GROWTH & MOVEMENT ADS 3: AIR Journal Madeleine Hodge
CONTENTS PAGE
PART 1 - EXPRESSION OF INTEREST 1.1 Case for Innovation 1.1.1 Precedents: Architecture as a Discourse 1.1.2 Precendents: Computing in Architecture 1.1.3 Precedents: Parametric Modelling 1.1.4 Case for Innovation Conclusion
4 5 -7 8 - 11 12 - 13 14
1.2 Research Projects 1.2.1 Input/Association/ Output Matrix 1.2.2Reverse-Engineered Case-Study 1.2.3 Research + Ideas for Development 1.2.4 Additional Precendents 1.2.5 Material Effects 1.2.6 Grasshopper Fabrication 1.2.7 Research Project Conclusion
15 16 - 17 18 - 19 20 21 - 22 23 24 - 27 28
1.3 Expression of Interest Conclusion: Competitive Advantage 29 - 31 PART 11 - PROJECT PROPOSAL 11.1 Project Interpretation 11.1.1 Design Refinement After Interim
32 33 - 34
11.2 Project Delievery 11.2.1 Advanced Computational Approach 11.2.2 Form Finding + Design Process 11.2.3 Fabrication Process 11.2.4 Construction Research and Detailing
35 36 - 40 41 - 43 44 - 46 47 - 48
11.3 Project Presentation 11.3.1 Photography 11.3.11 Line Drawings 11.3.3 Project Presentation Conclusion
49 50 - 53 54 - 55 56
PART 111 - Learning Objectives and Outcomes: Final 111.1 Personal Background and Learning Objectives 111.2 Learning Progress 111.3 Learning Outcomes 111.4 Future Work
57 58 59 60 61
PRECENDENTS: ARCHITECTURE AS A DISCOURSE I.1.1
“It is a magnificent example of how a single building can redeem a moribund urban environment.” - Nicolai Ouroussoff, journalist for the New York Times.
Guangzhou Opera House Zaha Hadid Guangzhou, China 2010
As mentioned in Richard Williams’ article ‘Architecture and Visual Culture’ architecture can act as a symbol, being an icon of a particular city or area.
1.1 CASE FOR INNOVATION
1.1.1 Precedents: Architecture as a Discourse 1.1.2 Precendents: Computing in Architecture 1.1.3 Precedents: Parametric Modelling 1.1.4 Case for Innovation Conclusion
Guangzhou Opera House, has helped to establish the city of Guangzhou as a city of art and culture. Predominantly an industrial and trade city to present, the aim of the project is to create something to represent the change within Guangzhou. This identity change was possible because of its beauty, grand scale and poise - something very unique to this area. This building extends the architectural discourse as it uses forward-thinking techniques that have not been used in China before.This has led to some problems with the construction of the building (mainly to do with unskilled labour).
- Usam Haque of Pletts Haque.
Wyndham Proposal: After studying the Western Gateway Design Project Brief, several key points have been noted.
Blur Building Diller & Scofidio Switzerland, 2002
The Blur Building in Switzerland expands architectural discourse as it is known through several groundbreaking techniques. It has a steel support structure but is clad in highpressure water creating a cloud or mist around the structure.This new form of building is experiential and changeable beyond what has been done before. “Entering the Blur Pavilion is akin to stepping into a habitable medium; one that is formless, featureless, surfaceless and dimensionless” - Lakshmi Sandhana, journalist.
I.1.1
PRECENDENTS: ARCHITECTURE AS A DISCOURSE
“[The Blur Building] proposes new ways of thinking about architecture, opening up our minds to what architecture can be...”
The building is does not conform to traditional building methods which is what makes it some remarkable. As Usan Haque remarked, it really questions the very nature of what architecture is and how it could evolve in the future.
1. The gateway needs to symbolise the growth and increasing art/ culture of the district. 2. The design needs to be iconic and easily linked to the area. 3. Several readings of the gateway to be preferred - so there is something for everyone. 4. The gateway will be viewed at high speeds (up to 100km/ hour. This means that the gateway needs to be high impact and easily read. 5. The design will need to cater for several different times of day (ie. day and night). 6. The gateway needs to appear dynamic without moving parts. Precendents: Precedents as mentioned before could be used for this project for several reasons, these ideas will be further explored. The Blur Building is a unuique building, using new technology to create a new type of building. The Wyndham proposal is the perfect setting to explore new techniques and ideas, because the gateway needs to be forward-thinking and dynamic to show the increase in culture and technology to the area. Guangzhou Opera House is also an important example as it shows what an icon can do to increase the cultural identity of an area. This is exactly what what Wyndham is seeking to do. Because of this, similar ideas can be used, such as parametric design, use of new materierls or materials in new ways.
