Content
Part A - Case of Innovation
P.6 - Facts about myself... P.7 - Recognizing Architecture P.8 - And Site Matters. P.9 - Era of Digitized Architecture P.10 - Previous Works P.12 - Fast, and Accurate P.13 - Role of Computer and Designer P.14 - One Machine, Many Approaches P.15 - Agent Based System - A brief Analysis P.16 - Establishing Relationship P.17 - Catalyst for Concept realization P.18 - Flexible, Variable, Tracaeble P.19 - Soft, Strong, Continual
Part B - The Cut Project
P.24 - Revaluating Parametric Design P.25 - In the name of Parametric Biomimicry P.26 - Back to Nature, again P.27 - CASE Study 1.0 -- Facade of McCormick Tribune Campus Center by OMA P.30 - CASE Study 2.0 - Yorkshire Diamond Pavilion by Various Architects P.34 - LINEAR Transformation P.36 - The MATRIX P.38 - EOI Preparation P.40 - EOI Presentation P.58 - EOI Feedback - reflections of the processes P.59 - ... and site REALLY matters.
Part C - The Gateway Project
P.64 - What we Have P.65 - Searching for the Form P.69 - Finalizing the Design P.71 - Material, Growth and Decay P.72 - Construction Methods P.74 - Physical Modelling P.75 - ...And Here it is! P.76 - Whydham City Gateway Project P.86 - The Confession
PART A
THE CASE FOR I N N OVAT I O N
Image 01 - Photo of myself, taken at the Blue Mountains, NSW in 2012
Facts about Myself... Matias, LAO Hon Pong • Studying Architecture in Bachelor of Environments in University of Melbourne • Born and raised in Macao, a small SAR (Special Administrative Region) of China. Got to Melbourne, Australia in 2009 for higher education in University of Melbourne. • Interested in architecture since childhood, also enjoy arts, cultures, urban planning, designs, earth and natural sciences.
“You do architecture?” “So you are going to build?” This is the typical response from my relatives and friends after I reveal my area of study to them. Sometimes this make me feel frustrating, as the words for ‘architecture’ and ‘construction’ in Chinese are usually being used together. So this is hard to explain the differences between them.
And indeed, it is hard to distinguish architecture and any other artifacts that are large enough to house, say, a human. But think in the opposite way, why must we separate them? Historically scholars would make architecture a piece of art and buildings as a plain object1. Yes, architecture is definitely a form of art that can reflect and present the mind of the artists/architect and the sociopolitical background of that era. However things get more ambiguous as the society advance: can mass produced housing towers, ‘copied and pasted’ each other to cope rapid urbanization more arty that a designer bus-stop? Or must that busstop more architectural than a vernacular farmhouse?
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In my opinion, one must look at the context of the building in order to distinguish architecture and artifacts. If an building is isolated from 1. the time which it is being built; or 2. the actual site which involves local environments and cultures; or 3. the people who will actually using the building, then this building can be a product, an object, ‘incompleted’ architecture or anything but not ‘completed’ architecture.
In the studio, a term ‘Architectural Discourse’ is introduced to describe the relationships between idea, technique, theory, responses, ‘context’ of time, space, and people
To develop a discourse of an architectural work can help us to recognize and understand architecture , thus the ability of self-criticise can be obtained to improve future architectural practises. Architecture is, after all, involves so many different disciplines and subjects to change in different culture and era. Image 02 - Sagrada Familia, Façade of the Nativity
Recognizing Architecture Some of my favourite masterpiece of architecture can further explain my idea. The Basilica of Sagrada Familia by Antoni Gaudí in Barcelona is distinctive not only because it is amazing complex, expensive or highly personalized. The structure embraces theology and nature by spatial planning and visual impacts -- so intricate that it stuns visitor. It well suits the propose of a landmark as well as a church: to gain people’s appreciation to God and his creation2. Therefore, Basilica of Sagrada Familia really shows the Gaudí’s interest in Nature, Man, God, Creation, and their linkages. It tries to present and promote Catholic culture to not only believers, but also initiate the curiosity of non-believers. Indeed the concept of architecture as a storybook has been used in early history like temples and medieval churches. Gaudí did it further not just on the surface and decorations but by incorporating the elements inside the structure.
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Nonetheless, there are aspects of this ‘masterpiece’ which I would consider as the weaknesses. The structure itself is amazing, but it yet to create harmony with its surroundings: a modern European urban area. It is also too expensive that is not so affordable in such changeful global economic environment.
Feel free to criticize architecture. Architecture, after all, is a form of art, and arts are subjective.
