Studio AIR
Leanne Wong [359847]
progress_journal
TUTORS: GWYLLIM JAHN + ANDY YU
ARCHITECTURE
as_discourse
“We tend to view architecture as permanent, as aspiring to the status of monuments.”
ALLISON ARIEFF (2011)
The idea of architecture as art is one of the most familiar and prevalent definitions of architecture. Previous stylistic forms have tended to be more concerned with aesthetics, rather than more spatial aspects of architecture, its relationship with its surroundings or its use. In this vein, this old school paradigm considers architecture as a hermetic, apolitical activity and we thus expect buildings to leave unique, lasting impressions as individual works of art (Williams, 2005). Architecture has often been synonymous with permanence and completion, but should it be? The problem with this definition is that it ignores the complexities involved with buildings being so intrinsically tied to society and arguably, leaves little room for adaptability. Architecture should be thought of less as a set of material products and more as a range of social and professional practices which can eventually, but not always, lead to buildings. Though contradictory, this perspective can lead to new technologies and approaches in architecture by encouraging a more global focus. And if new digitally-generated forms are anything to go by, this discourse design generates in the world heralds the paradigm shift from “a passive space of static coordinates to an active space of interaction” (Greg Lynn).
Previously conceived for an earlier design, this concept model sought to challenge pre-existing notions regarding architecture as simply being a set of material products. In particular, this model represented an ephemerality by being made of discrete, interlocking components suggesting portability and an ability to be deconstructed, and thus recreated. Additionally, the use of balsa wood was representative of the idea of taking conventional materials (such as timber, concrete etc), and re-conceptualizing them in new ways to create novel building forms.
CONCEPT MODEL | PERSONAL PROJECT
In the context of the Gateway brief, this rebellion against the notion that artistic and contextual architectures are mutually exclusive is particularly pertinent. The brief requires that the design “explore placemaking aspects”, whilst still being “eyecatching”, therefore this new discourse is of significant personal interest and relevance.
Located in Covent Garden, the Bridge of Aspiration links the Royal Ballet School with the heritage-listed Royal Opera house adjacent. This award-winning design has been widely recognized for addressing a number of complex contextual issues to create a bridge which acts both as a fully integrated component of the two buildings, and as an independent architectural element. In this manner, the Gateway Project brief demands a similar resolution: an installation which “integrates with the immediate and surrounding landscape” (Wyndham City Council). Designed by computer with engineers Flint and Neill, the simple idea of a rotating box was difficult to achieve and was produced using complex CAD geometry and handcrafting, As noted by Sara Hart (2004) from Architectural Record, “the footbridge, in the form of a concertina, twists from one facade to the other, becoming more sculpture than architecture.” This design therefore advances architectural discourse by highlighting how architecture can be functional and act as an artistic “focal point” (Wyndham Council) within an urban context. Additionally, aluminium was chosen for its lightness, with each component dimensioned on the computer so that assembling the prefabricated parts only took two hours for workers to achieve. Though fundamentally being quite geometrically simple, the Bridge of Aspiration shows how advanced geometry and digital tools can be used to push the boundaries in design, not only structurally (with its square portals), but also materially, by testing the limits of fairly innocuous aluminium. This idea, from a personal standpoint, of taking a traditional material and then shaping it into an aesthetically intricate design is something which greatly appeals as it appears to respond to two of the Gateway Brief’s seemingly contradictory notions: that of having “longevity” whilst also proposing “new, inspiring and brave” ideas.
“We look for a combination of efficiency and visual pleasure in our designs.” CHRIS WILKINSON (2006
6)
BRIDGE OF ASPIRATION | WILKINSON EYRE 2003__Royal Ballet School_England
Upon completion, the Bridge of Aspiration won multiple awards, with the most significant being, in relation to the Gateway Project, an award for Best Public Space. This bridge therefore not only connects with its client and their patrons, but evidently also with the general public.
SIGNIFICANT_AWARDS - AluProgetto Award 2006 - Footbridge Award (aesthetics/short span) 2005 - Aluminium Imagination Awards 2003 - British Construction Industry Awards 2003 - FX Awards, Winner of Best Public Space 2003
“Architecture should speak of its time and place, but yearn for timelessness.” FRANK GEHRY
Almost from the moment it opened in 1997, Gehry’s Guggenheim Museum Bilbao was hailed as one of the most important buildings of the 20th century. Gehry’s Guggenheim visually links the Basque city to the surrounding landscape and delivers a significant piece of Bilbao’s redevelopment puzzle. In this regard, Gehry’s design showcases the ability for a structure to be an “identifier for the municipality”, something which distinguishes the landscape from other areas and “encourages a sense of pride within the local community” (Wyndham City Council). As emphasised by one author, the Guggenheim Bilbao highlights the “power of a single building to instigate urban renewal and perform an architectural miracle” (Zulaika, 2004). Technologically speaking, Gehry’s ability to create such a spontaneous, organic design is due to what was a ground-breaking new computer advancement, CATIA (Computer Aided Three Dimensional Interactive Application). This software facilitated the engineering aspects of the project, processing data and integrating material specifications to calculate the mathematics of the construction. The material advancement that accompanied the software was titanium, chosen because it is an extremely corrosion-resistant, low-density metal that is more malleable than steel, without sacrificing any strength. Most importantly, titanium can be curved, allowing for the complexity of Gehry’s design. Like Wilkinson/Eyre’s Bridge of Aspiration, the design took the possibilities offered by the material composition and reworked it to achieve a new repertoire of surface effects. The resulting architecture is sculptural, expressionistic, and highly contextual whilst still being extremely distinctive.
SIGNIFICANT_AWARDS
GUGGENHEIM MUSEUM | FRANK GEHRY + ASSOCIATES 1997__Bilbao_Spain
- Time Magazine’s Best Design 1997 - European Museum of the Year 2000 - Communication Award, in recognition of the Museum’s contribution to spreading a positive image of the Basque Country 2000 - Prix d’Excellence, underlining the role played by the Museum as a fundamental element in the city’s urban revitalization 2001
COMPUTATIONAL
d e s i g n
“The current transition from Computer Aided Design (CAD) to Computational Design in architecture represents a profound shift in design thinking and methods.� ACHIM MENGES (2011)
Computers, by their nature, are extremely effective analytical machines. They can identify goals/constraints/parameters of the design, highlight inconsistencies or flaws, represent the solution graphically and numerically as well as assist with maintenance of the built form afterwards. As seen in the previous Wilkinson/Eyre and Gehry case studies, computers were used more to aid design, rather than actually simulate it. In contemporary architectural design however, digital media is increasingly used not merely as a representational tool for visualization but as a generative tool for developing form. In a radical departure from traditional architectural design, digitally-generated forms are not designed or drawn depending on the architect’s own aesthetic, but rather calculated by the chosen computational method. This then allows for a range of possibilities are produced from which the designer could then choose to further develop. Consequently, the relationships between design and representations are being reshaped to include computationally-generated complexities; innovations which are opening up new opportunities for conceptual, formal and tectonic exploration.
