[AIR]
STUDIO
MATT AMBLER FINN & HANNES
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SECTION C-
CONTENTS:
C. WYNDHAM CITY GATWAY PROJECT
SECTION AC1. OVERVIEW
A.
A CASE FOR INNOVATION
A1.
ARCHITECTURE AS A DISCOURSE
-Introductory Paragraph -Brick Country Villa (Mies Van Deh Rohe)
B.
-Jewish Museum Berlin (Daniel Libeskind)
B1. EXPRESSION OF INTEREST -Reverse Engineering
A2.
NON-EUCLIDEAN FORM
-Deconstructivism
A3.
COMPUTATIONAL DESIGN
-Uknown Project (Daniel Libeskind) -Villa Libeskind (Daniel Libeskind)
A4. PARAMETRICISM
-Futuropolis Installation (Daniel Libeskind)
A5. PARAMETRICISM -Flux Installation (CCA)
A8.
A9. A10.
-Development Process
B2
EXPRESSION OF INTEREST -Matrices Development
B3.
EXPRESSION OF INTEREST -Proof of Concept
B4
EXPESSION OF INTEREST -Fabrication Process
B5.
EXPRESSION OF INTEREST -Model Photography
B6.
EXPRESSION OF INTEREST -Model Photography
B7.
EXPRESSION OF INTEREST -Model Photography -EOI Review
TITLE PAGE
C3. FOLDING -The Art of Origami C4.
DESIGN SPECIFIC PRECEDENTS
-The Emporer’s Origami Lungs (Tomas Hiller) -Straight Edge Pavilion (LEAD Architects)
C5.
GROWTH ANALYSIS
C6.
FORM GENERATION -Form Inspiration
-Werribee -Site Specific Analysis
SITE OBSERVATION
C8.
SITE SPECIFIC OBSERVATION
C9.
GRASSHOPPER DEVELOPMENT
C10.
FINAL DESIGN
C11.
FINAL DESIGN -Vegetation Growth
C12.
CONSTRUCTION DETAILS
C13.
FINAL MODEL
-Voussoir Cloud
C14.
FINAL MODEL
CASE STUDY 2.0
C15.
FINAL MODEL
-Progress Reflection
A7. PANELISATION -Aggregated Porosity (Biao Hu & Yu Du)
EXPRESSION OF INTEREST
C2.
C7.
A6. PANELISATION
SECTION B-
-Sheer Wall (Jesse Pietila)
CASE STUDY 1.0 -McCormack Tribune (Rem Koolhaus) -Redevelopment Matrix
CASE STUDY 2.0
-Reverse Engineering -Failures
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A- CASE OF INNOVATION
‘Computers are enabling architects to do things that used to be virtually impossible, or possible for only the most original and creative architects.’
Karrie Jacobs (2009)
Image 3 It’s only a matter of time until the limitations are alleviated and the knot is undone. So I suppose we better all get on board then....
A1- Me. I’m Matt Ambler, I’m 20 years old and completing my third year of this Environments Degree, with a major in Architecture. I work as a Cocktail Bartender, I live out in the ‘burbs and moved to Melbourne 3 years ago from country Victoria. I’ve always had a certain passion for Architecture, and knew it what was what I wanted to do from an early age. My experience with Digital Architecture is very limited, it isn’t a major interest of mine and at this stage I suppose I don’t really appreciate the whole Parametric Design thing, but it’s growing on me. I have particular interest in sharp geometric forms, modernism and minimalism. I’m hands on, and design with a clear direction and insight into my final product. I like to control the processes and solutions in design, rather than an unknown program doing it for me. The content of this course will be a challenge, as well as the overall processes and outcomes of parametric design. But nethertheless, bring it on. I understand that Digital Architecture will become more and more dominant in the design world, as I am aware of the greater pool of possibilities associated with digital architecture combined with parametric design. Greater levels of complexity can be achieved, and those achievements can become fabricated accurately, creating new forms and aesthetics that were simply unattainable before. My appreciation for Architecture lies elsewhere. Modernism and the modern movement is my favourite style, with use of sharp geometries, minimal ornamentation, where the form of the design alone is ornate. Architecture for me is something drawn and designed from start to finish, where the design and the construction of that design is derived from a collection of different professionals. Architecture for me is functional, effectively creating an aesthetic shell in order to support a specific function.