Image 03 - Sagrada Familia in the Urban Context
And site matters. There are of course other great architectures which are concern about the site. Sydney Opera House by Jørn Utzon, one of my favourite, is a great example as a icon sitting on the harbor city which also represents the city itself. For contrasting environments I think of the Louver glass Pyramids by I. M. Pei, which is a very bold approach to the old Louver.
Image 04 - ‘Falling Water’, Pennsylvania
Another my favourite example would be the ‘Falling Water’, or Kaufmann Residence by Frank Lloyd Wright. Usually regarded as ‘the master of organic architecture’, Frank Lloyd Wright emphasized connection between the built and natural world3. This is exemplified by the Falling Water, featuring stretching platforms over stream, and dynamic movement around the space. This is seemingly that Wright had been inspired by Japanese ‘scenic’ architectural culture that considers movement, landscape and materiality as parts of the actual spatial experience of the habitant4.
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These are what I like about architecture: to know what, where and why to build; to embody philosophies in it; to embrace its context, and to show respect. And once again, architecture is subjective and always subjects to change. New ideas will continuously emerge as the society goes and new technology comes. All these are just natural... thus people would sometimes make architecture ‘the great record of civilization’. I appreciate that.
Digital Dream Computers are one important feature of the modern civilization without question. From this statement, one can guess and see the big impact of digital reformation on architectural practise.
Image 05 - Typical interface of a CAD program
Digital Morphogenesis and
Not surprisingly computer helps the increase the efficiency of common Computational Architectures practise in the profession and industry. CAD (Computer Aided Design) programs is becoming the basic skills to be taught Abstractin institutions and university. Personally I have some basic skills of Autodesk’s AutoCAD for technical drawings, Rhinoceros by Robert McNeel and GoogleSketchUp for But personally I 3D modelling. I also know there are huge varieties of software being employed drawing prefer hand Branko Kolarevic in the industry like 3DSMax, Maya, Revit, and more. More importantly   branko@pobox.upenn.edu instead of CAD drawing. University of Pennsylvania these programs do not only involve in only architecture and construction This is nothing to criticize practises; industrial design, interior design, graphic,Resumo theatrical and cinematic but merely my own production, art and any other field that require visual presentation would use preference. similar programs to plan, design, produce and present.  � � � � � �  � € �
Era of Digitized Creating a “Water Cube� Architecture MARKET STORIES Building
One step further from computer aided, contemporary architecture has a trend of using computer to do the actual ‘design’ work instead of human. To my understanding this means to create forms that can normally only be done by computer calculations due to the complexity, time and physical constrains. Computer is more favourable in these case because it can quickly response to conditions, or parameters changes of the design, and generate rather attractive form.
1. Introduction
As digital infrastructures are being inscribed into cities and buildings, new forms and methods of spatial organizations are emerging (Mitchell 1995).Technological architectures are being replaced by computational architectures of topological, non-Euclidean geometric Arup wins gold in Olympic swimming center design space, kinetic and dynamic systems, and genetic algorithms. According to Peter Zellner (1999), “architecture is recasting itself, becoming in part an experimental investigation of of the remaining elements orchestration form the topological geometries, partly computational of robotic material aofkinematic However I would like to flanges the composite structure, production and partly a generative, sculpting of space.�
bear this question in mind: can
while the internal elements form
The Information Age, like the the webs. Industrial Age before it, is therefore not only challenging what we are designing but also how we design. The3D generative and creative potential of computer make better architecture Stuart Bull,Arup senior technidigital media is opening upcian, newdescribed emergentthe dimensions architecture. As seen by Bart modelinginand more than exciting facade? The Lootsma (Zellner 1999), “instead of trying to validate conventional architectural thinking documentation process as a “dauntin a different realm, our strategy today should be to infiltrate architecture with other ing answer proposal.� Arup a 3Dand is created open, till now I am media and disciplines to produce a new crossbreed.� centerline wire-frame and exported
optimistic about it. For example we incorporate geometric structural member the and complex system of nature design data. intoAruparchitecture Next, wrote a MicroStation with the help of Image 06 - 3D modelling of ‘The Water Cube’, Beijing VBAcomputer? routine that used the file It text would be fascinating to create a complete 3D model of Arup generated a variety of renderings from its 3D model of the National Swimming architects to tried different the for steel structure. By enabling Center. (Image courtesy Arup-PTW-CSEC) MicroStation Development Language approaches. I am ecuring the design contract for competition stage, a large portion (MDL) functions, the model could be looking forward the National Swimming Centre of the design was created, but the created as surfaces, solids, or structo find out the answer in both this for the Beijing 2008 Olympics main task was to develop a method tural elements as appropriate. was a task worthy of gold medal that would enable Arup to produce studio and my future career. a 3D model and drawings in the it to a structural analysis program for engineering.The analyzed model
what will happen if 2. Computational Architectures was output to a text file containing
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distinction. But with the help of shortest time possible prior to the MicroStation and Bentley Structural presentation. During the second software, Arup and architectural stage, Arup incorporated the final firm PTW of Sydney, Australia, to- features, calculations, and design gether with CSCEC from Beijing and that would complete the project. Imagebeat 07 -outCAD in Guggenheim Museum in Bilbao Shenzhen, 10 qualifiers for Solution to a daunting proposal this prestigious, world-class project. Figure 1. Topological architecture: Gehry’s The building structure is a 3D Arup’s “Water Cube� design was Guggenheim Museum in Bilbao. Vierendeel space frame 175 meters based on a natural pattern of organ- on each side and 35 meters high, ic cells and the formation of soap based on a geometric cell made up bubbles. Contained within the cen- of 12 pentagons and two hexagons, ter’s blue bubble walls are the pools which is repeatable in 3D without for the Olympic swimming and div- leaving any empty spaces. Covering ing competitions, along with seat- this frame are the translucent bubbles, or ETFE pillows. ing for 17,000 spectators.