SURFACE EXPERIMENTATION WITH PAPER | PERSONAL PROJECT 2004_to present
VARIOUS PROJECTS | ATELIER MANFERDINI
Atelier Manferdini is a design firm which undertakes tectonic experimentation using a variety of materials and textiles. They take an interdisciplinary approach to design, delving not just into architecture, but also industrial design, engineering and fashion. Significantly, this interdisciplinary approach seems to be particularly pertinent as the project doesn’t exclusively demand an eye-catching, exciting structure, but rather something sculptural which reflects the fact that “art has become woven into the fabric of everyday life and a central thread connecting people and Wyndham” (Gateway brief). Materials, and their ability to be crafted to produce thoughtprovoking designs have always been of a personal interest to, an interest which has only been reinforced upon investigating new digital design techniques. In this case, most of Elena Manferdini’s work is based on the idea that subtle techniques can turn a flat piece of material into a shape or structure, and heavily relies on computer-aided manufacturing processes such as laser-cutting to create intricate patterns. Her work is an example of the way computing can aid the construction of more complex forms. Not only that, her approach demonstrates the way architecture can be enriched by merging multiple disciplines to consider new opportunities and forms for materials, rather than simply viewing them as construction materials. It should be noted though that Manferdini’s approach is limited mainly to producing two-dimensional effects, rather than actual structural forms, so the legitimacy of some of her works in the context of producing a structure for the Wyndham Gateway is debatable. Perhaps therefore we should take a leaf out of Atelier Manferdini’s book and use an interdisciplinary approach to merge structural theory with surface effects.
Whilst Atelier Manferdini tends to focus on surface effects, Matsys’ C_Wall demonstrates an integration between structural considerations and visual performance as a a part of ongoing research into honeycomb and voronoi geometries. In this case, computational tools are used to generate form, not merely assist manufacturing processes. The voronoi algorithm can be particularly useful as it can easily adapt to local contingent conditions and respond to inputted parameters, marking a shift away from static, permanent architecture. Through this process, it becomes much easier to produce structures that are responsive to local performance criteria/parameters, allowing for multiple possible solutions to be generated. However the C_Wall was not purely created using an algorithm, Matsys also had to integrate basic structural considerations to ensure that the wall could stand and support its own weight (the zigzag wall plan creates structural stiffness). Similarly to Manferdini, digital tools were then also used to aid in cutting out the numerous openings, allowing for a more delicate use in material, as well as assist in the assembly process. The complexity of the C_Wall demonstrates how computing can be used to create complex, intricate forms which are “original and engaging in form” (Gateway brief). Something which requires further consideration; Matsys’ method of generating multiple possible solutions marks a profound shift away from the old school paradigm of the individual design process and producing architecture on a caseby-case nature - are the two necessarily mutually exclusive?
C_WALL | MATSYS
2006__Ohio State University_USA
“Complex surfaces with integrated structures promise a quantum leap of engineering elegance and intellectual satisfaction.”
JOSEPH GIOVANNINI (2010)
This personal interest in materiality has inevitably led to research regarding monocoque construction. Previously developed to manufacture planes and automobiles, monocoque construction is now being applied to architectural forms due to the ability to create sinuous, streamlined forms - this construction technique supports structural loads by using an object’s external skin, rather than using an internal structural frame.
MONOCOQUE 1 | NERI OXMAN 2007__MOMA_NY
This project demonstrates the generation of integrated systems through design-authored computational processes. Therefore, unlike Manferdini’s and Matsys’ forms, Monocoque 1 goes beyond manipulating surface effects to promote heterogeneity and differentiation of material properties. Its innovative 3D printing technology provides for the ability to print parts and assemblies made of multiple materials within a single build, as well as to create composite materials. It too uses a voronoi algorithm to generate its form, however the vein-like surface lines also embody shear-stress lines and surface pressure, rather than merely being for effect.
CONTEMPORARY
scripting_cultures
“With a generative approach to creative production it is possible for there to be a clear distinction between what is generated and what generates, between the code and the resultant objects.” MARK BURRY (2011) By any definition, scripting is a fairly fluid term. It can offer new opportunities in the way of allowing operators to adapt and customise parameters around their own interests and methods of working. And for that reason scripting can afford the possibility of far richer outcomes for the same investment of time for the Gateway project, as well as help us escape the strictures inherent in using just any modelling software. Significantly however, scripted code also readily changes hands - a design force influenced by the innate human desire to share knowledge. The implication of such is the potential risk that code may become a cloning tool for less knowledgeable users to mimic their more talented counterparts. Or even more detrimental, the fact that scripting may only be used on a purely superficial level, and without the contribution of the narratives, references and history that enrich design. Therefore in digital design it seems that if scripting is to be fully beneficial to our project and allow a deeper engagement between the computer and user, design must remain at its core. As noted by Roland Snooks from Kokkugia, our interest as designers should be “how an algorithm, loaded with design intent, emerges from the design problem rather than simply the architecture emerging from a known algorithm.”
SIGNIFICANT_AWARDS - Love Lace International Award Lace Award [Digital Category] 2011
PRICKING | MESNE + SUPERMANOEUVRE + INDAE HWANG 2011__Powerhouse Museum_Sydney
MESNE’s Pricking engages with ideas regarding complexity, ephemerality and materiality within architecture. This interdisciplinary installation comprising of a real-time interactive multi-touch table and digital projection re-conceptualizes the connection between the ideal and the actual, medium and materiality through force directed algorithms. A collaboration between MESNE design studio, Supermanoeuvre and Indae Hwang, code was collectively written and shared on a collaborative database which allowed them to work simultaneously between Melbourne, Copenhagen and London. The designers used behavioural-based computational models embedded with material intelligence to allow visitors to redesign lace motifs in various different styles of lace; including knitting, tatting, crochet etc. Users are then invited to engage in and influence the ongoing generative process that can be evidenced on the table by designing their own lace patterns. A selected number of works are then cut out from sheets of paper using a lasercutter and displayed in the gallery adjacent to the table - an attempt in answering the question: “what happens if you apply computational processes to the historical notion of craft?” (Tim Schork, 2012). As noted by the designers, one unanticipated and interesting byproduct of these delicate cut-outs is that their material behaviour is no longer that of paper, but rather transformed into that of a fabric, just like actual lace. Consequently, since the system allows for completely fluid, unexpected interaction, limitless designs for lace patterns can be created - and owned - by the audience. The simplicity of the visual effects conceal months of very complex programming to create this interactivity where technique and design inform each other.
“The agency of our work exists in its capacity to cross-pollinate the worlds of architecture, performing arts, material and computer science, fabrication technologies and engineering.” MESNE (2012)
MESNE’s design philosophy is focused around the idea of a trans-disciplinary approach to design. Connections between and across domains such as architecture, engineering, computer science and other arts are valued in order for contemporary architecture to be realised at an urban as well as detailed design scale. As seen in pricking, MESNE also believes in actively engaging with industry in order to challenge pre-existing notions regarding process, aesthetics and modes of production. This philosophy could possibly be advantageous as one of the main criticisms of scripting, as previously mentioned, is the fact that designers may take a superficial approach to computational design rather than forming their own design intent. MESNE’s collaborative approach also opens up new opportunities for combining scripting code greater than the sum of the individual. Conversely, it should be noted that most of MESNE’s work is purely speculative. One significant challenge of scripting is the transition from the creation of inventive patterns and small-scale installations to full-scale architectural projects where scripting can influence an entire realm of opportunities for architectural space. The
VARIOUS PROJECTS | MESNE
issue of ‘style over substance’ therefore is inevitably raised, though debatable considering the interactivity, thoughtfulness and complexity Pricking achieved. Pricking is perhaps a combination of two of Burry’s scripting cultures: experimentation by scripting to “the answer” and a voyage of discovery. Hence, a key concern which also requires further consideration - what is the validity of using a computer program/algorithm to produce design solutions? Is it still design if everyone uses the same parametric equation, or is it the way we apply it to make it contextual and responsive which matters? The latter answer seems particularly applicable to the Gateway Project. Despite the pre-conception that scripting is only comprised of cold, hard logic, the previous cases for innovation show that scripting tools, similar to Grasshopper, can present opportunities that other forms of modelling cannot. For my interests and the EOI, scripting can capture material logic, provide deeper access to the imagination, engage with complexity, and even more specificially for my design and learning process, delve into the unknown. Therefore another aspect worthy of note is that the benefits and implications of scripting seem to be entirely dependent on the designer and as varied as each of their individual approaches. For the most part, my research has focused on the link between scripting and materiality, mainly because it is of personal interest. Just as I can be assured of the fact that of hundreds of design students, each of their scripting approaches will be dissimilar and varied, depending on their own predilections. Of all design inputs, whether they be digital or literal, the most precious to us as designers is our intuition. “We each have a unique story to tell.” (Burry, 2011)
DIGITAL EXPERIMENTATION | MESNE
CONCLUSION
case_for_innovation
“Art has become woven into the fabric of everyday life and a central thread connecting people and place”. WYNDHAM GATEWAY PROJECT The Wyndham City Council aspires for the Western Gateway Design project to inspire and enrich the municipality through a compelling and eye-catching installation. In this measure, the brief specifies that the installation propose “new, inspiring and brave ideas” as one of its key considerations. As a result, contributing to a discourse when designing the Gateway project is of particular significance, not merely because it can encourage provocative, probing questions to solutions, but because one of the challenges for the Western Gateway is for it to draw attention as an icon. Considering architecture as a discourse, or system of communications (Schumacher, 2011), allows for designers to explore the implications of a collection of knowledge and practices published in design and academic contributions. In this case, the aforementioned state-of-the-art case studies contribute to the architectural discourse by showing the capabilities of computational innovations in regards to materiality.