“[The] computer is only a tool, not a partner - an instrument for catching the curve, not inventing it.” - Frank Gehry
Experience Music Project Frank Gehry Seattle, 1997
This project by Frank Gehry uses CATIA software that is often used for designing aeroplanes and cars. It allowed for Gehry’s analog designs to be enhanced digitally. Gehry designed the building by hand before entering it into the program and manipulating it. This manipulation allowed for mechanical and electrical systems to be tailored to the form. It also allowed for increased organisation which is particularly important due to the nature of the build (21,000 shingles over 3,000 panels) - all differing from one another. GPS technology was used to verify the location of the panels on site, allowing for construction to work soundly. This design would not have been possible without computation. It is also clear that digitising Gehry’s model did not limit the design and form. Most importantly, it allowed for fabrication to be precise and be executed well.
PRECEDENTS: COMPUTATIONAL DESIGN TECHNIQUES I.1.2
Peter Cook + Colin Fournier Graz, Austria 2003 BIX media facade: realities: united. The Kunsthaus Graz is a physical representation of Ron Herron’s vision of the Walking City (1964). The design is considered biomorphus, affectionately known as “The Friendly Alien”1. Like Herron’s forward thinking design, this building uses many new technological systems such as the BIX media facade by Berlin Architects, realities:united. The form was created by hand before being entered into Rhinoceros. It was then altered in Microstation, so that all the design elements could be put together2.These programs were vital for the creation and fabrication of this building as they helped to grasp the complex geometry of the building as well optimizing the design to create the most efficient form possible3. Once again, this is an example of computation, only there was arguably more computer involvement in this project than Gehry’s EMP. Relating Computation to the EOI: Computation should be used for the Gateway proposal as it allows for better structural performance, easier fabrication, efficiency and organisation making the construction and design process easier and in turn more successful and creative.
1 “Kunsthaus Graz” Museum Joanneum, last updated 2012, http://www.museumjoanneum.at/en/kunsthaus 2 Colin Fournier & Peter Cook, Reseach Outputs 1 & 2: Kunsthaus Graz (UCL: London 2003) 32. 3 Ibid 32
I.1.2
“Kunsthaus Graz moves beyond other contemporary examples of ‘biomorphic’ architecture... by exploring the organic surface not only as iconic form but as a new type of ‘intelligent’ skin capable of displaying information and relating interactively with users.” - Colin Fournier
PRECEDENTS: COMPUTATION DESIGN TECHNIQUES
Kunsthaus Graz
PRECEDENTS: CONTEMPORARY SCRIPTING CULTURES I.1.3
Seroussi Pavillion
Critique & Justification of Scripting Culture
Alisa Andrasek Exhibited in Paris, 2007
The design appears to grow out of the script - forming and morphing in a limited fashion. This style of design could be considered to be computerisation, with no real design input due to all the equations and functions. People often view scripting as limiting the creative process by limiting the designer to follow particular techniques.
This unique project by Andrasek uses computer software to create biologically influenced forms. Below, is the technical explanation of how the form was created.
This critique of this scripting culture is a shallow one. If one looks deeper into this culture, they will understand the role of the scripter is vital for a wholesome and creative result. The scripter has alot of control over the design outcome, as they write and adapt them according to their interest and intended result. Robert Aish explains that scripting requires control and therefore is as fruitful as other forms of design.
“Seroussi Pavilion was “grown” out of self-modifying patterns of vectors based on electro-magnetic fields (EMF). Through logics of attraction/repulsion trajectories were computed in plan and than lifted via series of structural microarching sections through different frequencies of sine function.” - “Seroussi Pavillion / Paris / 2007” Biothing; Repository of Computational Design, last updated March 24 2010, http://www.biothing.org/?cat=5 To put this is layman terms, maths functions and scientific information was inputted into computer software to create a form based on biological structures. In this case, “design is understood as genetic inscription”1. This is particularly interesting as it is a very different process to tradition design approaches.