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Jewish Museum Berlin (1999) -Daniel Libeskind
“IT IS POSSIBLE TO CLAIM THAT A DESIGNERS CREATIVITY IS LIMITED BY THE BY THE VERY PROGRAMS THAT ARE SUPPOSE TO FREE THEIR IMAGINATION.” Terzidis, Kostas (2009) Algorithms for visual design using the processing language
The Jewish Museum is an extraordinary design. Its overall form and layout is extremely unique, featuring sharp geometric angles kind of like how lightning is depicted. It is an aggressive design capable of evoking strong emotion, with its tall, dark and raw façade, completed with its unique diagonal slit windows. The inside is just as evoking, with strangely off-center spaces, dull skylights and large dark spaces. The building alone has the ability to spook you, representing a series of catastrophic events in Jewish History around Berlin. I love the consistency of form throughout the design, with sharp, diagonals created through relatively simple geometries. The building alone has an ability to evoke emotion suiting superbly within its role.
Brick Country House (Unbuilt) -Mies van der Rohe (1923) The Brick Country House is my favourite modern design. It makes use of simplified shapes and surfaces, clustering towards the centre and across mutliple vertical levels. The emphasis on horizontality and it’s extension into space blurs the line between design and surroundings, built spaces and natural spaces. Walls thrust out into the surroundings, emphasising a natural relationship and connection to the site. Something I potentially intend to incorporate into my Wyndham City Gateway Project. This design was radical and was drawn up in 1923 in the height of the modern movement, it is a standout representation of the modern movement representating a shift in ideals.
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A2- Discourse: Non Euclidean Forms. My chosen discourse is Non-Euclidean forms, but more specifically, those with a deconstructivist and rectilinear influence. Non-Euclidean is a comtemporary architectural form specifically referring to a unique set of geometries, unlike original Euclidean forms, used in classical architectures in the past. Non Euclidean form is unnatural, following a unique law of geometry. It is unsettling, abrupt, and unique and it doesn’t conform to standard straight-lined Euclidean rule. Deconstructivism is a late 20th century movement following post modernism, therefore is highly influenced by modernism and post modernism, but with a bit of an unpredictable and contemporary competitive edge. The movement entailed deformation of architectural element, into a manipulated structural form and surface. Decontructivism and Non Euclidean architectures work hand in hand together. My original interest in architecture lay strictly with straight, sharp and rectilinear forms (such as the Brick Country Villa on previous page), but more specifically, those forms combined with a Non-Euclidean twist. Furthermore, with the influence of the architectural movement deconstructivism, I found that it was the tying of these basic forms and geometries with a more complex, twisted and visually aggressive touch to be my main interest, and something I wish to influence my design concept for the Wydnham City Design Project.
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A3- Computational Architecture and Design. Computers are the supreme tools to assist in the architectural design process. They have the ability to quickly and relentlessly draw from endless stored collections of information, they never tire, and they present information in forms ideal for human comprehension. Stored information is accessed and used as we request and instructions set will be followed flawlessly and precisely- Computers are capable of many things humans simply are not. 1 Nevertheless, individual designers are still in control of the design process, as it is our creative design process that transforms the product- not the computers. Computers are entirely incapable of making up new instructions, totally incompetent of actual design. 2
I have a particular interest in modernism the modernism movement, partly because of it’s aesthetic, but also because it was simply unprecedented and radical, modernism was making use of the recent tools, technologies, styles and materials. Computational design is just that, encapsulating the innovations of present day science and technology. Parametric design is the up-to-date modernism. The innovations of modernism that I took particular interest in were the development of the façade, the push from ornate embellishments to plain surface geometries. Now, parametric design has the potential to push that even further, and that is what fascinates me. Digital Architectures open up a whole new conceptual world of opportunity, which through fabrication can become tangible. Parametric design partnered with technological developments in fabrication and computer aided manufacture allows for new designs to be created, produced and constructed. Digital Architectures allow for computerized dynamic and kinetic systems and facades, it makes the creation of much more complex geometries such as topological geometries (solid yet continuously deformed and stretched forms) an attainable reality.