Case studies such as the Bridge of Aspiration, the Guggenheim Bilbao, Manferdini’s patterning and Mesne’s Pricking demonstrate the possibilities of using computing tools to manipulate and explore form and fabrication. In this regard, they provide inspiration for investigating the possibilities of applying computeraided design to simple materials, transcending their physical properties, and thus how they are eventually utilised. Materials themselves are endowed with meaning: they can evoke feelings, as well as trigger connotations. The textile analogy included by the Wyndham Council presents ideas such as “fabric”, “woven” and “thread”, further encouraging the exploration of not only materials, but also of intertwining the community’s aspirations with the resolved form. By using parametric modelling, we can also hope to explore multiple design possibilities and generate unexpected forms by combining computer scripting and brief specifications. In doing so, we aim to contribute to architecture as a discourse by creating a form which is not merely “eye-catching”, but attempts to speak to Werribee, and any passer-by’s, in a way which is meaningful and unique to the residents.
RESEARCH
cut_develop
SURFACE GRID + MATHS FUNCTIONS + DATA DRIVEN ROTATION
SURFACE GRID + IMAGE SAMPLER + DATA DRIVEN ROTATION
SINUOUS CURVES | SKINS
Using a set list of provided inputs, associations and outputs, a series of forms were generated in grasshopper. A select number of the most relevant to the EOI, or the most thought-provoking, were then recorded in anticipation of future projects. Using materiality as the core focus, the design process undertaken could best be described as “a dialogue� (Kalay) where our design goals are providing a loose direction, then as more solutions emerge they can help us uncover opportunities and limitations which had previously not been considered when the goals were first developed. In this regard, certain themes began emerging which seemed relevant to previous case studies and were thus organised in particular design ideas.
SURFACE GRID + IMAGE SAMPLER + DATA DRIVEN EXTRUSION
SURFACE GRID + MATHS FUNCTIONS + DATA DRIVEN EXTRUSION
Several outcomes which seemed of interest were the definitions which could create an organic, sinuous curve from numerous discrete, floating planes as well as individual extruded surfaces. The shapes created, particularly when aided by a maths function, seemed almost reminisicent of Neri Oxman’s monocoque shells and show how scripting can still generate dynamic structures when set within certain parameters. The variety of shapes and forms appear limitless.
EXPLICIT GRIDS + IMAGE SAMPLER + DATA DRIVEN ROTATION
SURFACE GRID + USING SETS + DATA DRIVEN ROTATION
EXPLICIT GRIDS + MULTIPLE FUNCTIONS + DATA DRIVEN ROTATION
SURFACE TEXTURES | PERFORATIONS The arrangement of circles over a surface creates the appearance of multiple perforations through a material. The positions of each perforation could create interesting visual effects, which ties into the Wyndham brief asking for each proposal to consider how the project would appear to passing motorists, and various other sightlines.
OVERLAPPING PATTERNS + CURVE ATTRACTOR + DATA DRIVEN ROTATION
OVERLAPPING PATTERNS + MATHS FUNCTIONS + DATA DRIVEN ROTATION
EXPLICIT GRIDS + MATHS FUNCTIONS + DATA DRIVEN ROTATION
WEAVING FABRICS | APERTURES The influence of using parametric modelling to generate design is particularly obvious in these definitions. In this case, simple geometric circles when intertwined can create interesting woven patterns, not unlike Mesne’s Pricking project. Initially, creating knitted designs was the goal in mind, however upon noticing the way specific definition combinations could create varying apertures and voids, my design focus shifted - demonstrating the ongoing dialogue between the goals and solutions within the context of the problem. The voids created in the surfaces are repetitive and stable, and the question is inevitably raised of the effect of cutting out multiple apertures on a material’s surface. Would it just produce an interesting surface effect, or would it change the properties or flexibility inherent to the material?
RESEARCH
reverse_engineering
RESTAURANT AOBA-TEI | HITOSHI ABE 2005__Sendai_Japan
Hitoshi Abe’s Aoba-Tei restaurant takes the form of a seamless, monoque structure establishing a visual dialogue between the two levels of the restaurant as well as the exterior shell and interior spaces. The curving steel surfaces run in a continuous S-shape to contain both the reception area on the restaurants lower floor and upper 30-seat dining area. Generated using computing tools, the skin’s outer surface, made from 22mm-thick steel plate, performs 90 degree turns as the walls bend into the ceilings. During the construction process, the difficulty of working the extremely thin steel interior plates (2.3mm) into complex geometries caused Abe to turn towards the expertise of the local shipbuilding industry (Pell, 2010). Key points in the form were heated and chilled, allowing for the steel plates
Image of a Zelkova tree, translated into a dotscreen for production as perforations.
1 boolean patterning + image sampler 2 explicit grids (rectangle) + image sampler 3 explicit grids (rectangle) +image sampler 4 explicit grids (hexagon) +image sampler 5 surface grids + image sampler 6 surface grids + image sampler 7 overlapping patterns + image sampler
to deform whilst still being structurally sound. In this regard, the Aoba-Tei restaurant demonstrates how sophisticated forms can be achieved by combining computing innovations with the knowledge of a material’s inherent properties and technical potential, thus making it an extremely relevant case for innovation. In addition to its structural role, the steel plates are perforated with a hole-pattern based on a photograph of a Zelkova tree canopy. Fabricated using a CNC router, the hole pattern was created using dots of diameters 4mm, 6mm and 9mm (Pell, 2010). The difference in perforation sizes and arrangement of the dots creates the image of the tree and the gradient lighting effects of the canopy.
Most importantly, difference in environmental conditions (lighting) show how perforations and materials can be imbued with more atmospheric, rather than simply form-finding, qualities. In order to recreate the Zelkova tree perforation design, an image of a tree canopy was inputted into the image sampler. Various inputs were then experimented with in order to see the different effects. Boolean patterning was inputted first, and whilst creating an impression of the tree canopy, the regimented dot arrangements did not have the same organic layout as Abe’s perforations, and thus also did not seem to create the same spatial feel. Explicit grids and surface grids were subsequently utilised and proved to be more successful. Experimenting with circle sizes and their proximity to each other also proved to be very important in reverse engineering Abe’s plates.
1
2
3
4
5
6
Ultimately though, layering two screens together created the most visually pleasing appearance, and created the same textural effect as the case study, (though the overlapping perforations are not technically the same as Abe’s).