Project Beijing National Swimming Centre Organization Arup BE Awards category BIM in Architecture and Engineering Project objectives To design the National Swimming Centre for the Beijing 2008 Olympics, a dramatic “Water Cube� covered by translucent ETFE bubbles, with seating for 17,000 Fast facts The structure is a 3D Vierendeel space frame 175 meters on each side and 35 meters high, based on a geometric cell made up of 12 pentagons and two hexagons, which is repeatable in 3D without leaving any empty spaces. Modeling and documentation was a “daunting proposal,� an Arup technician said. Bentley products used
THE POSSIBILITIES ARE ENDLESS
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Using Bentley Structural and MicroStation TriForma,Arup generat-
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Architectural Design Studio : Earth ABPL20027
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Location: Herring Island, South Yarra, VIC
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Brief: A ‘Discovery center’ to reflect and exhibit the history of the site associating Aboriginal people and Culture
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Previous Work - ADS Earth
Image 08 - Ground Floor Plan for the cultural exchange center
The primary aim of Hallthis 1 studio was to explore basic architectural design skills on site, tectonics, and program.
One major theme of my design is to exhibit the living history of aboriginal history to visitor throughout the journey. These is achieved by playing around this 3 dimensional stage withHall light and openings. Visitors 2 will experience the journey with varying height and tone. Accessibility is also a challenge. Hall 1
Image 09 - Photomontage of the cultural exchange centre Female WC Hall 2
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The goal of this studio was to work out an architectural solution responding the brief after studying the ‘philosophy’ of selected ‘Master of modernism’. Our studio had Frank Lloyd Wright as the Master, and we were asked to follow his style as a starting point.
Besides from Wright’s style, my starting idea was water ripple, this had developed into a series of circles. One challenge was the scale, as it ended up with a really large complex including parking and landscaping. Environmental aspects is also considered.
Image 11 - Yarra Bend Boathouse presentation panel no.2
Year of Studio: 2011 Designer: Matias LAO Hon Pong Tutor: Cho Chiu Chen-Yu Location: Yarra Bend Park, Fairfield, VIC Brief: A boathouse for recreation, together with cafe and restaurant area
Image 12 - Yarra Bend Boathouse presentation panel no.4
Architectural Design Studio : Water ABPL20028 YARRA BEND BOATHOUSE and RESTAURANT
Previous Work - ADS Water
Image 13 - Mobius House, concept and program
Computers are capable to create a new era in architecture design, but how can they do that? To answer this question, we must look at what computers are able to do, in other words, what are computers good at. According to Kalay, design is a series of problem-solving processes that involves logic, experience and creativity5. What computers are really good at is the logic part: they can run calculations, simulations or models much faster with accuracy, and willing to do repetitive tasks without losing performance. Human, however, would get bored and make logical mistakes during design.
By comparing traditional design processes and digital design, the first apparent advantage of designing with computers is that it provides a whole new way to express the ideas in complex, non-linear geometries, also in 4-dimensional (3D + time) that involves probabilities and variables; in contrast to traditional practices on mainly 2-dimensional plans, sections, elevations and scaled models. In addition, by using computer to simulate the design it can further reduce the risk of mistakes, such as structural failure. The Mobius House by UNstudio, developed from one simple yet dedicate Mobius strip, shows how architects take the advantage of 3D conceptualizing ability of computer.