Computational design operates through a circle of communication between designer and computer, constantly drawing from the shared knowledge of both, sharing the task of design between them, endlessly improving the product.
Image 10 Daniel Lineskind’s Pavilion (2001) -Daniel Libeskind
1.Kalay, ‘Architectures New Media,’ 2. 2 Kalay, ‘Architectures New Media’, 4.
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Image 11 Villa Libeskind (2003) -WDaniel Libeskind Daniel Libeskind’s work is phenomenal, where sculptural living space meets the highest standard in design, craftsmanship and sustainability. Clean, crisp and elegant lines create neat and sharp rectilinear forms, bending and folding around spaces. His work has strong emphasis on the diagonal, slanting, sloping and the oblique; nothing is simply straight forward vertical or horizontal. The product is a sophisticated balance of simplicity and complexity, with overly simple forms and shapes combined to create abstract and seemingly complex forms. I see Libeskind as one of the masters of modern architecture; it is this signature form of his designs which I particularly adore. Through Computational design structures and architectural forms such as Libeskind’s can be more easily achieved.
A4- PARAMETRICISM
Image 12 Image 13 Futuropolis Installation (2005)- Daniel Libeskind Imagine trying to construct a sculpture that weighs seven tons, has 98 towers and consists of 2,164 different birch plates. Realizing this design within a two week timeframe and limited budget would be impossible by traditional craftsmanship professionals, but through parametricism this design became a reality. The exact geometry of all 2,164 parts was recorded and was 3 dimensionally modeled parametrically. From here the individual pieces were expanded, separated and labeled, milled and assembled. here, a previously unattainable fabrication was made possible through parametric design. I find this exhibit particularly interesting because of its complex rectilinear form. Once again simple geometries combined through repetition create a highly aesthetic faรงade. The design is unified throughout the use of this form, with the separate towers aligned in arrangement. The emphasis on straight, sharp and diagonal line is also present through the sections lines trimming the design to shape.
A4- PARAMETRICISM - The FLUX Installation designed and constructed by CCA (California College of the Arts) students. It is a 100ft long skeletal structure, undulating in plan and section producing a sense of dynamism through expansion and contraction. The structural form is a series of repetitive geometries with minor differences in shape, built using grasshopper through parametric modeling. The skin is perforated, but not randomly; this was also done using matrices in grasshopper. This parametric design interests me in two ways; the overall rolling geometries completed using sharp and straight geometries, combined with the patterned perforations spanning the entire faรงade. Through parametrecism this design was also made possible. This overall geometrical form is something I wish to incorporate into my design and discourse.
FLUX Installation (2009) -CCA Architecture/MEDIAlab
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Reflection so far... My experience with parametric/ digital theory thus far has been extremely positive, I feel a lot more confident and comfortable using the programs and attempting to achieve what I’m setting out to achieve parametrically. My knowledge of tools, methods and the programs is still very little, but It’s a big step for me. There still is a big knowledge gap between what I know and what I want to know so my design goals are more attainable. My perceptions of parametricism have also changed since the beginning of semester; I want to understand it all better. But I just haven’t quite got there yet.
A5- PANALIZATION I chose to explore Panelisation as our secondary discourse. Panelisation is an excellent concept and parametric design style to investigate. Panelisation when used in architecture and design can assist to create a highly repetitive collection of relatively simplistic components, in order to create a unique overall form which I particularly admire, made possible by the large number of smaller components and connections. Panelisation also allows the potential to create a certain dynamic aesthetic, with a variation in scale and shape of individual components, consistent throughout a surface creating a wave like appeal. This concept also allows the opportunity for perforations throughout individual components allowing for vision through the design and the potential for shadows. Perception points can also be created through the use of Panelisation, which could be a very effective feature of a roadside installation, where all of sudden, for one moment in time at one particular viewpoint, a design can be fully seen, appreciated and understood. What I’m getting at is, I admire Panelisation physically, but also because it’s so tightly interconnected with multiple design principles and elements. Panelisation boasts repetition and pattern, as well as potentially creating senses of dynamism and fluidity with in entire forms. Panelisation is an excellent starting point to focus on as a discourse whilst developing a roadside design for Wyndham.