7
MATERIALITY
e x p e r i m e n t a t i o n
Atelier Manferdini’s work research into materials is of particular interest, not merely because it creates an interesting textural effect on material surfaces, but because by approaching specific materials as if they are fabric, we may consider using them in ways previously unexplored. The arrow-cuts create a textural effect, however unlike Abe’s circle perforations which suggest texture and changes in gradient, the raised slits are more tangible. The incisions perhaps suggest to the viewer a tactile experience and encourages them to engage with the structure on a more personal nature, rather than simply being indifferent passerbys. Conversely, the otherside of the surface creates small openings through which visitors could view the outside world from a distorted perspective which is everchanging, particularly with different size incisions. Like Abe’s case study, it could also possibly blur the boundaries between the internal and external. Here, the attractor point was used in grasshopper in order to create cuts of various sizes and facilitate a less composed, more organic feel. The implications of the textural effect could perhaps be seen in regards to the materiality of the box board,
ARROW PERFORATIONS | PATTERNING EXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT
though which textural effect is necessarily more effective (tangible or intangible) is debatable and dependent on the project conditions. Disappointingly, the box board did not have any changes in structural properties and remained as rigid as ever. Therefore the group concluded that in order for the box board to bend or withstand more tensile forces, the cuts perhaps needed to be larger or the material of a thinner gsm
MODEL 1 | BOX BOARD
Like Abe’s approach, it was thus also quickly realised that in order to maximise material protential, combining computing tools whilst also recognizing material capabilities is needed.
MATERIALITY
e x p e r i m e n t a t i o n
Initial experimentation into cutting openings into materials was first noted in earlier case studies, however the possibility of doing so in grasshopper was not reinforced until the Cut matrix. As previously noted, the ability of simple geometric circles to create intricate patterns was of particular interest as it seemed reminiscent of Mesne’s woven/knitted creations. However the shapes formed from such experimentation in the matrix soon suggested the idea of holes or voids in the material. We therefore sought to explore the structural opportunities, or limitations, provided by cutting apertures into materials like Manferdini and Abe. The benefits in using grasshopper for the design was clearly noted during the fabrication process. The definition not only allowed the apertures to be scaled up or down depending on the material dimensions (i.e. parameters), but it could then also be inputted via rhino to the FABlab allowing for much faster completion.
EYE CUTS | APERTURES
EXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT
The aim of cutting cat-eyed shaped openings into the material was to transform the rigid card into a tensile, flexible surface and thus push the limits of traditional paper. Initial trials using box board were unsuccessful due to a combination of the apertures being too small, and the material too thick. In this case however, it was simply a matter of scaling the apertures up by a ratio of 2.5, using a material with a thinner gsm, then re-sending the rhino file to be fabricated. The result was thus an entirely elastic sheet of material with the ability to both shrink, expand and stretch, without ripping or requiring additional joints. The simplicity, yet effectiveness of this design thus provides future consideration for future models.
MODEL 2 | BOX BOARD + MUNKEN PAPER
MATERIALITY
e x p e r i m e n t a t i o n
SLITS | PERFORATIONS
ROTATION + IMAGE MAPPING + ORIENT Reverse engineering Reiser Umemoto’s Vector Wall taught the group numerous ideas in regards to strategically placed cuts. The ability of the openings to distort, expand and contract provides implications for adaptable, moving structures. The idea of a vector (in regards to directionality and magnitude) is significant in itself, though it implies the need for a constant pressure or control point to maintain its form which provides both opportunities and limitations. A constant pressure point means that the structure is entirely dependent on external forces, however by placing the control points thoughtfully, a number of interesting forms may be developed. Similarly, by changing the location of the points, there is the possibility that the installation may constantly change in shape, creating something which is original and engaging in form.
MODEL 3 | IVORY CARD
MATERIALITY
e x p e r i m e n t a t i o n
This pattern is an experimentation in using voids or openings to create weaknesses in material and thus imbue them with the same flexible ability of fabric. The image on the far right demonstrates an interesting optical illusion of sorts. On the right hand side, the pattern appears to be a web in which the diamonds are the voids rather than the X-shapes. On the left, the solidity of the diamond shape is more evident, whilst the shadow in the forefront shows the pattern as it really is, a series of X’s, rather than diamonds. This image seems to epitomise the idea of form being created from what isn’t there, rather than what its, not only from a structural perspective, but also from a visual standpoint.
DIAMONDS | VOIDS
EXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT
MODEL 4.1 | IVORY CARD The main difference between this model and model 2 is that the tensile properties apparent in model 2 are absent, despite the fact that they both made from the same material. This can be attributed to the fact that the diamonds are structually rigid in form, being akin to squares, but was only realized post-fabrication - again highlighting the importance of both digital scripting and physical modelling. Conversely however, the absence of numerous X-shapes has allowed the material to still be scrunched and deformed, albeit in a more controlled manner. This controlled deformation provides implications for more strategic, organized crumpling similar to the strategic cuts of the Vector Wall. I begin to investigate the initial stages of folding and origami tessellation.
MODEL 4.2 | DEFORMATIONS MUNKEN PAPER
MATERIALITY
e x p e r i m e n t a t i o n
The following model was an evolution in form from the previous design. Whilst the previous diamond pattern was an experimentation in creating voids, and thus weaknesses in materials, I subsequently began to wonder about doing the reverse. Therefore this pattern is an experimentation in using the most tenuous of connections and joints in order to create a flexible, rippling fabric - rather than using apertures and holes. A hexagonal grid inputted into grasshopper allowed for the diamonds to easily fit together (rather than using boolean patterning or a rectangular grid) as seen in previous patterns. In this regard, grasshopper provided the direction for this pattern as the idea of previously linking components had not occurred to me.
DIAMONDS 2 | JOINTS
EXPLICIT GRIDS + ATTRACTOR POINT+ ORIENT
The ability of the paper to now ripple, bend and deform at the slightest pressure, and significantly, wind, provides future implications for any subsequent models to be kinetic structures. As we have previously investigated the ability of materials to naturally deform, extend and crumple, it is perhaps inevitable that we consequently investigate the possibility of forms moving on their own, rather than requiring pressure or control points.
MODEL 5.1 | MUNKEN PAPER
MATERIALITY
developmental_matrix
The final group matrix visually maps the progression in design development and computing modelling to later, more sophisticated ideas. The varieties in form demonstrate the ability of grasshopper to generate a wealth of new possibilities by simply changing the parameters of a script. From initially experimenting with a number of distinct definitions, the focus gradually involved to focus on producing more textural, woven qualities. From here, woven patterning was simplified to simple components to better reflect the capabilities of the chosen material. It was noted that overly complex ornamentation would merely result in a superficial, surface approach to materials, rather than utilising their inherent properties. Therefore there is a distinct interplay between the materials motivating the design of patterns, and simultaneously, the patterns driving the final form of the fabric, particular with the addition of pressure.
MATRIX | DEVELOPMENT OF PATTERNING GRASSHOPPER MODELLING
CONCLUSION
r e s e a r c h _ p r o j e c t
FINAL MODEL | COMBINATIONS
MUNKEN PAPER + BOX BOARD + IVORY CARD
In particular reference to Kalay, our overall design approach could best be described as a dialogue. Preliminary grasshopper definitions and patterns were initially developed in reference to the chosen case studies in order to provide the process with a direction and sophistication found in notable precedents. However, the fabrication process itself would prove exceedingly informative and highlight the approaches which varied in degrees of success. Material choices became even more important in order to align with our main goal, namely, that we were exploiting the inherent properties of materials so that they are able to respond in unexpected ways.