1 Mark Fornes “Biothing” Scripted By Purpose, last modified April 12 2012 http://scriptedbypurpose.wordpress.com/participants/biothing/
“The designer who wants to be completely in control of the results must be in control of the process. To be in control of the process, the designer must be in control of the tools. The tools are computation, therefore the a designer who wants to be in control must also be a scripter.” - Robert Aish, cited in Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 67 - 69 Scripting makes it possible to create complex, efficient forms that could not be imagined without it. If one has control of the tools, scripting is an effective design technique.
1. The design must function as an icon for Wyndham, much like the Guangzhou Opera House does in Guangzhou. 2. Architecture is always changing, therefore new techniques and ideas should be explored to make this project relevant and influential for now and into the future. 3. Advanced computational techniques should be used. This can be used in several different ways. a. To increase efficiency and organisation of the fabrication process, such as Frank Gehry’s EMP. b. To find form or help to realise form, such as Alisa Anddrasek’s Seroussi Pavilion. c. Change perceptions of architecture including how architecture is seen and used, as in Kunsthaus Graz.
I.1.4
CASE FOR INNOVATION CONCLUSION
After examining various precedents several different ideas have emerged in regards to the Wyndham Gateway Proposal.
4. All these should be considered when designing the Gateway project for the reasons mentioned above.
1.2 RESEARCH PROJECTS
1.2.1 Input/Association/ Output Matrix 1.2.2 Reverse-Engineered Case-Study 1.2.3 Research + Ideas for Development 1.2.4 Additional Precendents
1.2.5 Material Effects 1.2.6 Grasshopper Fabrication 1.2.7 Research Project Conclusion
STANDARD OUTPUT
INCREASE DENSITY
INCREASE SIZE
TURN ON ALL BOOLEANS CHANGE TO RED INPUTS (IN IMAGE SAMPLER)
ATTRACTOR POINT
STANDARD OUTPUT
INCREASE DENSITY
INCREASE SIZE
CHANGE ATTRACTOR POINT
OVERLAPPING PATTERNS
STANDARD OUTPUT
INCREASE DENSITY
INCREASE SIZE
TURN ON ALL BOOLEANS CHANGE IMAGE SAMPLER ADD TO CURVED SURFACE
CURVE ATTRACTOR STANDARD OUTPUT
INCREASE DENSITY
INCREASE SIZE
INVERSE MIN & MAX VALUES CHANGE CURVE FORM
I.2.1
PATTERNING MATRIX
BOOLEAN PATTERNING
ADD TO CURVED SURFACE
INVERSE MIN & MAX VALUES ADD TO CURVED SURFACE
ADD TO CURVED SURFACE
REVERSE ENGINEERING Spanish Pavilion, Expo 2005 [ Foreign Office Architects]
METHOD TWO - SUCCESSFUL After the first method did not work, the building was examined further so as to pertain how the hexagons morph. It was quickly realised that the so called ‘irregular’ hexagons followed a particular pattern (as shown in the image on far left). To achieve this, the grid was changed by morphing where the three vertices meet. This creates the desired distortion. The other image of the left shows the replicated design using method two.
LEFT: A Small Section of the Design
Pattern with colour added Patterning achieved with Method
REVERSE-ENGINEERING TASK:
Rather than exploring the ideas of selective perforations or image mapping, during this exercise the idea of creating the irregular hexagonal shapes was explored. Various different techniques were used for finally discovering how to change this shape.
METHOD ONE - UNSUCCESSFUL This was the first attempt to recreate the Spanish Pavilion.To create the irregular shapes, a graph mapper was used with a Bezier curve. This did not suceed because the hexagons only changed according to the curve, meaning the ones near the line shrank whilst the others did not.
REVERSE-ENGINEERED CASE STUDY: EXPLORATIONS IN GRASSHOPPER I.2.2
RESEARCH + IDEAS FOR DEVELOPMENT I.2.3
growth
in relation to the Greater Melbourne area
in the WYNDHAM
arts
population The Wyndham City Gateway Project focuses heavily on the growth of the population and growth of interest in the arts. Data from the Australian Bureau of Statistics show that for the 2010/ 2011 period of study, Wyndham City experienced the largest increase in residents, increasing by 12,200 period (7.8% growth). For these reasons, growth is one of the major influences of the design’s form and perforations. Interest in the arts within Wyndham is also growing, as outlined in the Wyndham City Gateway Project Document with many sculptures being added around the area.