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A6- PANALIZATION
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Aggregated Porosity is an installation designed by the Digital Architecture Library. This style of parametric design features a strong influence of Panelisation, with multiple individual panels joined together to create the composition. The overall curved form creates an empowering sense of fluidity, with the different sizes and angles of the individual panels creating a rippling sense of motion and dynamism. Some panels have voids within them, adding another feature to the design and creating the potential for an interesting incorporation and light and shade within the design. This theme of dynamism and fluidity would be well suited to a road side installation, such as the Wyndham City Design Project. Aggregated Porosity -Biao Hu & Yu Du
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Sheer Wall by Jesse Pietila is an installation representing a twist on the division of space. Curved rows and columns create different sized small void spaces, revealing what’s behind the wall. The columns and beams curve toward multiple focal points, where the void spaces and smaller. The overall effect is the creation of a dynamic rippling facade distorting vision yet providing a sense of division within a space. This could be an interesting concept and work well as a roadside installation in Wydnham. Sheer Wall (2008) -Jesse Pietila
A7- CASE STUDY 1.0
McCormick Tribune Campus, IIT -Rem Koolhaus (Window Design)
Image 30 This given case study features some very innovative design aspects such as the creation of a perception points, as well as light and shade completed through perforations set out by graphics created using multiple symbols. The supplied grasshopper definition provided a patterned surface consistent with these small symbol like icons of Rem Koolhaus. Using grasshopper, these icons were parametrically created and arranged to create an overall image
using the image sampler tool. Different numbers of rows and columns of these symbols can also be altered parametrically. For my alterations, I kept things simple, editing the existing definition rather than creating new componants. I changed the image in which the design is based, maintaining simple, geometric forms. Another major alteration was the subject of the smaller compnants. Originally, like Koolhaus’
Tribune Campus, the componants gave the impression of small people-like lines, these proved to be a little too complex and drew away from the overall form in which they were assisting in creating. Replacing these, I used simpler geometric forms and lines to develop similar designs. Through only altering very few componants, with relatively simplistic twists, I managed to create a wide range of interesting products.
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EXPRESSION OF INTEREST
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A8- CASE STUDY 2.0 Voussoir Cloud Redevelopment
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Our chosen major case study in ‘Voussoir Cloud’ designed by Iwanmoto Scott. This design drew our attention through its unique overall form combined with the surface texture and pattern. The overall form stands from 5 different legs, spreading to each other and the boundaries of the design through the use of catinary curves. Multiple double surfaces connect these curves together creating a solid and connected overall geometry. The design is boxed within a tight walled area, assisting with supporting the structure. Delauney Triangulation is implemented onto the curved surfaces creating multiple organic individual forms (which look exactly like garlic gloves) connected parametrically which is consistent with our Panelisation discourse. The result is a relatively complex pattern taking a seemingly natural undulating curvilinear rolling form providing shelter below.
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A9- CASE STUDY 2.0 Reverse Engineering- Failed Attempts
Interestingly enough, it was the initial process of setting out the basic form of the design in which we struggled the must with recreating. We knew what we wanted to do, and broke down the design into a process of stages. We really struggled with matching the steps we planned to take with a grasshopper component. We started off with 5 basic circle forms in which we planned to connect with multiple centenary curves. The circle bases were divided and the curves were produced, yet the product was a series of inconsistent and seemingly uncontrollable curves branching was from circle to circle. After this we attempted to create a raised rectangle in which we would connect to the base circles, this also had a similar result. We then focused on one single base circle, creating a relatively positive result, yet once lofted the design method proved to be problematic. Even with simpler forms and fewer centenary curves, we still encountered issues when lofting the surface, where the loft would fold back on itself and not work as planned.
A10- CASE STUDY 2.0 Reverse Engineering- Development Process
This time round we created 5 hexagon shapes as the base of our design. These shapes were then divided, and catenary curves were produced spanning across individual hexagons. The curves were grouped and divided on the y axis, creating a solid surface in which we could produce textures and patterns on. This was done by creating a separate geometric surface in which we could draw a pattern or series of shapes on, and then apply that to the main surface. The final design is a representation of the original case study, only limited by our grasshopper capabilities. From here, the opportunities for exploration are ideal, basic changes can be made to the overall form in terms of scale and arrangement, but more importantly we can add develop a series of shapes and patterns in which we will apply to the main surface.
