. Using sections to elaborate/highlight/reveal areas or to block out and conceal certain points. What do we choose to reveal and what do we choose to conceal?

4. Illusions can be created or optical illusions. Added depth to the structure, experienced from before the approach.

This becomes quite suggestive, you can perceive something as being there, or not being there. Do different people view illusions in different ways?

The following precedents were used to begin investigating the capabilities of sectioning as a technique and to also commence forming some conceptual background to our project. Each precedent was selected based on what information or techniques could be extracted from the design and potentially be applied to our own.

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DESIGN EXPLORATION

Baker D Chirico by March Studios, Carlton.

Once you get past that this design in the home of some seriously good tasting treats, it’s Baker D Chirico’s fit out (2011) that totally encapsulates you from the moment you enter.

March studios designed the bakery shop front fit out using CNC routed plywood, which has formed an almost curtain falling sheet from ceiling down to the floor, strung across the wall, in an extremely undulated and fluid manner (Melbourne Design Awards 2013). This has been achieved through the use of sectioning which has resulted in an extremely compelling piece of work.

This design offers flexible solutions, both pre and post designing and construction.

The open spaces between each section are able to accommodate the areas and also voids needed. It also has the unique ability to be rearranged later, change according to mood/season or on a more practical level by being able to be slotted together or taken apart depending on what needs to be displayed. I find this to be a very interesting concept, where the architecture is no longer static and becomes almost interactive.

It [the design] also provides a literal representation of the shops agenda, using the fit out to convey program and activity. It becomes sculpture like, an aesthetic marker.

The design also draws users in from the street and acts as a conversation starter outside which can then be experienced internally. It’s simple in form and uses understated materials to form a piece of raw and exposed work, where the frame work and the elements behind the design can be viewed.

I think these are both very valid points in terms of a starting point for our own design. Incorporating some sort of interaction- whether that be physical or emotional is important, as a way of creating discourse for Wyndham City and its Baker D Chirico’s design that provides a realistic solution to some of the issues we wish to address. It’s uncomplicated and not trying to defy or over-power its surrounds.

I enjoy the way in which this project combines sectioning with a mixed shape surface. It creates an undulated form rather than a linear one. From a practical view point, I also think this fit out offers a resolution to the client, which is much like what we are being asked to achieve but on a different level and in a different manner.

The structure is able to be altered according to what is needed- bigger or smaller shelves, space for blocking out areas, space to highlight new products etc. I think this is a very captivating concept and one that could be further explored and applied to our own project. I also really enjoy the use of a more ‘raw’ material (plywood) in this case, which works to the advantage of this project and doesn’t overwhelm the space. This will certainly be another factor to consider within our own work.

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DESIGN EXPLORATION

Workshop Parametric Interactions by KG’MG architects studio, Kiev.

This project was formed as a result of a workshop held around the main topic of using software to design and create architectural objects, at the Kyiv National University of Architecture and Construction in 2012.

During the workshop, the idea that architectural spaces and structures should be optimized using digital methods and identifying the flow of people to ultimately form a piece of ‘public space’ was put forward. This piece of public space was also to include a number of varied functions (KGMG 2011).

First a method was applied, and that was to include minimal surfaces. Then, students were required to incorporate various functions in different scenarios. It was deemed that the most successful way to apply this technique would be to form a basic geometrical shape.

To streamline* and speed up the production process, the object was split layer by layer; this of course formed a sectioning formation, which tightly spaced intervals.

Using CNC technology, as Baker D Chirico did, each section was cut and fastened together with thread rods which are then evenly distributed across the cross section segments of the bench (KGMG 2011).

This project works in accordance with our own for a number of reasons.

Firstly, it too is servicing the public and users by being a public space. It needs to be functional and also have a level of interaction.

Secondly, it required modelling software to be used to achieve its design but also as a method for finding a solution to the practicality of constructing the piece. As discussed within Case for Innovation, projects such as this one highlight the need for contemporary computational design techniques.