Fast, and Accurate
Image 14 - Structural analysis of a 6-span bridge, digitalized analysis avoid waste of material and failures
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Image 15 - Pike Loop by Gramazio & Kohler, robotic brick layer perform precise laying task to achieve delicate brick wall of curved surface
From above we can expand these benefits into more specific characters of digital architecture and construction:
- allows performance (structural, environmental) evaluation; - fast, accurate, efficient manufacturing and/or demolition (thus avoid waste); - can create complex, non Euclidean geometric form; - remote site evaluation possible by advance site evaluation tools and communication; - easier to get variations (as design based on rule, parameter, or agents but not form); - promotes standardizations and quantification, which improves efficiency and effectiveness (eg. LEED rating tool) - allows better control of interactions between occupants, environment and architecture. - efficient movement/logistics based on individual characters by simulation;
Role of Computer and Designer Nevertheless, computers still don’t have the ability of creating ‘new’ things and ideas, and they also rely on the information which people input. They are not sensible to emotions, aesthetics, or ethics which are important factors in architecture for human. So architects and designers are still the important role in digital design. To sum up, technology is a great tool that helps to achieve better design solutions, but human contribution cannot be ignored in creating architecture for human.
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Last but not least, as computers in design is still relatively young, there are still more undiscovered approaches coming in the future. Therefore I think digital applications will surprise us even further in the future.
“Diet on games and plants if living near the mountain, diet on fish and seafoods if living near the sea” This is true that the method and result of design are heavily based on the type of program and software. In most cases it is a constrain for architects as people tend to rely on what they are familiar with, just like my preference on hand-drawn presentation as I trust my hand. The only way to overcome this limitation is to open oneself to different approaches.
Luckily, we have a variety of digital design tools available, and the number of methods is believed to increase as technologies and communications are becoming more accessible and frequent. According to Koralevic6, digital design solutions are typically generative based on various given parameters, rules, mathematical expressions of geometry and imitation of natural processes. These can be categorized as the following:
One Machine, Many Approaches
NURBS
And it is important to stress that, most programs involve multiple approaches rather than one single function. For instance, analyzing structural performance would involve ‘global’ parameters like gravity and individual ‘agents’ like load and wind. To create genetical programs and forms it would need non-Euclidean geometric calculations. Even within the same industry, different programs and software would be use for the same approach. Thus the amount and difficulty of communication between parties are actually increasing due to the advance of computational design.
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Here I am trying to examine one basic way of computational design - the agent based system. Agent based simulation, sometimes called multi agent system, is a type of model that preforms calculations and simulations based on individual behaviors. Therefore it is a ‘bottom-to-up’ approach. Each agent are programmed with certain characteristics and behavior patterns, and multiple agents are place on a testing ground so the computer will let each individual to interact with each other based on their nature, and a complex system will emerge from the this sandbox7.
Image 16 - movement simulation
In architecture, ‘agents’ can be anything, and most of them involve human behaviors. They can be characterized as the types of tenant, functions of each space, or criteria for particular event. This technique is particularly useful in determining pedestrian flow in public space and urban design8 since it optimizes the distance between different individuals that match or oppose to each other.
Image 17 - program responds to agents
One example I found is a skyscraper proposal in New York by Code [9]9. There are 2 testing grounds: Chelsea and Midtown and a academic campus is proposed. The form is generated by agent based system. It simulated the movement of different groups of people like science students and arts students by giving them certain characteristics (requirement of open space, lighting etc.) . The system produce two quite distinct result for each location, varied by point of entries, nearby density and circulation patterns. The results are 2 organic looking tower complex, each tower are connected by bridges and platform at different heights.
Image 18 - different circulation in different scenarios
Image 19 - form generated by simulated result
As long as the data input are suitable and relevant, agent based system does a good job in optimizing distances and programs of a space since these are based on individual nature that reflect reality. It also capable to produce different results for various scenarios. Reality, however, is more complex that involves probabilities and emergence. If the simulation become more advance and detail the result would become more chaotic and less appealing. In conclusion agent based system has the potential to perform pattern prediction, but it must be supervised by men and rules.
Image 20 - ‘Vertical Ground’ by Code [9]
Agent Based System A brief analysis 15
Image 21 - Sketch of Guggenheim Bilbao by Gehry (left) and its panel (right)
Parametric design is one popular field among all different types of computational designs. Parametric design, as its name has implied, is to design with parameters. Parameters in digital sense can be thought as relationships between different objects or factors, one or multiple results are directly linked to a primary source of input. In short, to design parametrically is to establish connections or transformational relationships between various factors.