B1- EXPRESSION OF INTEREST Matrices Development- The search for a design
B2- EXPRESSION OF INTEREST Proof of Concept- Final
This is our final EOI design concept- our proof of concept. This parametric model is one of the five forms generated throughout case study 2.0. This design features hexagonal individual forms at a relatively large scale. This design was chosen because it was attainable, after a lot of issue with grasshopper, particularly with the fabrication, we ended up deciding to take a few steps back and model something relatively simple, something that we knew we could fabricate. I personally wasn’t for using this design, instead I wanted to push the more rectiliear ‘sail boat’ forms, but a group decision was made to stick with this, as it still has some representation of the Voussoir Cloud and was an attainable creation. As a concept model, we saw this as an ideal option, it expresses the concepts we wanted to achieve throughout the design of Wyndham City Gateway Project, and more importantly, reflects where we are at as a group. Although not a finalized solution, this model represents multiple oppertunities to work on and create an ideal final design.
B3- EXPRESSION OF INTEREST Proof of Concept- Fabrication Process
For fabrication, we only focused on one of the 5 individual forms from our proof of concept, as only one was required to present our design proposal. The parametric model was flattened using exlab’s cluster definitions, and baked into rhino. Here we attempted to number the surfaces but did not manage to do so. The design was then colour coded to designated what was cut and what was only etched when sent through the laser cutter. Once cut, we set out to sort all the individual pieces of the design into groups, grouping the same pieces together and ordering them in scale. The largest pieces were the base of the design, which were stuck together and dried, where we began to build up. Each individual piece had 4 etches along its surface, marking where 4 folds took place, each piece was bended to create a closed loop stuck together using a tab. Because we were unable to label the design’s pieces, the fabrication process was extremely tedious and relatively inaccurate, as we were simply grouping the pieces by eye. The model was starting to take shape until we started reaching higher levels. It was very challenging working with the smaller, higher up pieces on such a small scale, the intricate connections were extremely hard to accurately connect. The combination of a series of connection errors, some pieces in the wrong places as well as poor material choice is what made our model misrepresent our design as intended. We also found that our material choice of card was not the ideal choice for the model, as it tore, warped and became misshapen quite easily. This series of design errors and modeling errors had a detrimental effect on our model, particularly with the higher up, smaller pieces. Let’s put it this way, we’ve got plenty of room for improvement, and learnt a whole bunch of lessons as to ‘what not to do.’
B6- EXPRESSION OF INTEREST Review We evaluated our design on three key aspects: aesthetic integration with structure, viewer based experiential qualities and overall design appeal. These key aspects we chosen because they integrated all three of our group member’s original design discourse ideas, fulfilling all our collective ideas. Through critically evaluating selected design precedents, the brief, the concept of Panelisation and the collective ideas of the group, we decided our final design must possess those three key design aspects for it to be successful. We were particularly interested in how some Panelisation based designs possess structural integration with the design, whereby, the structural elements and the aesthetic elements are not completely separate beings, rather share a combined and interconnected relationship. The structure will be part of the design. We were also interested in self supporting and self standing designs, ideally suited for the particular roadside installation project. We also chose to place emphasis on the experiential, as it is suited to the viewers and users of this design (who are driving at around 100kmph.) We placed importance on the experience shared with driver over the few seconds that they will be viewing this design. This can be achieved through the use of perception points, whereby all of a sudden the design simple makes sense and communicates with the viewer. Experiential qualities are also achieved through the use of the entire form of the design, with individual components linking together to create a more sophisticated overall form. The design must also be appealing, particularly to the specific clientele of Wydham, with some direct associations and relationships between Wydnham and the installation. Our Concept model in our Expression of Interest features signs of just that. The structure is the design, creating a hybrid structural and aesthetic façade, which is self standing and self supporting. The use of voids throughout the panels of the design suggests the use of perception and attraction, adding to the experience of the design. The designs skeletal like structure also allows for vision into the rich surrounding natural environment, another key aspect in which we wish to incorporate into our design. And for the personal appeal, we’re still working on our designs connection with Wyndham. Our design is a structural, skeletal system, drawn from Panelisation and with reference to the Voussoir Cloud. But where to from here?