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2.2.0 CASE STUDY 1.0 PROJECT TASK BANQ Restaurant by Office dA, Boston.

Case Study 1.0 provided us with a definition of a project that was to be dissected and reinterpreted using Grasshopper in conjunction with Rhino. Forming multiple hybrids and mutations was used as a way of beginning to consider how to apply sectioning techniques to our own design.

Located in an old savings bank, BANQ restaurant (2006-08) is a bar and dining space divided into two separate volumes. The areas needs to accommodate a variety of seating arrangements and activities and it is the ceiling that houses all the components to allow this relative open plan space to be possible.

A grooved wood-slatted system was developed to mask the view of mechanical equipment, sprinkler system, plumbing, lighting etc, this was done on the longitudinal axis and the result on the reverse side was a ‘virtual canopy under which to dine’ (Arch Daily 2013). And while the slats of wood comply with the equipment above, they also act as a binding between adjoining equipment, forming a seamless finish.

Customers receive brief views of the service spaces above, through lateral sights, this further exemplifies the illusion being created by the sectioning technique. This is certainly an element we wish to explore within our own design.

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Original grasshopper definitions provided.

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CASE STUDY 1.0 MATRIX OF OUTCOMES

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8 1. Direction and density of sections altered.

2. Section places were derived from a non-linear curve. This created quite an abstract shape.

3. Height of sections altered- extruded to different points. I find this iteration the most compelling as the form that has been created intrigues me and it could be interesting to experiment with those heights representing a dialogue such as the sites’ surrounding contours for example.

4. A new surface was applied to the definition to create an entirely new form. The result was an almost fan like shape.

5. Vector direction that sections were extruded at were altered. This created a change in the surface height, could be interesting to explore the depth of structures or apply another layer to the design by cutting into that depth.

6. Density and number of sections was manipulated. Allowed us to see how the number of sections and the space left between them can alter the look and feel of a design.

7. Density and number of sections was manipulated again but in this case the denser mutations created an entirely different look to the previous experiment. Appears a lot more ‘whole’ while still maintaining the sectioning technique.

8. Surface geometry was altered. Starting with the surface given, new surfaces were applied to the definition to create an entirely new form while still retaining the sections.

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CASE STUDY 1.0 OUTCOMES The different forms that were created were a result of changing the various parameters. Some forms explored were based more on a surface while others focused on the potential possibilities of sectioning.

Our design space consisted of creating a large scope of iterations and then analyzing which ones produced the most successful version/s and assessing how that could be applied to our own future design.

We were trying to achieve techniques that could help us inform our future design. However in the case of BANQ, the outcomes that produced were not entirely in keeping with what we wish to achieve. I feel this is because the BANQ definition is very location driven- it responds to the site (the restaurant) and wouldn’t be so successful in our own site- a vast open space beside a highway.

Architectural application= great for fit out, creates an extremely effective look. More of a surface than a structure.

However some of its principals are still able to cross over into our own, such as the way it has the ability to conceal certain areas and highlight others. Visually it is very captivating

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CASE STUDY 1.0 CONCLUSION After generating research, exploring precedents and using the BANQ restaurant definition; also keeping in mind key components that our group would like to incorporate as a response to the brief, the following concepts and design options have been generated moving into the next stages of this design journey. :

To define a unique experience for Wyndham City, rather than it informing the design.

Harnessing the key link between the brief, the site and the user. Concept of time, speed and how this is experienced becomes [in our opinion] the most relevant factor within this project.

Time and speed as a dictator: idea of manipulating the perception of time and speed. What that journey means and how the ‘experience’ for Wyndham City can be relived after the user has been exposed to the design; extend the experience, both physically and emotionally Emotionally leaving a lingering thought after a physical experience has taken place Achieved through the use of sectioning and manipulating the spaces between them.

Animation through movement: using the journey/period of time in which the vehicle experiences the design to cast an animation or message.

Experimentation with perspective: sectioning is able to exhibit different views at various points of view. Different angles at different distances could produce altered imagery. This could be extremely effective given the site is only experienced for approximately 30-40 seconds (travelling at approximately 100 km/hour), so any way of prolonging the experience or providing more than just one experience could be extremely beneficial.