“Like a dialogue between two people, each side learns from and informs the other, and the discussion weaves itself between the positions of the two parties.�
YEHUDA E. KALAY (2004)
Therefore there is an innate interdependency between the goals, the solutions and the design context, resulting in an interplay between individual research, computer generation and physical modelling. In this regard however, inspiration was derived not merely from the referenced case studies, but from an actual dialogue between group members. Each member was designing based on their own interests, their own chosen cases for innovation and even, their own proficiency at grasshopper. Thus a wealth of patterning possibilities were generated. The validity of our chosen parametric techniques, as simple as they may be, provide implications for computing tools in design. Parametric modelling is not about cold, rational logic and efficiency, but of applying definitions to facilitate and inspire design in a manner which is contextual, responsive and relevant. The varieties in form and distortion in materials in our final presentation are the culmination of weeks of experimentation, unexpectedness and whimsicality.
EOI
competitive_advantage
Our contention is to demonstrate the possibilities of applying computer-aided design to innocuous materials and transcending their physical capabilities.Throughout our research and experimentation, we have sought to reinforce the textile analogy initially presented by the Gateway brief. In regards to Wyndham: “Art has become woven into the fabric of everyday life and a central thread connecting people and place.� Therefore the installation will aspire to being not merely striking in form, but attempt to also speak to Werribee, and any passer-by’s, in a manner which is thoughtful and distinctive to the residents - namely, using artistic expression to connect to visitors on a universal level. When expressing a material through an architectural work we can consider its scale and texture as being somewhat dynamic. Individuals, when observing the environment around them, are instilled with their own distinct memories and perceptions. Therefore, as a visitor moves through a form, they will read the materials from different distances and angles, in different shades of light and shadow, and even different abilities in regards to physical touch. The less tangible, mood-creating abilities of materials, as seen in notable precedents such as the Aoba-Tei restaurant, encourage
a personal connection from visitors. Putting materials to best use, as we will demonstrate, involves an appreciation of their innate sensory qualities, as well as their technical potential, resulting in a form which is simultaneously “engaging”, “enriching” and “exciting”. Our approach of integrating parametric computing tools also allows us as designers to generate a wealth of innovative possibilities. In particular, we propose to take an interdisciplinary approach in a manner reminiscent of inventive studios such as Atelier Manferdini. The exploration of patterning and material properties drives us to utilise conventional materials in new, imaginative ways; focusing on folded, textural and “place-making aspects and qualities”. Based on this supposition, it is our goal to create an immersive installation which creates a memorable experience in travellers along an otherwise forgettable highway. The installation will act as a signifier for Wyndham and create links between those leaving Werribee and those entering; a poignant reminder of people’s origins and destination. Therefore, we aim to create an experiential structure which applies materials in a manner which is neither superficial or contrived. Rather, the installation will integrate materiality to reflect Wyndham’s own artistic community and the cultural aspirations unique to Werribee.
INTERIM
learning_outcomes
The idea of architecture as discourse has unexpectedly provided the main foundation for my learning in this subject. By considering architecture as a system of communications, rather than discrete, individual buildings, I’ve been encouraged to recognize the links and relationships between designs. In moving away from an hermetic, individually-driven design process and taking inspiration from a global scale, perhaps more wellconsidered and engaging forms may be generated. In this manner, the idea of choosing notable case studies to learn from proved extremely significant on a personal level as it forced me to reflect on the validity of certain designs, rather than passively accepting that all key ideas found in published designs are relevant or beneficial to my own work. My computing skills prior to commencing this subject were at a very rudimentary level, particularly as I had previously struggled to connect with the cold logic of scripting. However upon undertaking the digital tasks and integrating my own key precedents, the positives of computer modelling (outside of the obvious benefits in efficiency) have been highlighted. The process of experimenting with digital tools themselves, rather than fabricating any specific outcome, has personally been of the most value as they rely on the student to consider why they are using definitions a certain way, rather than how they allow you to arrive at a particular goal. The freedom in direction allowed with parametric modelling has perhaps been the most unexpected, but welcomed aspect. From a learning perspective, I acknowledge that my Grasshopper skills, at best, are still at a beginner stage. However the past few weeks have shown what you create with parametric modelling is only really limited by your own design approach and willingness to experiment, which is encouraging.
PART I
list_of_references
Arieff, Allison (2011). Embracing Impermanence: Why Some Architecture Should Be Temporary, NY Times. http://opinionator.blogs.nytimes.com/2011/12/19/its-time-to-rethink-temporary/. Accessed: 8/3/12 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8-71 Hart, Sara (2004). Floral Street Bridge, Architectural Record. http://archrecord.construction.com/projects/bts/archives/ bridges/04_floral/overview.asp. Accessed: 12/3/12 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press), pp. 3-62 Menges, Achim (2011). Computational Design Thinking (West Sussex, UK: John Wiley & Sons Ltd). Mesne (2012). Organisation: Agency of Work. http://mesne.net/blog/?page_id=2. Accessed: 15/4/12 Miller, Jason (2002). Frank Gehry (New York, NY: Michael Friedman Publishing Group, Inc.), p. 12 Pell, Ben (2010). The articulate surface : ornament and technology in contemporary architecture (Basel : Birkhäuser), p. 55 Plumley, Fee (2012). Mesne: Stitches in the Air: Computational Craft, Artlink Vol. 32, No. 1. http://www.artlink.com.au/ articles/3760/mesne-stitches-in-the-air-computational-craft/. Accessed: 7/4/12 Royal Academy of Arts (2006). Chris Wilkinson Interview with Royal Academy of Arts. http://www.royalacademy.org.uk/ architecture/architecture-resources/interviews/wilkinson-tells-a-story,206,AR.html. Accessed: 12/3/12 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28. Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116 Zulaika, Joseba (2004). Guggenheim Bilbao Museoa: Museums, Architecture, And City Renewal (Reno, NV: University of Nevada Press), p. 4
PROPOSAL
project_interpretation
Interpretation of the brief has led to the belief that the form attempt to be immersive and experiential in order to engage with passerby’s. The challenge therefore lies in integrating Wyndham City Council’s aspirations, the unique spatial aspects of the site and our own design objectives to create a form which explores “placemaking aspects and abilities”. As previously established, the main objectives of the group have involved the investigation of material properties in accordance with digital fabrication methods. Over the course of the semester, the seeming contradiction of solely using digital tools to create a form in the model world (which is devoid of time or environmental influences) for it to then exist in the physical world and respond to external stimuli, was also not lost on us. By understanding the technical potential of materials and enriching them with digital characteristics it is possible for us to create new opportunities in regards to performance and fabrication. Therefore, our aim for the Wyndham Gateway Project is to not merely design a form, but rather a behaviour. For the viewer, a tension arises between the conventional, comprehensible properties of a material and an unexpected formal logic that is not always evident at first sight. Passerby’s are encouraged to develop their own explanation or logic which rouses the senses, and thus, encourages “further reflection”.
PROCESS
p r o j e c t _ d e l i v e r y
Initial research regarding the site was concerned with enhancing the high-speed experience across the highway. It had been noted early during the design process that cars would play an important role in regards to the Gateway as they would be the primary visitors to the site. Their experiences travelling down the roads differ significantly from a conventional stationary perspective and thus need to be catered to. Experimentation with Grasshopper and an increased familiarity with its scripting logic emphasised the parallels between the movement of the cars along the highway, and the notion of vectors. Both involve a specific directionality and magnitude, with the main difference being that the cars move in a fixed direction along an unchanging axis, thus perhaps limiting the main potential of vectors: having dynamic parameters. It was with this idea in mind that we began to consider the resultant wind paths generated from travelling at speeds of 80-100kmp/h. Wind paths are ever-changing and unpredictable, and if a material could be informed with these same qualities then perhaps a form which expressed movement could be produced.
VECTORS | EXAMPLES
WIND MODELLING + FRACTAL WAVES
Thus, we then began to develop the idea of implied movement, so that our chosen materials would only appear to be rippling, and have physical properties not normally associated with it.