NUIT BLANCHE LIGHT INSTALLATION By Robert Stadler
This installation is a successful example of anamorphic design. Anamorphic art, is a plan on the idea of space. From one angle the art may appear as one thing, while from another, it appears to be completely different. Robert Stadler, plays with this idea well. Whilst coming down the aisle, the bride or visitor to the church see the lights form a giant question mark - which is quite poetic despite its controversial nature. From any other angle, this question mark is not visible - instead appearing to be a random selection of points. This serves as inspiration for the Wyndham Gateway, the idea of things appearing different as one moves past it would create interest and would be a good way of portraying a series of ideas.
&in crown symbolic of the municipality kapow!! leaves an impact on those who drive past it.
ADDITIONAL PRECEDENTS: ANAMORPHISM I.2.4
INITIAL EXPERIMENTATION entering/ exiting Wyndham.
PATTERN AND SHADOW EXPLORATION
ANAMORPHIC EXPLORATION Like this sign, the gateway is aimed at symbolizing Wyndham and signify
PATTERN AND PENETRATION EXPLORATION
and
I.2.5
Learning
MATERIAL EFFECTS - USING PAPER
for
The sign in front of the building was the element of this building that is most relevant to the gateway design. The sign is an abstracted unfolding world sphere. The form of this is particularly interesting as it appears to change as one walks past it.
I.2.4
ADDITIONAL PRECEDENTS: DYNAMISM
Nigel Peck Centre Leadership John Wardle Architects
After the initial brainstorm and form finding, physical models were made so as cuts and forms that were successful/ failures could be quickly identified, before being explored further in Grasshopper. Ideas such as anamorphism and dynamism were explored in term of form as well as overlapping patterns - to investigate ideas of penetration and visibility. Major issues to arise include: loss of structural stability with increasing size and number of penetrations (resolved by increasing thickness of material) and lack of form choices.
GRASSHOPPER EXPLORATIONS
FABRICATION MODEL MATRIX PATTERNS
EXPLORATIONS OF GROWTH IN GRASS HOPPER
- Image sampler density map of Melbourne - Exploration of anamorphic forms - Direction of triangles explored, the rotation of triangles according to their proximity to Wyndham was explored but was not successful because their shape did not fully show the rate of rotation.
TRIANGLES REPRESENTATIVE OF ARROWS
GRASSHOPPER FABRICATION 1.2.6
RESULTING PATTERN
FORMS
After creating some physical models, grasshopper was used to create parametric cuts upon a surface. The density map of Wyndham and the greater Melbourne area were imputted in the Image Sampler to create cuts that are relative to the area. A variety of shapes, such as hexagons, circule and triangles were all explored. Triangles were chosen as they appear as arrows. The direction of these arrows was explored, as it was attempted to make these arrows point to Wyndham city. The final cut design was added to the form and then unfolded in Rhino to create a 2D shape (left) which then could be fabricated.
GRASSHOPPER FABRICATION 1.2.6
VERTICES
SURFACE
The cuts that would be put onto the model.
Next, the points of discontinuity (ie. vertices) were found for each triangle.
PROJECTION
LEFT VIEW
RIGHT VIEW
BASE POINT
These images are of the final Grasshopper model. They show all the anamorphic cuts and also show the dynamism - from the various angles it looks like a completely different model. The fulfils the brief in the fact that the model appears to be moving/ dynamic without moving. The main problem with this design is that it is not properly anamorphic, as the cuts are all the same size, rather than appearing to be the same size (but on different planes so some would be larger than others but ultimately they would appear the same.This lead to the final model.
Vector lines are then drawn from this base point, through the triangle vertices, projecting onto each surface behind it. Because of this projection this triangles on the surfaces further back would be larger to create the affect that the holes went through a single surface.
The form, that had been decided earlier, is then lined up with the surface of cuts. A point (ie. anamorphic point of view) is added. This is where the cuts on the surface will be projected from.
CUT
FINISHED PERSPECTIVE 1 PERSPECTIVE 2
Grasshopper then uses these lines to create polylines between the vertices on the new surfaces, creating the triangles. This are then deleted to create the final form.
After completing several exercises in Rhino and Grasshopper, several key ideas have emerged. 1. Computation is useful for repetitive activities such as the Reverse Engineering’s hexagons. 2. Computation allows for increased complexity, making the anamorphic design possible. 3. A complex form is necessary to create a sense of movement and dynamism.
1.2.7
RESEARCH PROJECTS CONCLUSION
To conclude this section.