C- FINAL DESIGN
C1- FINAL PROJECT, WYNDHAM CITY DESIGN INSTALLATION
at this point in the course, my group members and I were really struggling for inspiration. We hadn’t got far enough in our design development process, and hadn’t acheieved a final design solution. Our presented final EOI product was a design still in development, rather than a final product. We still liked the concept of panelisation, but wanted to take it the next level. We were striving for a solution that revolutionised our design, yet maintaining consistentcy with the ideas we had developed prior. We reassessed the brief, what we had so far and thought hard about where to go from here. With some guidance from our tutor, we decided to push the idea of folding, as it was still very relevant to panelisation. In terms of our concept and arguement, we decided to draw influences from nature and site specific features, as after going to the site, I began to develope a new appreciation of Wydnham, something that isn’t dicovered by simply googling it and finding online sources, our design reflects an appreciation of Wyndham on a much more personal level compared to our peers. This concept was also influenced by our previous research into Wyndham’s growth. We wanted to represent this unique quality of Wyndham, but in a non literal way.
C2- THE ORIGAMI RISE
WYNDHAM’S OWN PARAMETRIC MOUNTAIN
C3- FOLDING & THE ART OF ORIGAMI Only in week 10 did we change our focus to folding, but in that remaining 3 weeks, our design developed much more than the previous 9 weeks. Folding still provided the essence of panelistion, with the consistent theme of individual folded faces acting as the panels, and combining to create an overall form. In our view, folding was the next logical step in our design development, whilst still taking a leap due to the risk of development a completely new area of study. None of us were Origami experts. Folding was, for us, the more developed version of panelisation. Our interpretation of the process of folding was simple. Starting off with a flat material, scoring it to promote clean folds and manipulating the fold locations and extent of the folds to create an overall form expressing ridity, whilst maintaining a consistently neat and simple form. It is a relatively simple process, which I believe was one of it’s strengths. Multiple folded surfaces can be connected, adding another aspect to the design. We also looked into the relative ease of construction folding can provide. Whereby prefabricated folded panels can be transported in parts and assembled/ connected onsite, promoting improved labour costs and work done onsite, due to our site being quite remote and in a particularly difficult to work with in terms of access.
C4- DESIGN SPECIFIC PRECEDENTS
The Emperor’s Origami Lungs by Thomas Hillier Origami Lungs was one of the first design precedents we looked at once we chose to develope the idea of folding. This project features some extremely neat and diffcult folds showing the pontential of folding as our refined discourse. What we found interesting about this project, is that these folds can expand and contract like lungs, representing a lung. The complex folded system can contract into a concave form, like seen in the supplied image, or expand into a convex shape, creating a much less rigid and complex shape. Not only is the aesthetic nature of the folds quite beautiful, but they are also dynamic.
Straight Edge Pavilion by LEAD Architects
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THE EMPEROR’S ORIGAMI LUNG THOMAS HILLIER | 2010
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This Pavilion makes use of a simple folding technique. The product is series of rectilinear shapes , prodominantly rectangles, combined together to create a double curved overall form. The Pavilion acts like a tunnel, whereby the folding technique can also be appreciated on the inside, due to that one single material and form being exposed on sides. This shape and folding technique will be considered when designing our Wyndham roadside project.
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STRAIGHT EDGE PAVILION Image 32
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LEAD ARCHITECTS| 2011
WERRIBEE- 2012
RECENT GROWTH POCKETS PATHS RECENT GROWTH
ASSUMED FUTURE GROWTH
The above represents three images of Werribee and the site. The first documents Wyndham as it is now and it’s residentially populated areas. The second images shows in a lighter shade of red the recent growth areas and growth pockets on Werribee. The third images in an even lighter shade of red represents the potential, and assumed future growth areas of Wyndham, which are currently relatively empty spaces and are gaps in the recent growth locations. The future growth area of Werribee will encroach and eventually surround the site.