PROCESSING SCRIPTS | GENERATIVE DESIGN M_1_5_02_TOOL
In order to achieve these design aspirations, the group began looking at Processing scripts. Simply browsing the internet emphasised the enormous number of different codes and the wide variety of resultant patterns. The codes, however, which were of the most interest were the ones which were reminiscent of air movements and contours, or communicated a similar expressiveness. Ignoring the fact that the chosen scripts have the appearance of wind paths (in reality, they actually model noise waves), these Processing scripts were ultimately selected based on their actual coded performance. Here, the benefits and opportunities afforded by computing tools are made particularly apparent. Due to the parameters of the written code, the vectors are incapable of ever overlapping, irregardless of the densities of the individual lines. Therefore, complex, irregular cut patterns can be quickly generated and offer more intricate patterning in a way the previous weeks’ worth of repeated, uniform cuts are unable to. Additionally, the directionality and intensities of the vectors can be easily altered by simply sliding around a few parameters, allowing more freedom in the varieties of generated patterns to be later applied to material. The scripts, upon being selected, were then saved (at a particular moment in time) as a pdf file and imported into Rhino.
IMPORTED SCRIPTS | CULLED VECTORS Interestingly, though the scripts appear to be comprised of several long sweeping lines, once imported into Rhino it soon became apparent that they were actually made of several discrete lines. This fact makes sense when you consider the fact that every time a line changes direction, in that instance it becomes a new vector. That notion itself is absurdly simple, however it did admittedly force me to consider the mathematical properties of many of these concepts, in a way which is easy to take for granted when an algorithmic tool such as Grasshopper is ordinarily responsible for it. The sheer volume of lines imported into Rhino (often reaching into the 100,000’s) meant that in order to be fabrication-friendly, a large number needed to be culled. This was achieved by writing an extremely simple Grasshopper definition, which I managed to do using only a handful of components. In this manner as well, the efficiency of computing tools to complete time-consuming, mundane tasks is seemingly incomparable. There was an irrational sense of guilt that an unassuming definition could cull down 500.000 curves to 15,000 using a solitary number slider - the implications of feeling guilty for using a definition to make one’s life easier can perhaps be inferred by the reader. Is it really the Grasshopper interface that students must become accustomed to, or the notion of scripting cultures in design itself? Regardless, the definition was used to find a balance between simplifying down the cuts (particularly in regards to line proximities) whilst still retaining the expressiveness of the vector paths.
The vectors, after being culled, were then overlaid the site in order to match the main axes of the site (namely, Melbourne, Werribee and Geelong) with their own sweeping directionality. However in order to create a form, a voronoi definition was utilised in order to divide the cuts into separate panels for fabrication. The voronoi definition was chosen because of the irregularity of the panel sizes afforded by selecting particular attractor points. The benefits in having non-uniform sized panels is that, coupled with the varying densities in line cuts, we can experiment with how the material will respond to different surface areas and perforations. For the 1:500 model, cartridge paper was selected as its gsm gave the appearance of a more sinuous membrane. The aim was for the paper to mimic ideas regarding pre-tensioning, however we soon noted that when deformed, the paper was unable to retain the moulded shapes. Using our pre-existing knowledge from the previous weeks of experimentation into paper, we considered its porous, fibrous qualities and how to best utilise these inherent properties. By mixing a thin solution of PVA glue with water and then coating the paper, it was then able to easily bend without ripping, as the glue provided additional strength as a bonding agent. Additonally, once rapidly dried using a hair-dryer, the paper became extremely rigid and retained its tensioned form in a manner reminiscent to monocoque shells, or really, papier-mache.
VORONOI | IRREGULAR CELLS
For the 1:50 model, aluminium sheeting was chosen as we wanted to consider how the panels would operate using materials for its real-world construction. Time constraints however meant that we had no time to actually experiment with the metal itself, unlike our studies with paper, meaning that choices in thickness were not as informed as they could have been. The rigidity of the metal and the insufficient density of the cut lines meant that naturally deforming the sheets was not an easy task. Additionally, a heat gun was also used (as heat makes metal more malleable), however we were not able to achieve the same effect as we did with the paper.
FABRICATION PROCESS | 1:500_1:50 MODEL CARTRIDGE PAPER + 0.6MM ALUMINIUM SHEETING
Retrospectively, we could have perhaps worked with the metal more rather than against it and trying to enforce specific effects on it. The elegant subtlety of curves and bends seems to have been forgotten in the rush to produce exaggerated deformations.
FINAL
project_presentation Presentation of the final outcome primarily involved explaining the design process taken as it would not be immediately transparent to the viewer. In regards to real-world construction, a Grasshopper definition was used to divide each voronoi surface into a rectangular component system. This was deemed necessary as the size of each voronoi panel is quite large with some stretching across a distance of roughly thirty metres. Therefore, it would be entirely unfeasible for them to be prefabricated off-site as one panel, and then transported in. It was decided that each rectangular
panel be curved prior to arriving on site, and then assembled once in position. Precedents such as the Guggenheim Bilbao demonstrated to us the intangible, expressive qualities of metal, particularly after years of weathering and environmental changes. Being able to distinguish the individual panels. also seen in the Guggenheim, thus introduced a point of interest where the viewer can see the formal logic of the arrangement (repetitive and consistent) being distorted into something which seems incomprehensible from a distance. Metal as a material itself has properties which we believed appropriate for the real-life construction of this model. Metal generally has a high plasticity (in that it can be deformed quite radically before structurally failing) and tends to be extremely ductile (so it can withstand the stresses from hammering and bending). Though aluminium was chosen for the 1:50 panel, materials such as copper were also considered for their interesting weathering effects. The difference in appearance of the Gateway structure could differ quite drastically a few years down the track, providing opportunities for it to evolve with Wyndham rather than being a cold structure frozen in time. When considering this process, it soon became clear to us that one of the main problems was not having a completed digital model generated in Grasshopper. Therefore how would fabricators know how far the metal should be bent, particularly in relation to each other? This ability to go straight from computer to fabrication with a minimal amount of negotiation would thus perhaps be unattainable without first producing multiple prototypes with more informed decisions.
FINAL
model_presentation
FINAL MODEL | CUTS
ALUMINIUM SHEETING + CARTRIDGE PAPER
FINAL
design_amendments
In the week following the final design presentation, an entirely new model, and amended design approach, was undertaken. The key reasons for this lay in rectifying what was unsatisfactory about the previous model and most importantly, the fact that what was eventually produced did not match our original design intent. The previous model, particularly the metal, did not appear suggestive of movement, of being delicate and ephemeral, but rather it seemed heavy and unrefined. Whilst the group still admired the expressiveness and irregularity of the vector lines, once culled the lines became too short in length to actually result in making any significant changes to the material. That fact in itself had been acknowledged during production of the model, however fabrication requirements provided by laser cutters (mainly line proximities) meant that we unavoidably had to continually cull lines in a back-and-forth dialogue with the fabricators. The paper itself was more successful because it was done by hand, and thus could be edited as we went along as there were no such parameters to work within.
PROCESSING SCRIPTS | CODE IRIS FIBRES
As a result of the simplication of the lines, much of the original complexity of the vectors and the expressive movement was lost, particularly once the cuts were also divided into individual panels and became separate from each other. The vectors themselves did not have much of a relationship to the voronoi panels or inform their shape, which also resulted in the panels looking discrete and individual, rather than as a part of a larger picture. In order to combat those main areas of dissatisfaction, the group went back and looked at what aspects of Processing scripts initially drew us in and appealed to us. In the weeks leading up to the final model, lines from an Iris Processing script had been investigated, then discarded as the overall form was too restrictive as a circle. However, upon looking back at the cuts made from tracing paper, the long, sweeping lines had the same expressiveness as the vector patterns, without the problem of short line legnths. Additionally, we were reminded of the benefits of using tracing paper as it was not as flimsy or prone to tearing as paper, however it allowed us to experiment with more tensile qualities.