The project presented at this presentation fulfils these requirements. After several prototypes and explorations in the physical and digital world, here is the EOI Wyndham City Gateway Project,
1.3 Expression of Interest Conclusion: Competitive Advantage
FINAL MODEL
MODEL IN CONTEXT
POSSIBLE LOGOS If chosen to continue this project, these ideas of dynamism, anamorphism and icon will be further explored. Adding a thickness to the planes so create affects as seen as Le Corbusier’s Ronchamp du Haut will create more interesting cuts. The form would also be explored further, taking more reference from natural growing systems like cells and tree roots.
EXPRESSION OF INTEREST CONCLUSION: COMPETITIVE ADVANTAGE 1.3
The final design builds on the ideas of anamorphism, dynamism and change that were explored throughout the EOI. From the approach, the gateway will appear as a crown, a literal interpretation of entering the city of Wyndham. This view responds to the brief, in the sense that it is monumental and could be the symbol for Wyndham. Below are some possible letterheads/ logs that Wyndham could use with the gateway as the new symbol for Wyndham. As the viewer drives past this gateway they will reach a point where the point of the crowns become a 2D plane which appears to rise. This is symbolic of the growth of the population of Wyndham but also the increasing interest in the arts of this area also.The cuts on this plane, work like the anamorphic precedents as from this spot, one can see all the way through the planes as the cuts are projected onto each plane so that they match up. As the driver continues to drive past the gateway, the cuts will appear random and will not line up (such as Robert Stadler’s light installation). The interest at this point will be the dynamism of the form, as it appears to change shape as one moves past it.
IDEA PRESENTED AT EOI
11.1.1 Design Refinement After Interim
WOO>
After the EOI Presentation several things were brought to attention: 1.The design was considered to be underdeveloped, albeit a little immature, predominantly in its form.
GROW
2.The experience of driving past/ through it needed to be enhanced. 3. The anamorphic cuts were hard to see in the physical and computer model. It was decided that the focus of the project anamorphism and dynamism would be less of a focus on the new design. 4. The model seemed fleeting - it was only for a split second that the anamorphic cut could be seen which did not suit the idea that people would be driving past it at 100km/hour. 5. The model did not have the same affect as the Guangzhou Opera House - it did not represent a new place of culture.
GENERALISE
11.1.1
11.1 Project Interpretation
DESIGN REFINEMENT AFTER INTERIM
MULTIPLY
EXTRUDE
ADAPTATIONS FOR NEW IDEA
These ideas would be addressed in the next proposal. The original idea was expanded using the ideas of extrusion, multiplication of ribs, growth over the road and a more generalised and softer form - reminiscent of biological forms which relates more to the idea of growth the wanted to be expressed.
ARTICULATION
These biological forms also relates to biomimicry, a common interest of the company. Deciding to grow the design over the road meant the the experience of drivers would need to be considered more deeply than in previous cases. The design ultimately become more about the experience than the view itself. Despite this there is a sense of icon and granduer which is ultimately what made this idea so successful.
ADDITION OF INTERNAL DETAILING
The cuts in the original model did not make the final cut, with interest being created by internal detailing at the height at which drivers would pass when driving through it.
PERSPECTIVE SHOT
DESIGN REFINEMENT AFTER INTERIM 11.1.1
11.2 Project Delivery
11.2.1 Advanced Computational Approach 11.2.2 Forming-Finding + Design Process 11.2.3 Fabrication Process 11.2.4 Construction Research + Detailing
ADVANCED COMPUTATIONAL APPROACH GEELONG
11.2.1
SITE DRAWING
Geelong was chosen bercause that was the direction from which drivers going through the gateway came from. This ultimately resulted in being the first part excentuated in the design.
WYNDHAM
The most obvious were the proximity of places or cities to the site.
WYNDHAM
OU
LB
ME E
RN
The next part was Wyndham, off to the left of the road.This part was accentuated the most because it is the destination for which drivers should be directed/ the focus should be drawn to. Lastly Melbourne, the most prominent destination for drivers. This is position above the road as a symbol of the road as leading to it.
GEELONG
These three points were inputted in as three charge points for each zone. This is shown on the perspective shot (see right). Wyndham would experience the largest growth of these charges. The experimentations and Grasshhopper scripting over the page will explain how this informed the form and design of the WYNDHAM Gateway.