Directly transposing a surface into sections: this idea has been a constant throughout our whole experimentation phase of Case Study 1.0. While it could perhaps be perceived as being too literal, it could also have the ability to cast extremely interesting imagery of perhaps the surrounding landscape, social issues within the muncipal or upcoming events for example. As stated within the Baker D Chirico precedent, sectioning allows for flexibility within design. The design can physically be altered according to season/mood.

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2.3.0 CASE STUDY 2.0 PROJECT TASK

Metro Station 20 Proposal by Peter Ruge Architects, Sofia.

Metro Station 20 Proposal was a design put forward by Peter Ruge Architects on the Metro Line 1 in Sofia. It is to connect the users from the city centre of Sofia to the airport as well as some other major commercial redevelopment plans.

Conceptually, the design aims at initiating active connections between harmonious architecture and the landscape.

Neighboring high-density housing blocks within the residential quarter informed the sites linear structure, while the angular orientation of the land prompts pedestrian traffic to flow to and from the station with the landscape as a division to the public space/s (Arch Daily 2013).

The main entrance is located at a corner plaza, linking public spaces with station services and the already existing bus service infrastructure which increases circulation.

What is perceived as the main entrance- the sweeping canopy made of steel elements and non-flammable canvas lining, which is then stretched underneath forming an undulating shield internally (Evolo 2010), is in fact the entrance hall which resembles a wave, pulling the structure up as the opposite side, the Plaza, pushes down into the ground to align with the entrance.

As a concept, Metro Station 20 aims to be a transit hub, connecting the daily flow of 120,000 commuters with public space and shopping areas, and incorporating copious amounts of natural light.

In terms of how successful the project was, as a proposal it appears to be able to achieve what it is setting out to achieve- a unique hub for transport that doesn’t limit itself to just transport. It allows natural light and ventilation to flow through the space and rather than being a static destination-based location, it has also incorporated public spaces as a way of responding to what travellers want and need.

The following pages show how our group re-engineered the project as well as explain the outcomes of the task.

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1. This iteration was our first attempt, where sections were used to intercept a loft. While it achieved some of the features of the original Metro Station 20 proposal, it lacked much more. Unable to achieve an smooth bottom surface. Each strip was cut off on an angle, hence not achieving a shape that would be flush with the ground. The slight curve to the arch of each strip was also a challenge and so was determining a way to allow each subsequent arch/ strip to be slightly smaller than the previous.

2. Used a different surface to begin the process. Firstly no angle was given to the shape, just extruded from the curve, this created a flat surface. This was then tweaked by inputting an angle however the response was not the desired look and the cut line was altered. Next step consisted of placing the angle in the correct position so that lastly, the form was able to be smoothed out. The result was a lot more successful than the previous attempt.

3. This line shows the above iteration in top view to illustrate the effect changes in angle had on the surface.

4. The last attempt was our most successful and result was an almost complete re-engineering of the case study.

This was achieved through applying yet another new surface which in turn proved to be correct.

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Grasshopper definition that provided successful outcome.

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53 of re-engineered Metro Station 20 proposal.

Prototype

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55 of re-engineered Metro Station 20 proposal.

Prototype

CASE STUDY 2.0 OUTCOMES While the outcome of our first few attempts at re-engineering Case Study 2.0 didn’t result in a structure that quite resembled the original definition, the more experimenting that was undertaken, the closer we got. At first there were certainly some components that weren’t translated in the actual design. These included each strip being cut off on an angle, hence not achieving a shape that would be flush with the ground. The slight curve to the arch of each strip was also a challenge and so was determining a way to allow each subsequent arch/strip to be slightly smaller than the previous. I suspect that these differences occurred mainly due to a lack of knowledge about how to achieve those elements using grasshopper. As discussed earlier in the journal, this can become quite frustrating when the skills are not acquired to communicate to the program what we wish to achieve. As we began to break down the components that were not working, it became a lot easier to revolve the issues on a case by case basis.