Establishing Relationship
Image 22 - Rendering of Melbourne Rectangular Stadium, parametrics is used to do variation and run structural performance
How parametric ‘parametricism’ is? Parametric design, and even computational design itself, is still relatively new in art and the industry. There are numbers of debates and criticisms happening about the use of parametric design – both academically and on the virtual social network. (see http://www.nzarchitecture.com/blog/index.php/2010/ 09/25/patrik-schumacher-parametricism/ for further discussion) Patrik Schumacher, who promotes the use
of parametric approach as an emerging architectural style, has even outlined a number of canons of parametric practices10. His works, rather radical or not, do point out some advantages of using parametrics in architectural design: it is always variable, which makes it well suits the contemporary fast-paced world by being ready to adopt any changes related to global issues like sustainability and globalization.
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Nevertheless, the word ‘parametricism’ is a bit problematic. I am not a lexicographer or any English expert but I don’t think parametric design can ultimately rival and sweep out all other approaches. First, the nature of design processes involves problem spotting and solution searching11. Solutions come because there is a problem, and the restrictions of the case are the parameters of the solution. Therefore all design approaches, rather it is classical, modernist, vernacular, functionalist, performance driven, biomimetic, dynamic or agent based, are parametric. Second, since parametric design tends to focus on establishing relationships between involving factors, it lacks
the ability of analyzing the original characteristics of the factors, and this simulation are generally one-way without concerning feedbacks unlike methods like agent based system. Third, due to the fact that parametric design relies on relationships of factors and source objects, it is hard to remove key modules, especially in more developed, complex models. This means parametric approaches actually need careful planning at the start. Last, just like any digital tool, parametric designs are limited by the skill of the operator and the information/parameter input. This may lead to problems like context suitability.
Catalyst for Concept realization
Image 23 - Mercedes Benz Museum in Stuttgart, concept (left), layout and structure (middle), final product (right)
Turn the table around, if ‘architecture begins with an idea’12, parametric design will be a wonderful way to follow this statement. For instance, the idea is to ‘add’ all the elements together, then ‘addition’ is the parameter and the later process should go smoothly. This is particular useful in transforming design idea into construction.
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Guggenheim museum Bilbao by Frank Gehry demonstrates this advantage. Gehry first draw the ideal form of the museum, and he let parametric software to calculate the panel shape and structures for him. The geometries and physics are the parameters and computer can do it quickly without doubt. Many architecture firms
have used this technique, like Mercedes Benz Museum by UNStudio (parameter: continuous circulating concrete surfaces and structure13), and Melbourne Rectangular Stadium by COX architects (parameter: triangularization of the shell that stands structurally 14 ).
I must stress that the flexibility provided by parametric design is the predominant feature of this approach. Look at Zentrum Paul Klee in Bern by Renzo Piano, the building itself is a series of linear wave like structure made with steel warping around rows of concentric circles. The roof essentially behaves like a fabric. With the aid of parametric tools the simple concept can be execute by rationalizing the curvature of the steel members15. From these the designing team is able to change the form, size, orientation, etc. to fit the program, topography or sustainability. For example, they can enlarge one specific cell, or change the distance to let more sunlight without changing the concept. It also able to generate a variety of results, so that the client and the team can choose the most appealing respond. In addition, it allows fast-tracking in the construction and manufacturing stage. Since the parameters are there, manufacturer can start to prepare schedules and materials even the shape have not been finalized. As long as the design team communicates well with the production team the shape of product can be updated simultaneously.
Image 24a - Parametric making of Zentrum Paul Klee
Image 24b - Parametric making of Zentrum Paul Klee
Image 24c - Parametric making of Zentrum Paul Klee
Apart from structure, the ability of producing variable, soft and multiple results fast and efficiently makes parametric treatment being used extensively on skin and faรงade design. This can be seen as the trademark of parametric design. Using the Board Museum in Los Angeles by Diller Scofidio+Renfro as an example, parametric
Image 25 - Zentrum Paul Klee roof structure
Flexibile, Variable, Traceable
Image 26 - Zentrum Paul Klee, parametric design work best in making changes on original concept
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Image 27 - Board Museum section
façade gives the rectangular box dramatic characteristic16. Parametric skins can speak really strong languages, therefore architecture for collectives like museums, theaters, stadiums or convention centres can acquire or reflect their own character by this way effectively. The skin of Board Museum responds to entrance, openings placement and lighting requirements. This generative skin would also be subjected to the shape of the block, so it is right to say that form can now be free from program rather than ‘form follows function’.
Image 28 - Parametric facade of Board Museum
Image 29a - Rendering of the ‘interior’
To conclude, digital parametric design is extremely flexible, generative, and allows good continuity from concept development to construction phrase. Although the term parametric in design is misleading and this approach may oversee individual parts, the shortcomings are not always the case as people can overcome those by using different medium. The strong language is believed to be appreciated. Along with the advance of computing technology and increasing communication of technique and ideas, digital parametrics should play an essential role in digital architecture.