PERSPECTIVE SHOT MELBOURNE
GEELONG
MELBOURNE
After deciding to use the flowlines plugin for Grasshopper, parameters needed to be found and explored.
To create the shapes of the ribs, a series of curves were used and then lofted together. One emphasised the Geelong, another the Wyndham and another the Melbourne charge points. They resulted in the images above. The most interesting two lines were then used to create the inside and outside curves. Several other curves (shown below were used to create more of an impact because it was quickly realised that more curves would be needed to create a dynamic and ever-changing form. The bottoms of the forms were cut off to make space for traffic to pass through underneath the curves. Ultimately the design was stretched out to 30m due to the width of the road and was squashed downwards because a 40m high frame would be difficult to produce. A minimum height clearance of 6m also had to be observed.
Geelong
Geelong and Wyndham
All three emphasised
Melbourne and Wyndham
Wyndham to Melbourne
Melbourne
EXPLORATION 2: TRANSFERRING CHARGE FROM ONE POINT TO ANOTHER
EXPLORATION 1: INCREASING CHARGE OF POINTS
1.
2.
3.
4.
1.
2.
6.
5.
6.
7.
3.
10.
11.
9.
12.
12.
What was discovered was that the larger the charge points the more influence it has.This means that the lines are drawn further away from the charge point (creating a larger ripple). The exploration above shows the points on the left hand side (representative of Wyndham) showing growing from an influence of 1 to 12 points. The main adaptation to the form is the smoothing out of lines around the charges and loss of focus and definition of other areas. This worked perfectly with the idea of a transference of focus - something that would work with the idea of the design.
ADVANCED COMPUTATIONAL APPROACH
10.
This exploration shows how the form changes according to where the charge point is placed (moving from one change to another).
8.
One of the first explorations done into Grasshopper were into increasing and decreasing charge points and what impact that had one the form created.
11.2.1
5.
8.
7.
11.
9.
4.
EXPLORATION 3: LINE PROXIMITY TO CHARGES The further the lines are away from the charge points, the smoother they become. This is shown as the lines go from curvy (no. 1) to almost completely smooth (no. 5).
13.
What it most interesting are the concave forms which are caused be two charge points of similar values (both very weak or strong). No. 4 - 8 are all very interesting and would make the fluid and funky shapes that are desired.
ADVANCED COMPUTATIONAL APPROACH
1. FLOW LINES - CURVES
3. LOFT CURVES
11.2.1
2. DISTORT CURVES
GRASSHOPPER DEFINITION
4. CREATE INSIDE DETAIL
5. ADD DETAIL TO CURVE
6. CUT LOFTS 8. ADD INSIDE DETAIL INTO CURVES
7. SPLIT LOFTS
9. LOFT NEW CURVES [P] These are the points in Rhino which are then linked into Grasshopper. Geelong, Wyndham and Melbourne all have three points each which are put into groups. [C] This input controls how large the charge is for each of the points inputted above. Rather than being grouped like the input above, each charge point its own number slider because they all have different effects. The top point is the point which is the furthest away from the centre and therefore has more influence over the overall form. [X] These points are the lines which will go around the charge points, changing in proximity to each point depending on its charge. These are the ripple lines. [I] Controls the length of X. If I is not high enough the lines will not meet up meaning that a full circle is not created.
10. UNFOLD & PRINT
11. FABRICATE
FORM-FINDING + DESIGN PROCESS 11.2.2
1. FLOW LINES - CURVES
11. FABRICATE
10. UNFOLD & PRINT 2. DISTORT CURVES
1B
8B 6B
9. LOFT NEW CURVES
9B 2B 5B 3B 4F
3. LOFT CURVES
10B 11B
8. ADD INSIDE DETAIL INTO CURVES
4. CREATE INSIDE DETAIL
6. CUT LOFTS 7. SPLIT LOFTS 5. ADD DETAIL TO CURVE
7B
This was the first fabrication attempt since the change in form which meas a new fabrication method would be necessary. Once the form was created, the ‘ribs’ were sliced into several pieces which could be laid out and printed. They were then glued together to create the physical model. There were several problems with this approach. Firstly, it did not recreate the digital model fully, with the model not having a smooth finish on the graduating areas. Secondly it does not reflect the construction techniques.