This particular definition allowed us to explore techniques that could further inform our future design. While we were not able to capture all of the elements of the surprisingly challenging design- we were able to regenerate more than its basic structure.

Had we not been constrained by the original form, it would have been interesting to explore some other components, such as the voids between each section, which relates more closely to what we wish to achieve within our own design. It might have also been beneficial to see if we could apply this definition to our own direction of ‘speed’, however I do suspect that this particular case study’s design would have been hard to manipulate a form that reflected this idea of elongation and speed/time, I feel a larger (in size) design is needed to evoke those emotions.

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CASE STUDY 2.0 CONCLUSION Case Study 2.0 has been an important part of our design process. Looking at the Metro Station 20 proposal was the first step we took in making decisions about what our future design should and shouldn’t incorporate and we were able to explore how that potentially could be achieved.

While Metro Station 20 did contain sectioning, its form for us was not so suiting. Over the course of case study 2.0, we have become more and more interested in this concept of the manipulation of time and speed and the relationship they both hold with each other and also the future users of the Wyndham City site.

In order to achieve such an effect, we believe our form needs to be more flexible in the design and also incorporate space between each section to allow this skew in perspective. These ideas and more will be explored in the next phases.

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DESIGN EXPLORATION Blaze Sculpture by McChesney Architects, Middlesbrough.

As our design exploration has evolved over the past modules, some precedents become more relevant to our design direction than others. One such project is the Blaze sculpture (2007) which was ‘designed to populate the disparate roadside verges of the A66 in Middlesbrough’ (McChesney 2013).

This strikingly similar brief to our own has meant that we have been able to study how a design solution was formed and apply some of those resolutions to our own design.

While Blaze does not deal with a concept such as the manipulation of time and speed, its design does form various perspectives for the passers by. This is achieved by positioning its 472 aluminium posts at varied angles, creating a crisscross pattern (Design Boom 2012).

The material choice within this project is also of interest, using gold anodized aluminum, the staves are able to catch sunlight which create interesting formations and the positioning of these posts are not fixed, which also allows them to move slightly with the wind (Design Boom 2012). This could be a very interesting idea to consider further into our own design.

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2.4.0 TECHNIQUE: DEVELOPMENT Following from Case Study 1.0 and 2.0, we began to develop techniques to achieve outcomes that could be applied to our design or explored further to achieve certain elements we wish to include.

We have chosen to continue with the design concept of manipulating the perception of time and/or speed and hope to achieve this through techniques incorporate intervals which we have observed as being the most successful way to alter the perception of time/speed. This is done by employing methods such as the ‘Kappa Effect’ which relies on stimuli (in our case the sections) to be shortened or lengthened to cause the temporal illusion that ones judgement of time is being altered (Pion Publication 2013).

The following stages illustrate simply our process.

STAGE ONE Testing the effectiveness of a change in space between intervals. This is to achieve the illusion of speed/distance.

EVEN INTERVALS.

DECREASING INTERVALS, INCREASED DENSITY.

DECREASING INTERVALS FROM APPROACH.

STAGE TWO Exploring spacing of intervals Travelling at 100 km/hour = 27.8 Meters per second.

Sections to be at 7.3M and 4.5M intervals to be most effective (American Institute of Physics 2011).

7.3 m.

7.3 m.

4.5 m.

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STAGE THREE Looking for a change in what is absorbed from various forms by peripheral vision.

HALF ARCH SHAPE WITH HOOD AT EVEN INTERVALS.

STRETCHED ARCH AT EVEN INTERVALS. You created this PDF from an application that is not licensed to print to novaPDF printer (http://www.novapdf.com)

ARCH AT VARIED INTERVALS.

STAGE FOUR Initial experimentation in form of structure.

This development can be seen below in matrix.

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TECHNIQUE: DEVELOPMENT MATRIX OF OUTCOMES

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1. Surface lofted from a curved line. Sections extruded and positioned to pivot off given line.