Image 29b - Rendering of the ‘interior’
Soft, Strong, Continual
Image 30 - Board Museum, the skin can now be free from the body and become an independent feature
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Reference [1] - Rampley, 2005, Exploring Visual Culture, page 103
[2] - Berlin, J, 2010, The Big Idea: Biomimetic Architecture in National Geographic, published December 2010
[3],[4] - Bussagli, M,2003, Understanding Architecture, page 342, 343
[5] - Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25
[6] Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Required pp 3-28, highly suggested pp. 29-62
[7] - A. Borshchev and A. Filippov. From System Dynamics and Discrete Event to Practical Agent Based Modeling: Reasons, Techniques, Tools. The 22nd International Conference of the System Dynamics Society, July 25 - 29, 2004, Oxford, England
[8] - G. Aschwanden et al, 2011, Agent based evaluation of dynamic city models: A combination of human decision processes and an emission model for transportation based on acceleration and instantaneous speed, Automation in Construction Volume 22, March 2012, Pages 81–89
[9] - Furuto , Alison . "‘Vertical Ground’ Skyscraper Proposal / Code [9]" 17 Mar 2012. ArchDaily. Accessed 14 Aug 2012. <http:// www.archdaily.com/216886>
Image Sources Img 01 - taken by Matias LAO HonPong in 2012 Img 02 - Wikimedia Img 03 - Wikimedia Img 04 - Wikimedia Img 05 - http://www.architecture411.com/notes/note.php?id_note=23 Img 06 - Creating a “Water Cube”, http://ftp2.bentley.com/dist/collateral/User_20Story_3A_20Arup_20_2D_20Water_20Cube_2C_ 20Low_20Respdflo.pdf Img 07 - Digital Morphogenesis and Computational Architectures, http://cumincades.scix.net/data/works/att/fbc9.content.pdf Img 08-12 - My work Img 13 - UNstudio Img 14 - http://www.scanscot.com/services/civil-engineering/ Img 15 - http://www.dezeen.com/2009/09/16/pike-loop-by-gramazio-kohler/ Img 16-20 - http://www.archdaily.com/216886
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PART B
THE CUT PROJECT
Strictly speaking, there are not many parametric experiences for myself. One is the first year project in Virtual Environments - the ‘body architecture’; and the other is essentially the analysis of digital parametric design introduced as the first part of this subject. The project ‘body architecture’ was to create a wearable piece of object which is modeled by Rhino and panelling tool plugin. The panelling tool is a parametric tool that allows panelling a surface into pieces. The size, shape, patterns and layout are the parameters.
Image 01 - ´Body architecture´rendering in Rhino
Parametric design, as said in the first part of the journal, have most advantages of digital design: it allows quick modeling, variable, and convenient. Like the project, I was allow to select any shape or pattern to match the master form of the model, fast and easily. Nevertheless, I think parametric approach is always hard in the beginning. It is not intuitive, and the underlaying concept and process are usually unfamiliar to general people. These makes parametric approach somehow not very ‘user friendly”. Even so, parametric design offers a lot of freedom for architects and designer to achieve what are in their mind. Digital process make life easier and faster... Perhaps there will be a significant change in traditional design industry as creator can now literally ‘build from the scratch” since ideas can be achieved based on concept rather than constrained by forms or programs? My attitude of digital parametric design as a tool is positive. The creative industry always wants new stuffs to be used, added, subtracted or mixed. There will be no harm for architects to learn new techniques, anyway.
Revaluating Parametric Design
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I got a group in week 4 with two others, Derek and Roman, to work for the gateway project. From there we have decided to look at biomimicry as a starting point. Biomimicry, “the study of nature’s best ideas and then imitates these designs and processes to solve human problems.”1, literally ‘life-imitating’. Naturally many ancient or modern inventions came from natural inspiration. Like columns from trees and plants, and radar from bats. Nature offer a great range of opportunities. We think that biomimic results are attractive to people, therefore it can well perform as a site of attraction which will grandly welcome people on their way. Growing cities are dynamic places; characterized by virtual and literal movement, growth and decay, times and areas of dormant(ness) and vitality. It is like the seasonal cycle of nature: winter to summer, life cycle of living things, chain reaction...
Image 02 - Snow flake has unique pattern driven by forces between molecules
In the name of Parametric Biomimicry
Image 03 - Honeycomb is popular and famous for is efficient hexagonal structure
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More importantly, most natural objects are based on certain laws or rules. For instance, pattern of sunflower which maximize its sun facing panels2, algorithms, fractal geometies, crystallization based on chemical properties of the compound, etc. These patterns are valuable features for biomimicy in parametric design. The rules of nature are parameters.