In a bid to incorporate digital materiality in a more considered manner, the group stumbled across the idea of Rheotomic surfaces. This grasshopper definition generates flowlines which emerge as a result of a pre-made, complex mesh. Whilst attractor points (of sorts) decide where the lines intersect and then repel each other, the curves of the mesh itself dictate their directionality. Here, the surfaces are generated first as complex heightfields, then the flowlines emerge as result of their form. Consequently, there is a distinct interdependency and relationship between the prescripted, deformed surface, and the contour lines. This idea contrasts sharply with what the group has attempted to do in the past; whereby any deformations are decided post-fabrication. As a result, we attempted to generate our own mesh over the site, and thus apply this definition to it so that the material may be informed with digital behaviour. However the ability to script a mesh rather than a simple NURBS surface was too complex for us and disappointingly, beyond our capabilities. The idea itself though was incredibly thought-provoking and inspiring (particularly after our disillusionment with the previous model), and experimentation with the flowlines themselves led to us still attempting to incorporate this definition into our design. We thus used the attractor points of the definition to play around with different line intensities and directionality in order to explore a wealth of different line arrangements in a short space of time.
RHEOTOMIC SURFACES | DANIEL PIKER GENERATED FLOWLINES
SITE PLAN | MODEL LOCATION CUT SAILS
After experimenting with the Rheotomic surfaces definition, we looked at designing our own tensioned surfaces in a more considered way than the voronoi panels placed arbitrarily over the site previously. The overall form with these sails themselves (due to their tensioned surface and response to wind) seem more expressive of movement than what was previously generated for the first model. The definition was then applied to these surfaces so that the contours followed the natural curve of the sails and were informed by their shape. Specifically, the contours change direction everytime the sails bend or have a curve, so that longer sweeps of the curves result in the contours also being longer, whilst shorter areas had shorter contours, but with increased density in a manner similar to actual landscapes. The logic behind this was so that the contours would follow the natural curves of the sails and their main points of axis, thereby showing the different capabilities of the material. We predicted that perhaps the material would not pull apart as much in areas where the cuts were shorter, however their increased density would still allow those areas to bend, albeit in a more controlled, tensioned manner. Similarly, the areas with longer, sweeping cuts can be pulled apart quite radically and almost behave as separate strips, rather as one whole surface. Voids in cuts were left to contrast against this.
AMENDMENTS
project_delivery
For the actual structure to exist in the real world, we turned towards other tensioned precedents found in architecture. We wanted the form to move in the wind and act in a manner actually reminiscent of sails. Therefore rather than simply implying movement, the cuts would be more subtlely used and not radically deformed. Wind would instead be used as one of the main drivers for its changing form, and as this Studio is named ‘Air’, it seemed to be quite fitting. Structural principles found in simple tensile structures like tents thus provided inspiration for how it should be constructed. The way these structures operate is fairly simple, yet also extremely effective at withstanding environmental influences (hence camping). Based on this research we chose PVCcoated polyester, not only because is it typically used for tensile architecture, but because it is a woven, lightweight and waterproof material. From here, we wanted to incorporate fibreglass poles and thread them through the polyester surfaces in order to help the cloth retain its shape at such a large scale, whilst simultaneously letting it be flexible enough to gently move in the wind. The joint details on the opposite page demonstrate how the structure will work using fixed points to control movement and tensility. The simplicity of these key components and the ease in construction means that the structure’s form could perhaps be changed and altered depending on Wyndham’s own desires. The fact that the structure is made of fabric allows for the sails to be dismantled, rolled up and transported without too much difficulty. This also allows for the structure to be quite easily maintained as well. In order to suggest these fixed points in the 1:500 model, small nails nailed into the tracing paper were used to tension the surface at key points and produce specific physical responses. Most importantly, the nails work in a manner similar to how tent pegs operate and allow for the curved surfaces to sway, yet still bend back into its original position.
TENSILE STRUCTURES | CONSTRUCTION JOINT DETAILS
As a group, we have sought to investigate the use of materials so that they do not appear primarily as texture or surface, but in their whole depth and plasticity. The synthesis of two distinct realms, the physical and digital, gives rise to new opportunities in regards to efficiency and fabrication, whilst retaining the natural uniqueness of the material. Considering how the material may be utilised in a real-world scenario has also provided opportunities and inspiration in regards to its form and function. The flexibility The cuts along the sails are digitally parametric, but then again so are the surfaces by operating within specific fixed points in the physical realm. The structure is thus flexible and responsive, both environmentally and in relation to the preferences of the local residents. Allowing people to provide feedback and inform the structure’s resolved form, not just the designers, creates a level of engagement that goes beyond cars simply driving through an immersive overpass.
“Architecture is not a profession that can be reduced to optimization, but a multifaceted cultural production. It is digital materiality that makes visible the thoroughly human dimension and quality of production.�
GRAMAZIO + KOHLER (2008)
Years down the track when the designers have long moved on, when Wyndham City Council has seen multiple changes in authority, when the demographics of Werribee have evolved, this structure will still be relevant. As long as people remain curious and free-thinking, the possibilities in form are endless. The form serves more as an installation, rather than a static, unchanging structure which may eventually become obsolete. We propose that the structure be changed in accordance to key cultural activities, and serve to be an icon in itself. We are thus designing a behaviour, both in regards to structural considerations and our own human responses, and avoiding simplistic ideas merely concerned with outward form. Thus this structure is responsive, thoughtful and ultimately desirable, for the Gateway brief.
AMENDMENTS
f i n a l _ d e s i g n
FINAL MODEL | SAILS TRACING PAPER
CONCLUSION
r e s e a r c h _ p r o j e c t
Retrospectively, the design process itself rather than the finalised form presents wider implications for what the group learnt over the past semester. Additionally, attempting to present a cohesive conclusion which neatly summarizes the project does more to highlight how the model could be resolved further, rather than its better attributes. This final act, of reflecting and critically analysing our own design process, has been present throughout the semester and has thus encouraged us to become more accustomed to evaluating our own approaches. By doing so it is possible to acknowledge aspects which have been unsuccessful, and which in turn can be learnt from. In this regard, there are a number of areas regarding the model that could be further explored. The main point of improvement would be for the group to explore the deformation of material in more of a digital capacity, rather than leaving it entirely to the physical fabrication process. Pre-lofted surfces in Rhino and integrating Kangaroo were briefly explored, but difficult to accomplish given our basic skill sets. Given more time, I would definitely continue along those lines of exploration. Perhaps more of an informed methodology could in turn lead to more controlled, easier to predict results prior to construction. Additionally, it would be useful to complete more of a critical analysis of the potentials of wind, either as a site analysis for Wyndham/the highway, or more significantly, in regards to more structural aspects. Admittedly, the route taken for the final model, though interesting, was certainly superficial in some aspects and would definitely benefit from perhaps a more thoughtful, refined response. The second model, particularly in comparison
to the first model, does attempt to achieve this, however using meshes, rather than NURBS surfaces, was beyond our capabilities within the time frame. Another significant area for potential development lies with material choices. The previous model’s use of metal was perhaps more of a failure because we hadn’t given it enough due consideration. Experimenting with cloth material however, has been a persistent interest for us as a group. Rather than utilising tracing paper, the actual inherent properties and capabilities of a woven fabric could offer unique structural opportunities. Natural woven patterns have different strengths in different directions, therefore possibly providing tensile qualities not evidenced as of yet. In hindsight, I suspect that the group was reluctant to design a form using purely digital means as there exists this inherent mistrust of computational simulation, particularly regarding a physics engine such as Kangaroo. Trusting that which is intangible, purely theoretical and not immediately comprehensible can be a significant challenge, irregardless of the concrete algorithmic logic. The final model is far from perfect, though a definite improvement on the previous one. Acknowledging where we went wrong and what we would potentially improve however provides further inspiration and opportunities for future progress, not only in regards to the model’s potential, but for us as designers.