2. Boxes surfaces created, positioned on line and extruded. Angles altered to create clutter effect.

3. Two curved used and divided, then joined so that the line intersected. Height determined by distance between them and the line.

4. Surface lofted from curved line. Sections were extruded and rotated from that line. Two different surfaces intersected, both at different heights.

5. Two curved used and divided, then joined so that the line intersected. Height determined by distance between them and the line. Different angles created, resulted in a structure that would almost spill out on to land.

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1. Definition created to supply surface of dense sections (100 pieces) on curved surface. Experimenting with density and what it created.

2. Different algorithums created to form structures based off the colour of the lines given. Resulted in varied circular formations.

3. Experimenting with sphere shape, used algorithum to section surface and then split and alter its shape.

4. Image was referenced to move points on a surface, this then formed a representation of the given image.

5. Solid surface intersected with another solid surface. This was then sectioned, created a cave like structure.

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TECHNIQUE: DEVELOPMENT OUTCOMES Evaluation is a rational process (Yehuda 2004, 12) Following on from experimenting with the techniques that were gathered during the matrix exploration (above), we began focusing on deriving a form that better expressed what we wish to achieve. We did this by applying Kaylay’s “search” techniques. Yehuda describes the search process of consisting of two steps- producing candidate solutions and then choosing the right, or perhaps most suitable solution, which shall then be further examined and then repeated (Yehuda 2004, 18). And this certainly describes the process we have undertaken and will continue to do until a final design has been chosen.

The following search process’ have been identified by Yehuda (2004, 19): • Depth first. A favorable candidate is explored to its logical end, it either meets the goal, or fails. In which case another candidate solution is examined.

• Breadth first. A number of alternative ways to develop a candidate solution are investigated before any one of them is taken to its logical conclusion.

• Best first. All available candidate solutions are assessed, and the one which appears to be most promising is chosen for further development.

Below is an illustration of the direction our group is taking in regards to the form. I think we have followed more of a ‘breadth first’ method, where we have worked on developing ways to achieve our concept before looking to the form. However is some cases we have also taken a ‘depth first’ approach as seen below.

While we have not applied our interval technique (that evokes feeling of time/speed), we have began applying an undulating form to a solid piece that we can then apply this to.

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Sections have been created within a solid form, then trimmed using another surface and extracted to create an undulating form.

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Rendered images of initial stage/s of possible design.

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2.5.0 TECHNIQUE PROTOTYPE Material choice will play a huge role in the visual composition of our model. This is because materiality has the unique ability to completely alter and transform a structure.

In many regards, the elements we wish to incorporate within the design- such as light and shadow refraction and the physical movement of the structure, will be dependent on the materials chosen.

STEEL

MESH OVERLAY

I think using steel could create a really interesting finish to our form. Steel, depending on the finish can also be used as a reflector, which visually at night time would be very captivating for the driver.

Cements our form with the overall subject of Design Studio: AIR. Allows water to penetrate, air to flow through and a degree of transparency unlike many other materials. Visually could create a really compelling and abstract effect.

STONE

COPPER

I’m not quite sure whether stone would achieve the concept we have set out to complete; yes it would be sturdy and be able to be fixed into place as well as self supporting, however it isn’t flexible and would be hard to create a feeling of movement with a material that is so rigid. Nonetheless it could be beneficial to explore its use within certain elements.

Copper holds an earthy quality in my opinion, it ages with different conditions and I think in the given site, the copper colour against the greenland could appear really contrasting and beautiful.

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PRECEDENTS THAT HAVE EMPLOYED MATERIALS WITH SIMILAR CONCEPTUAL GOALS. Dynamic Performance of Nature wall Aims to change environmental perception for visitors by communicating global environmental information through an interactive interface embedded in the material of the wall (Vice Media 2013).

Multipurpose Hall Design Aimed at exploring relationships between material, performance & form. “Concepts of material, performance and form are inter-dependent” (ParaMaterial 2011).

Janet Echelman Artist who creates ‘breathing’ sculptures responding to nature: wind, water, light. Explores unconventional materials such as netting and wire.