PRESENT DAY
5 YEARS
10 YEARS
The image directly above was taken in January 2012 by Google Earth. Upon visiting the site in September, I disvovered that developments closest to the site are already underway, which goes to show how much these areas of Melbourne’s residential developments are happening. Simply based on this knowledge, I developed a series of iamges expressing the pontetiial future developments expanding towards and around the site. The natural aesthetic and peaceful nature of this site will be short lived.
C5- GROWTH ANALYSIS
15 YEARS
C6- FORM GENERATION AND INSPIRATION
As the site and the surroundings were the main source of our inspiration, we also decided to generate the form based on the surrounding You Yang Mountain Range. This natural, curve-linear line was the ideal shape reflecting the local existing icon and the message we are sending with our design, a reflection on the current natural environment, specific to Wydnham. The bottom image is a very simple folded form, creating mutliple recto-linear flat surfaces and sharp pointed angles and ridges. We took its prominant zig-zag line and used to influence our design. The product of this synthesis generates our form. The use of this type of folding will create recto-linear forms existing on the individual faces and surfaces of the design. This geometric nature of folded designs is then merged with the more natural curve of the surroundings, creating an aesthetic appeal connecting the parametric world and the natural.
C7- SITE OBSERVATION
PLEASE SEE BELOW DOCUMENT ON WIKI ENTITLED ‘SITE ANALYSIS’ FOR FULL PAGES AND GRAPHICS. UNABLE TO UPLOAD TO JOURNAL DUE TO A COMPATABILITY/SIZE ISSUE.
At this point in the course we were struggling, we had a newly developed idea of folding, but nothing to apply it to. We had no arguement. At this point I went to the visit site, in the hope of finding some form of inspiration, and this is exactly what I got. I found the site and the area particularly beatuful. Wyndham is the relatively unotuched area located between Victoria’s two biggest metropolises, Melbourne and Geelong, and the site exists right in the centre of these two cities. Wynhdam is an amazing municipality in terms of lcation, boasting varying areas from coastal areas to fields and fields of unotuched landscapes, as well as one of Melbourne’s fastest growing suburbs. Wyndham is much like Victoria, and the whole of Australia, as it is an overwhelmingly flat collection of near untouched landscapes, with very few man made structures in sight. It was an extremely peaceful area, considering how close it to Melbourne, Geelong and Werribee. Being an extremely flat area, large scale monuments are easily recognisable. The You Yang Mountains area easily recognisable, and other natural features such as the macendon mountain ranges and port phillip bay are also visible. It really is quite a beatuful area, which inspired us to base our design on the natural aesthetic of the area, representing a picturesque natural envirionment, But, Wyndham, being the fastest growing municipality in Victoria, may not be like this for much longer. Yes, growth is a good thing, but these massive residential developments will soon be encroaching into these natural and picturesque areas. Our design will represent the landscape as it is now, and will be based off the surrounding natural monuments such as the You Yang Mountains. Soon, we can assume the area will be overrun with residential developments, therefore this design needs to stand tall and stand out and above this soon to be residential sprawl.
C8- SITE SPECIFIC OBSERVATION
PLEASE SEE BELOW DOCUMENT ON WIKI ENTITLED ‘SITE ANALYSIS’ FOR FULL PAGES AND GRAPHICS. UNABLE TO UPLOAD TO JOURNAL DUE TO A COMPATABILITY/SIZE ISSUE.
Our chosen site to install our design is site A, as it will recieve the most exposure from both directions of traffic. This site also features a natural hill, therefore frames the design rasing it from it’s surroundings, supporting exposure.
C9- DESIGN GENERATION THROUGH GRASSHOPPER
Step 1: Create lines which forms the base of the loft.
Step 5: Refine Base.
Step 2: Add more lines to generate form.
Step 6: Loft Surfaces.
Step 3: Refine line.
Step 4: Add base.
Step 7: Loft Surfaces.
Step 8: Refine final form.
Step 9: Add perforations on central and top panels. Step 10: Opern up end panels dependent on site relation.
C10- FINAL DESIGN
C11- FINAL DESIGN
Once built, with consistent maintenance, we intend to promote plant growth surrounding the design as well as inside the design. This will assist with making the design seem more in place and fit in with the surrounding environment, whilst creating a heaven for local plant life.