Image 03 - ZA11 Pavilion, inspired by honeycomb structure with visual effect focus at the center, a good example of hybrid approach
Image 04 - Gateway Structure for Brunel University by Minimaforms, structure is drawn from natural objects like bone and fungi
Back to Nature, again Nature itself is the master of structure and patterning. Using the most efficient way to construct things. From the Romanesco Broccoli to framework of skeleton, nature has made many amazing and appealing shape which enrich the world.
Objects inspired from nature may be blended into landscape, but it is not always the case. Many public sculptures and displays come from nature. It is flexible, as the way to represent that are limitless. It can be pattern, structure, scale, dynamic process, responsive, and so on! Life has been evolving far earlier than human civilization. There are a lot to learn from nature since it has a long history, and the resilience to face changes.
Image 05 - ´romanesco broccoli´ shows how natural law of mathematics have influenced growth
Lastly, nature itself is sustainable, and sustainability is now a big consideration in the world. Biomimic design may provoke this idea. This should be appreciated by road user, the council, and everyone.
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CASE Study 1.0
Facade of McCormick Tribune Campus Center by OMA The first case study is to tinker with a parametric definition of grasshopper used in creation of the facade of McCormick Tribune Campus Center, designed by OMA.
Image 06a - The glass facade, resemble the portrait of famous architects
From a distance the portraits look like being printed on the panels. But when zoomed in the portraits are actually composed of ‘pixels’ of different figures with varying size. It is the size and density that make the panel looks like portraits.
Therefore, the challenge, or goal of this technique is to redefine the picture as pixels and associate the figures in different sizes according to the grade, contrast or brightness of the picture.
Image 06c - Close up on the glass - each pattern is unique
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Image 06b - Portrait is actually make up of ´pixels´of patterns with various size
Image 06d - Interior glass does the opposite - patterns are left transparent
The studio had prepared the definition of grasshopper that 3 different pre-drawn patterns are laid on the surface according to one input image, analyzed by the ’image sampler’ component, and placed by the ‘orient’ component. Result as the image at the right:
CASE Study 1.0
Facade of McCormick Tribune Campus Center by OMA The given definition is pretty much straight forward. The pre-drawn pattern are laid on a surface according to the image. This is clear and simple that one can change these three input sources to adjust the desired result. The uniform density and uniform sizes of the patterns and layout can be adjusted as well. And then I tried to change those input, different patterns, number of divisions, curvy surfaces and others are tested.
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In fact, the definition does not limited into two dimensional patterns laying. Besides from laying flat patterns on three dimensional curvy surfaces, it is also capable to lay three dimensional objects on that three dimensional surfaces since ‘orient’ component resolve the normal of that surface. I found this result attractive and represent some dynamics of patterning.
CASE Study 1.0
Facade of McCormick Tribune Campus Center by OMA Yet the original definition fail to achieve the goal of sizing according to the brightness of the image. One can see that all the patterns has the same size. To do this I extract the data from the image sampler and connect it to the ‘scale’ component. Now the size is able to respond to the degree of brightness of the image. Hence the effect brought by this case study can be achieved.
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Image 07a - Yorkshire Diamond in Prespective, the structure creates complex visual effect
CASE Study 2.0
Yorkshire Diamond Pavilion by Various Architects Case study 2.0 is the reverse engineering of the structure of Yorkshire Diamond, designed by Various Architects.
Image 07b - Yorkshire Diamond in physical model
Yorkshire Diamond is â&#x20AC;&#x2DC;an innovative Mobile Performance Venueâ&#x20AC;&#x2122;3. The name of the pavilion with the fact that the structure is inspired by the atomic structure of carbon in diamond form - the strongest carbon structure in known nature world. The structure is essentially a lattice of this diamond structure of inflatable tubes. The result is visually, three dimensionally complex, but the logic behind this is rather simple. Furthermore this simplicity allows various configurations for different functions - this enhances its flexibility as a temporary structure.
Image 07c - The stacking of diamond structure resemble hexagonal tubes
Image 07d - By removing interior units the space can have different configurations to suit different purpose - this demonstrate its flexibility
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U
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And so, our aim in this case study is to create a parametric definition in grasshopper that allow us to repeat and array the ‘Base Unit’ in rows, columns and height to create a lattice. After that we can remove the unwanted modules to create spaces. On the other hand, we should also be able to manipulate the size of the ‘base unit’ as well.
BUT, the fundamental questions of this approach are ‘WHAT IS THE BASE UNIT?’ and ‘WHAT MAKES IT A BASE UNIT?’ In fact these problems are actually the core of our concept, how can we create something similar to the Yorkshire Diamond if we cannot make the most basic module? We had many ideas about how the base unit looks like and what it is based on. For instance we examined the diagrams and tested the geometry on square, rectangular and triangular grids, both offset position or regular; we also tuned the connections between each node as well as the orientation of the module. Some of them were closed, but most of them failed as they didn’t resemble the diamond structure or they did not connect to each other when stacked.