THE MODEL
FABRICATION PROCESS - TRIAL EXPLORATIONS IN MATERIAL + FORM I.2.6 11.2.3
11.2.3
FABRICATION PROCESS - FINAL
The design was almost complete when construction detailing was considered. To work out how exactly the proposal would be constructed, research was done. Steel portal frames seemed to be the best choice - they were a similar form to the design itself. Due to the curvy nature of the ribs, a series of steel I beams would be needed so as they would follow the facings. A number of steel beams would also be needed to meet the span of the ribs (roughly 30m span each). The beams would need to overlap each other for strength to create a single rigid member. Due to the heavy load of the portal frame the internal metal and external metal facing need to be made of a lightweight metal such as aluminium in order to keep the weight of the structure down. For more detail see the next page as to how it would be constructed/ sequence of construction.
After looking into the construction detaling, the fabrication process changed dramatically. Creating the model at 1:500 and 1:200 scale meant that the full construction process that would be used for a 1:1 model was not realised. The back and front of each rib where cut into black acrylic. This supported the thick cardboard and light metal detailing inside of ribs. Everything was put together with glue. There were still some limitations with the fabrication process, mainly the metal and cardboard did not follow the lines of the acrylic properly due to the cardboard being too rigid (hard to hold into positing) and the metal being too hard to bend efficiently. The strongest part of the fabrication was the metal which shows exactly what it would be like to drive through/ experience it.
CONSTRUCTION DETAILING + RESEARCH 11.2.4
CONSTRUCTION DETAILING + RESEARCH 11.2.4
1. 200 UB Steel Portal Frame with pad footing to support the load.
2. Steel Portal Frame is fully erected, with pieces being bolted together on site for ease and effiency.
3. 100mm light-gauge steel (at 1500mm centres) to brace the steel portal frame.
11.3 Project Presentation 4. Exterior cladding (powder-coated metal) is added and bolted to steel portal frame.
5. Rigid steel ties at 600mm centres to support metal interior cladding.
6. Aluminium internal metal cladding added, supported by steel ties. This also includes the decorating internal details.
11.3.1 Model Photography 11.3.2 Line Drawings 11.3.3 Project Presentation Conclusion
11.3.1
MODEL PHOTOGRAPHY
EVOCATIVE The photography also shows how successful the design would be as an icon for the area.
BY DAY
The images of the model shows the different atmospheres the model creates at different times of day. In the day, the metal inside the ribs shine softly hinting at the interesting form and its changing shape as one drives through it. This soft light is enhanced at night which can be seen in the evocative and night shots. This sees the metal glow intensely from the car headlights creating a whole new experience.
The night shots were produced using a small LED flashlight to create the effects of headlights when driving through it. The model takes on an entirely different look, the reflections are simply stunning, which would be appropriate to put on a postcard.
BY NIGHT
11.3.1
MODEL PHOTOGRAPHY
The longitudinal photo (on the bottom) shows the change between the luminousity of the ribs and the darkness around the design. This will only heighten the experience of driving past the ribs, almost creating a rhythmic effect.
BACK VIEW
RIGHT VIEW
FRONT VIEW
LEFT VIEW
PERSPECTIVE SHOT FROM FRONT
PLAN VIEW
LINE DRAWINGS
11.3.2
SITE PLAN
MODEL IN CONTEXT
1. The design would serve as icon for Wyndham - it would look really good on a postcard. 2. Looks very different at varying times of day - creating interest. 3. Has several levels of interpretation - for the different demographics of people driving through the gateway. 4. By able to be viewed at high speed (100km/ hour) and still be readable. 5.The design reads as a representation of the growth in the arts and population of Wyndham City. 6. The design appears to be dynamic - with the undulating internal details and overal form without moving parts. 7. Innovative computational techniques were used to increase efficiency and to create a relevant and successful form. To summarise, the design proposal fulfils all the requirementes laid out by the brief and the ideas set forward in the EOI. For these reasons, this would be the perfect choice for Wyndham City Council’s new gateway.
111 LEARNING OBJECTIVES + OUTCOMES 11.3.3
PROJECT PRESENTATION CONCLUSION
The project presented fills the brief in several ways.
111.1 Personal Background and Learning Objectives 111.2 Learning Progress 111.3 Learning Outcomes 111.4 Future Work
LEARNING PROGRESS
Learning Progress as of Interim Presentation I am pretty happy with my progress so far. I am lucky to be in a good group of people, we are working well together and everyone is putting in equal amounts of work.