3000 1000 750 50
300 750 2800
EARTH
30
STEEL BOLT & WASHERS RUBBER PACKING 20
-Basalt Rock Aggregate The use of Basalt rock not only makes a physical and timeless connection to Wyndham, due to it being a locally sourced material. This loose spread of aggregate will cover the concrete footing, providing a more natural anchor to the ground, also adding another aesthetic feature to the entire design.
REINFORCED CONCRETE
COR-TEN STEEL 950 65
-Cor-Ten Steel We chose to used Cor-Ten Steel primarily due to it’s unique aesthetic qualities and it’s abilityh to darken with weathering, really complementing the naturally sunburnt and rich surrounding landscapes. Cor-Ten steel is also recognised for it’s structural ability, as steel is very good in compression making it the ideal option for design of this scale and arrangement.
STEEL REINFORCEMENT RODS
150
-Individual Componants Connection Emphasis on strength was placed on these connection points between the individual folded arc componts. A strong structural connection was necessary, in order to hold the large scale structural componants of the design together, as well as strengthening the entire design and making it structurally self supporting. This is achieved through the use of excess Cor-Ten steel folded on the inside of the design, which is connected through the use of 3 thick Steel Bolts. A slice of rubber packing will be inserted in the connection, promoting structural longevity and stability by absorbing expansion and contractions on the steel, due to it being unsheltered outside and exposed to the elements.
BASALT ROCK AGGREGATE
11750
-Ground Connection Due to the grand size and nature of this design, it is of paramount importance to establish a deep connection to reinforced concrete and the foundations. Steel reinforcement rods exist parallel to the steel structure, as well as in the base of the footings. Basalt Rock aggregate covers the concrete footings, providing a softer, more natural touch to the design, making use of locally sourced Basalt Rock.
COR-TEN STEEL
575
C12- CONSTRUCTION DETAILS
100 50 400
C13- FINAL MODEL
The above photograph shows the design from cars coming from Melbourne on the Princess Freeway, Melbourne Bound. It shows the design from an oncoming viewpoint. The design will be appreciated from mutliple viewpoints, as drivers coming up to the design will be able to appreciate the design as a whole, seeing the triangular perforations existing on the highest folded panels of the design. The design is then experienced up close, as well as on the inside, as the drivers go past the design and under the canterlevers extended over the roads. The canterlevers exist on the ends of the design, just over the roads, with the Geelong Bound traffic being just about completely under the canter lever at one point on the road. These caterlevers open up to the major natural features of the area, being the You Yang Mountains and Port Phillip Bay, illustrating the connection between the natural enviroment and the design. The perforations exist on the highest two folded panels on each folded arc, allowing sunlight in to promote vegetation growth, as well as add another feature to the design, promoting a light and shade variation within the design. The central arcs are heavily perforated, promoting framed viewports through the design allowing vision of the You Yang mountains from Geelong bound traffic. This folded design is Wyndham’s own parametric mountain, which can be appreciated from any angle. The rigidity of the folds will recieve a variation in access to light, creating a number of different tones on the folded surfaces, as they will be catching different amounts of light.
C14- FINAL MODEL
These model photographs feature a light source from the inside, and are intended to reflect the design at night. Strong light sources will exist on the inside of the design, which will shine through the perforation, giving the design an aesthetic glow.
C14- FINAL REVIEW Our design stands about 25 metres tall and is Wyndham’s own Parametric Mountain. We all know Wyndham is Victoria’s fastest growing municipality, which is most definatly a positive thing. But decided to take that point to the next level, this picturesque and peaceful area, which is a rarity due to it’s location, will soon be non existent. The residential sprawl will soon over run this area, therefore this design, reflecting a natrually flat environment with easily recognisable monuments such as the You Yang Mountains, represents a time when this area was a naturally beautiful area, which I personally found peaceful and relaxing. The perforations promote previliged viewpoints and the growth of vegetation within the structure. This Cor-Ten Parametric Mountain will stand tall over an area overrun with sprawl, it will connect with the You Yangs on a different level. Ideally vegetation will thrive around with trees, adding to the natural aesthetic of the design and making it seem in place. This design will last for a long time into the future, representing a time of beauty in the past, making a timeless deep connection with Wyndham. I am very happy with our final design and how we came to acheive this parametrically.
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