BACKGROUND
learning_objectives
Prior to commencing the studio, only a vague awareness existed of the subject’s key learning objectives and aspirations. To the best of my knowledge, digital modelling and scripting was to be the core focus, and Rhino and Grasshopper the main tools to achieve this. My primary learning goals therefore simply were to develop more of an appreciation and working knowledge of design tools. Beyond that however, Studio Air’s focus on digital architectural design introduces associative and performance-based processes. The implications of such are that conventional relationships between idea generation, form and material are changed, and a greater integration of diverse requirements demanded. Consequently, as the semester wore on those original, one-dimensional learning objectives that I had set for myself began to gradually evolve in accordance to these complexities. What had initially been quite a simplistic desire to cultivate modest computing techniques soon began to develop in order to include an understanding of the significance of architectural discourse, as well as the intrinsic capabilities of parametric modelling. More specifically, selecting a main area of focus meant that I soon wanted to become more ambitious with digital and material experimentation, fabrication methods and even when establishing a convincing argument in response to the brief. In hindsight, if my learning objectives had not evolved at all over the past twelve weeks, then that would possibly be quite a telling indicator of an inadequate level of engagement. This studio, and digital design itself, explores complexities in order to make a meaningful contribution to architectural discourse. Therefore it seems only fitting that our learning objectives be as indeterminant and subject to change.
PERSONAL
l e a r n i n g _ p r o g r e s s
“In expanding the field of knowledge we but increase our horizon of ignorance.” HENRY MILLER (1960) As previously acknowledged, my working knowledge of scripting tools, such as Grasshopper, was next to nonexistent prior to beginning this studio. That fact in itself had never been of a particular concern as priority tended to be placed on utilising other, perhaps more conventional, modes of modelling software. Throughout the weeks however, the relatively carefree unawareness I had prior to starting the semester was soon replaced with a growing sense of apprehension. An odd paradox of sorts had begun to emerge; whereby the more I learnt about scripting, the more I was made painfully aware of how much I didn’t know about scripting. Gaps in knowledge became more evident, and technical proficiencies perceived as inadequate. My learning ojectives themselves, as previously mentioned, changed as the more I learned, the more I wanted to accomplish. Solutions now needed to be found for ideas which had never before even been considered. As I suspect was the case for many, the main challenge therefore was attempting to reconcile this desire for more knowledge and a better skill set, with the dismay that inevitably came everytime a technical wall emerged. Retrospectively, perhaps what has made the most profound impact on my learning process is not really all the skills I’ve purported to have learnt, but really the process itself. Feeling out of one’s depth was a common occurrence, but it was thus also quite a profound driver for students to keep experimenting.
FINAL
learning_outcomes
Admittedly, a lot of mistakes have been made over the course of this semester. The difference with mistakes in design however, in comparison to other disciplines, is that our mistakes still offer the potential of new avenues of opportunity. With each mistake made and acknowledged by the group, w e have still managed to learn key ideas from these moments - even if it’s simply learning what not to do. More importantly than that, creating something which is unsuccessful only increases one’s drive to figure out why it was so, and thus the desire to keep refining becomes inherent to the design process and intuitive to the designer. On a broader sense, this subject has provided a variety of learning outcomes, not just those relating to scripting and fabrication methods. Formulating an argument, as mentioned multiple times, has been extremely important in creating direction as well as a sophistication in conceptual ideas. When mentioned early on in the subject, the notion of an argument seemed hollow and unrelated to the design process. Yet, now I have felt it to be of the utmost importance in navigating the wealth of complexities found in the architectural discourse. In a similar manner, I felt that a better ability at interpreting a specific brief was developed. By having a specific argument, the group did not feel pressured to design a form which had to respond to/achieve absolutely everything. This proposal is after all an interpretation and cohesive organisation of our own thoughts, not simply pleasing some omniscient client.
And in comparison to past design studios, we have had a glimpse into actual real-world, practical knowledge in regards to fabrication. Learning what is feasible, getting quotes, making material choices and working within the time constraints provided by the fabricators has been invaluable. Lastly, and perhaps most significantly, critically analysing my own design process has forced me to evaluate the relevance and depth of my design choices. Rather than continuing along some arbitrary tangent without taking a step back to acknowledge any flaws, I’ve been encouraged to keep making amendments, to keep refining and to accept the fact that whilst the final model may not always be successful, that in no way means the design process itself was.
CONCLUSION
f u t u r e _ w o r k
“Who are we, who is each one of us, if not a combinatoria of experiences, information, books we have read, things imagined?” ITALO CALVINO (1993) On a simplistic level, it could be merely concluded that the technical skills acquired over the past semester can now be applied to future design studios. Complexities, which were previously absent in student work, may begin to emerge and designed forms also potentially generated with increased efficiency and variety. This obvious conclusion however, particularly when casually drawn, ignores the wider implications of the design routes taken and the methodology explored by students. The final outcomes, and the journals themselves, reveal a different kind of thinking from the usual linear approach employed when attempting to rationalise project requirements. Instead, for many students it seems that they’ve been encouraged to integrate a number of diverse requirements in order to produce a final design. In addition, the fact that students are now slightly more familiar with the Grasshopper interface, almost (but not entirely) seems like a happy by-product of a more profound series of thinking. Researching a number of case studies and precedents, skimming through readings, blogs and even trawling through the Grasshopper forums themselves impressed on me one simple, yet signficant fact: There is a lot of really cool information out there.
Thus, ignoring all the already previously acknowledged complex, sophisticated precedents, what has perhaps had the most profound impact on me is the wealth of distinct approaches shown by designers. More than that, their different modes of working, different ways of thinking and different interests are what seem to shape their radically different and unique outcomes. In this journal I’ve referenced a number of key ideas by designers and thinkers, not to fill some arbitrary quota of references, but because they’ve underlined extremely thoughtful, and previously unconsidered, perspectives. The gradual evolution of my learning objectives, from being relatively simple to eventually becoming more specific, also highlights a shift in personal aspirations in accordance with a growing awareness of the possibilities of computational design methods. This acknowledgement of the wealth of information existing within the design community has, I believe, encouraged many students to be slightly more ambitious and considered in their approaches. So, if you were to ask me what I’ll be taking away from the past twelve weeks, I’m not sure if I would be able to answer you in one sweeping statement, nor do I think that I should be able to. I’ve been intrigued by the ambiguity of parametric modelling, and in a lesser sense, this subject as well, because hardly anything about design (and by extension the people who design), is ever fully transparent. It is as prone to individual whims, experiences and inspiration as we are.
PARTS II + III
list_of_references
Calvino, Italo (1993). Six Memos for the Next Millennium, republished (New York, NY: Vintage International Books), p. 124. Gramazio, Fabio & Kohler, Matthias (2008). Digital Materiality in Architecture: bridging the realms of the virtual and the physical (Baden, Switzerland: Lars M端ller Publishers), pp. 178 - 181 Iturrizaga, Daniel (2010). Generative Design Code. http://www.generative-gestaltung.de/M_1_5_02_ TOOL. Accessed: 18/5/12. Miller, Henry (1960). The Wisdom of the Heart, republished (New York, NY: New Directions Publishing) Open Processing (2010). Iris Fibres. http://www.openprocessing.org/sketch/9738. Accessed: 18/5/12. Piker, Daniel (2012). Rheotomic Surfaces and Flowline Generation Tool. http://www.grasshopper3d. com/profiles/blogs/rheotomic-surfaces-and-flowline-generation-tool. Accessed: 30/5/12. Schneider, Martin (2009). Doodle 3. http://www.openprocessing.org/sketch/6742. Accessed: 18/5/12.
STUDIO: AIR_LEANNE WONG {359 847}