Aims to create sculptures that the onlooker can get involved in rather than an object that is just simply viewed (Ted 2013).

Elements to function as separate segments, self supporting and linked directly to ground.

Assembly is most likely to be sequential, but this will depend on the final form chosen.

The position and orientation of the design is intended to make use of the length of the entire site while each individual blade’s position will be determined by how it correlates with the overall concept- manipulation of time. In saying this, we also wish to position the individual sections in a way that evokes a skew is perspective for the oncoming traveller.

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TECHNIQUE PROTOTYPE DELIVERABLES Following on from ‘Technique: Development’ we began prototyping our various techniques that we gathered during the matrix exploration above. We looked at the form, position and also the shadows cast by the varied configurations.

In my opinion some groupings worked better than others. I think the more successful options were those that showed their sections in a clear manner. I really enjoyed the shadows of the first prototype (second row below) which used a contour and city-scape line intersected into the shape, this resulted in shadows that appeared as buildings, which is something we had thought about doing earlier, at the conclusion of Case Study 1.0 but have since deemed it as slightly too literal. Overall, our technique of using intervals has proved to be most successful.

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FUTURE DIRECTION The next stage within our design process will be as follows: Refinement of form.

Focusing on executing our concept.

Will form reflect the most effective way to apply time manipulation?

Or will it reflect a deeper matter?

Adding of more substance.

In order to communicate this effect of time manipulation to the user, we hope to incorporate a secondary layer/element to our design.

This is so that it becomes less of a static object and holds more substance.

Further exploration of materiality.

Assessing the effect materiality will have on our final design.

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2.6.0 TECHNIQUE PROPOSAL The brief has asked for an exciting, eye catching installation that inspires and enriches the municipality. It shall be something that enhances the physical environment and have longevity and appeal.

While the form of our design continues to develop as we apply new techniques and ideas as well as fine tune other areas, it appears that our overall concept and direction will be successfully applied to the site.

This is because our key goal of creating a skew in perspective with time/speed being the main driver, relies on using sectioning, which by their very nature require vast space to achieve the aesthetic and emotional response we want.

This is where our concept gels with the brief and site. The Wyndham City site is a bare stretch of land, yearning for something to occupy it, something to reveal and highlight certain areas and create a buzz to the area. For our group, it seems only logical for the design to make use of the entire space provided, or at least a large proportion of it. This will in turn create a wider visual scope for the users to encounter.

My own belief approaching this project is also that the design needs to be fundamentally site relative and that it should be able to accommodate the areas needs, rather than being designed first and moulding the landscape to house it, in an attempt to fit in with its surroundings.

I feel our design is innovative and most of all relevant to the Wyndham City council because it aims at providing a defining feature that relates to what the user is there to do primarily- travelling and passing by. It also aims to be a concept that is experienced and re-lived after the driver has physically seen it. I think that if we are able to successfully achieve this evoking of emotions, it will truly be a unique experience and different to what the competition jury has seen beforeour design isn’t just about the static and fixed physical form, it’s about the notion behind it too. And while the concept will be a challenge to achieve, we believe we can overcome any issues that arise and in turn provide a much more preferable choice in design than other possible options.

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USER EXPERIENCE

SECTIONING SITE + BRIEF

SITE A

SITE A

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DESIGN APPROACH CONCLUSION Mid semester presentations asked us to focus on some new ideas we had not generated. The idea of time as movement was suggested and to think about the project as perhaps a piece of kinetic art.

It was also suggested that we approach explore a less fixed form.

While I’m not certain that quite fits in with our concept, I do think it raises a valid point in that we need to incorporate movement of some sort rather than a very rigid structure.

The whole Design Approach module has been quite a rapid and intense process. We began thinking beyond the physical design, more about the emotions we wish to evoke and then explored how we could best represent that physically.

The site and brief has always been our principal driver, we want the project to achieve what we set out to do; creating a unique and captivating piece in a site relative manner.