Coming into this subject, I was very nervous and tentative. I had never done anything like this before and I had no idea what to expect. I remembered my experiences of Virtual Environments in my first year of university - they were very mixed. On the one hand I learnt alot and was pretty impressed with myself at the end of semester but I also remember all the stress and pressure before all the deadlines. I made my model six or seven times before I realised that I had unfolded it the wrong way around and was trying to unfold it inside-out. I knew if Virtual Environments was anything to go by, this semester was going to be stressful, busy but ultimately rewarding. Part of the reason I was so apprehensive was because of all the software that I would have to learn. Before this semester I had barely used any software - I had dabbled briefly with Photoshop and had used Google SketchUp quite extensive and had learnt of the limitations. I guess if I wanted to learn anything this semester it is to become comfortable enough with computer programs and to gain enough confidence that I could open a new computer program and fiddle around with it and have a vague idea of controls and shortcuts.
111.1
PERSONAL BACKGROUND + LEARNING OBECTIVES
111.2
The other thing I really wanted to was to explore organic forms - in previous studios I have been criticised because I tend to use orthogonal lines and tend not to be open to new forms and ideas. I really like the forms of Frank Gehry and Zaha Hadid, but I never seem to be able to design like them. I feel that to become a more well-rounded designer this needs to be addressed.
The first couple of weeks were difficult. I particularly struggled with the journal - I found it hard to work out exactly what to say and how to say it briefly. Architecture as a Discourse, threw me - I feel I may have overthought exactly what was expected for the first week as I became overly philosophical and confused myself. I feel that it would be better for the outline of each week to be clearer. The Rhino exercises were a bit tedious and seemed to be a bit disconnected with the second half of semester. Despite this, it was good to have Rhino and Grasshopper tutorials as they became vital later on in semester. This semester has been a real eye opener for me. It is really the first subject where I haven’t been ‘spoon fed’. If I didn’t get how to do the Reverse Engineering exercise, I had to sit down and explore, no one was going to give me the answer. In this respect, I feel I have learnt alot. Up until recently, I would have given up. I am a little worried that we will not have enough time to refine our idea. The idea presented at the EOI, I felt was a little immature and rushed, we only had a week to create something. I think that it was really good to have worked out a form though, as we are roughly a week in front of everyone else. I am enjoying this subject alot more than I thought I would it is going alot faster than other subjects I have done, but I am really suprised with how much I have done and learnt. I am really looking forward to having more of a design basis in the coming weeks.
LEARNING OUTCOMES 111.3
So what exactly have I learnt from all this?
Finally, I feel I have learnt alot about the design process. My group was lucky to have a clear idea at the EOI as it meant we could develop our idea from fairly early on. It went through rigorous critiques and ultimately I feel that this made it a stronger design in the end.
In the future I would be interested in using FlowLines on a development which has more than an aesthetic function (ie. a residential or commercial development). FlowLines was really interesting and it would be great to really see what it can do particularly on a 3D scale. I would also be interested in designing something using biomimicry. I was particularly interested in this area but my group did not share this passion and it was not explored. I think using nature is an ingenious idea. I really like the idea of using computational techniques to design, up until now I have been skeptical purely because it is unknown to me and overwhelming. Thanks to this subject I am rather excited to use technology to my advantage in the future.
111.4
Secondly, I’ve learnt alot about how to work in groups. I have done alot of group work before, but never in a design sense. I have found this quite difficult. On the one hand it was great to have two other passionate students to work with - we certainly got alot more done and taught each other new tricks along the way. It has also been a bit of a burden particularly when designing. In the early design stages I found it incredibly difficult to work with others, I often felt that my voice was lost in amongst all the discussion. Looking back though I feel that we all felt like this at some point, being in a group of three meant that it was very easy to side with one person making the other feel like they are being ganged-up upon. Ultimately I feel that this was a good thing, as in the workforce this is what it will be like. I feel we all got our own opinions into the design, there are clearly parts all three of us contributed to in the design stage.
I have enjoyed this subject alot more than I thought I would.The first couple of weeks were a bit tedious but I really enjoyed the design process, particularly using FlowLines.
FUTURE WORK
Firstly, I have managed to work successfully with Rhino, Grasshopper and Flowlines as well as working with graphics software such as Photoshop, InDesign and Illustrator. My knowledge of these programs are still fairly basic but the big thing I have noticed has been the fact that I am no longer afraid to play and try and work things out in these programs. At times it was frustrating but I have managed to work out how to do a series of different things that I didn’t think I could possibly do three months ago.