The next stage for us will be to really focus on a form that delivers what we have set out to achieve. It will be exciting, site orientated and help set a new discourse for Wyndham City.

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LEARNING OUTCOMES The shift of focus from Case for Innovation to Design Approach has been very fascinating. It has also been a very fulfilling experience to apply the information researched and acquired during Case for Innovation and utilize it in a more practical manner during Design Approach.

This module has seen our group begin with a concept and develop it over a number of stages conceptually, digitally and physically. The more we explore and venture into the design, the more refined our ideas become and it has been really intriguing to gain an idea, experiment with it, develop it and then start the process all over again.

I think a major advantage for our group is that we have always been realistic in our approach on all levels. We have assessed the brief and responded to it in what we feel is the most appropriate manner and realistic for our skill set. I still feel I lack many skills in regard to computational designing, however I do believe with a strong concept, a design that is both appropriate, applicable and adhering to the brief is achievable I am looking forward to furthering our design and making some concrete decisions about the final direction it takes.

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REFERENCES American Institute of Physics. 2011. “Slowing down speeders.” http://www.aip.org/dbis/stories/2006/15233.html Arch Daily. 2008-2013. “BanQ / Office dA.” http://www.archdaily.com/42581/banq-office-da/ And “Station 20 Proposal / Peter Ruge Architekten.” http://www.archdaily.com/198764/station-20-proposal-peter-ruge-architekten/ Design Boom. 2012. “McChesney Architects: Blaze Installation.”http://www.designboom.com/design/mcchesney-architects-blaze-installation/ Evolo. 2010. “Sofia Metro Station Proposal / Peter Ruge Architekten.” http://www.evolo.us/architecture/sofia-metrostation-proposal-peter-ruge-architekten/ KGMG. 2011. “Workshop Parametric Interactions.” http://kgmg.org/main.php?l=en&p=projects&n=39 McChesney. 2013. “Blaze.” http://www.mcchesney.co.uk/projects/middlesbrough/ Melbourne Design Awards. 2013. “Baker D Chirico.“ http://melbournedesignawards.com.au/mda2012/entry_details. asp?ID=10580&Category_ID=4750 ParaMaterial. 2011. “Multipurpose Hall Design . 01” http://paramaterial.net/2011/12/02/multipurpose-hall-design-04-2/ Pion Publication. 2013. “Temporal illusion called ‘kappa effect’ in event perception.” http://www.perceptionweb.com/ abstract.cgi?id=v050602 Ted. 2013. “Speakers Janet Echelman: Artist.” http://www.ted.com/speakers/janet_echelman.html” Vice Media. 2013. “Dynamic Performance of Nature.” http://gallery.thecreatorsproject.com/gallery/Dynamic-Performance-of-Nature/2467715 Yehuda E. Kalay. 2004. Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design.

Cambridge: MIT Press.

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IMAGE REFERENCES 1. Baker D Chirico Image obtained via: http://www.recitymagazine.com/media/97.258.1332225610.01-recity%20magaziene%20-%20Baker%20march%20 studio%20DC%20007.jpg 2. Workshop Parametric Interactions Image obtained via: http://kgmg.org/main.php?l=en&p=research&n=39 3. BANQ Restaurant Image obtained via: http://4.bp.blogspot.com/_p0SiaVlfkm0/S-5gr7DY0SI/AAAAAAAAAlw/Hre5UQ4ew3w/s1600/BANQ_restaurant_by_ Office_dA_photos_by_John_Horner_at_yatzer_6.jpg 3a. BANQ Restaurant Axonometric Image obtained via: http://www.recitymagazine.com/media/133.374.1337171495.1259702368-exploded-axo-582x900%20%281%29.jpg 4. Metro Station 20 Proposal Image obtained via: http://ad009cdnb.archdaily.net/wp-content/uploads/2012/01/1326145523-03-station20-perspective-from-main-plaza. jpg 5. Blaze Sculpture Image obtained via: http://www.designboom.com/weblog/images/images_2/2011/jenny/0-blaze/blaze01.jpg

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