Don’t stack
Joint conflicts
CASE Study 2.0
Weird shape
Yorkshire Diamond Pavilion by Various Architects
CASE Study 2.0
Yorkshire Diamond Pavilion by Various Architects
Image 07e - All units are actually based on square grid
After different attempts we looked back to the diagram and researches. Noticed that the entire geometry is based on the square grid, we decided to work on square grid that can give hexagonal pattern after stacking. Fortunately on the same diagram there is a hint of the base geometry and connection. The base unit is actually far more simple then we have thought: it is just a cube which 4 arms start stretching from the center, and from 2 perpendicular planes.
Good start. From this discovery we rearrange the base unit so that when it stacks on each other a complete structure (all node have four arms, from hexagonal pattern etc.) can be achieved. Once it was done we started something more parametric. Since the unit is cubic a square grid is employed in grasshopper so that we can adjust the number of row and column easily and extract the coordinates corner points. We tried to use ‘divide surface’ but it fail as the spacing between UV points may not be square so we stick with square grid first. ‘Orient’ component is used to place the unit. The problem of this is the size of each square of the grid is independent from our base unit. This make the structure overlapping on each other which is undesirable. To solve this it is necessary to reference the size of the base unit to the size of the square on the grid. We used ‘bounding box’ to find the length between vertices. The value is attached to the size input of the grid therefore each unit are now placed exactly next to each other, it also allows scaling of the base unit. And from now on it is simple to make more layer on top using ‘series’ and ‘move’ components. The distance of move is controlled by the same method as the size of the square. The lattice is now completed at this stage. 32
CASE Study 2.0
Yorkshire Diamond Pavilion by Various Architects The result is very close to the case study in terms of appearance, all joints are geometrically connected in the manner of diamond structure. The intended visual effect strikes out, and this attempt allows changing the dimensions of both the entire body and the base unit. Yet one inflexibility of this approach is the fact that it is based on square grid thus the outcome will always be a box like structure. On the other hand, it yet to achieve three dimensional structure as it is only vector working as this stage. Interior spacing can only be done after ‘baking’, hence the structure do not response the deletion. Nevertheless we decided that this is a successful attempt in terms of replicating the form of the case study.
In addition, we discovered that the law of the base unit. as a box the geometry inside the box has certain properties in order to stay connected when stacked together. Image 08 - The opposite face of the cube is a ‘mirror image’
Each opposite face of the cube is actually the mirror image of each other. With this rule all joints will be connected when stacked. Using grasshopper we can make the base unit more flexible, it opens up another field for exploration.
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One of our idea for the gateway project is to represent the growth of the city. However, the case study 2.0 is volumetric. We found it is complicated and not suitable to show ‘trend’. Therefore we started to focus on linear placement rather than volumetric placement. Linear transformation, after all, is much simple than dealing with planar and volumetric stuff.
LINEAR Transformation Simple linear scaling, although it allows placement along any curve and lineworks, the base unit does not orient to the normal of the curve, and more importantly, each unit does not connect to each other. We considered these as problematic and needed to be resolved. The primary goal is to maintain connection of each module along the curve. There is no problem about the unit itself as its properties have been defined already. Therefore we needed to change the composition of the curve. Grasshopper has a component called ‘Twisted Box’ which allows metamorphosis of a box according to the coordinate of the vertices. So we created the series of boxes along the curve which faces response to the planes perpendicular to the tangent of the curve. After selecting the appropriate vertices for the box metamorphosis. By now the placement of the unit is continuous and the units are transformed to fit in the curve.
Next, we want it to scale along the curve. For example we want the units at the end are small and dense while the units at the tail are larger to represent the direction of grow, the trend of development or the way where people are moving into.
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Since it is the vertices control to boxes, we thought that if we could tune the distance between the curve and the vertices, we could manipulate the size and density. Here we use ‘GraphMapper’ to adjust each value of the distances according to the graph type we needed. This component turns each originally linear displacement of the vertices into more dynamic, easy-touse transformed positions. This definition allows us to change the number of segments, the way to scale according to graph function, and all the units are connected to each other.
LINEAR Transformation Finally, back to the base unit. We did not use the unit which was created by grasshopper definition as it seem to be too uncontrollable and the result is not very appealing. Instead we draw those in Rhino modelling space following the ‘rules’ of mirrored faces of a cube. Five varieties are created. Diamond structure from the precedent Yorkshire Diamond; Stacking boxes inspired form mineral pyrite; square based dipyramid crystal structure; 3D voronoi generated in grasshopper but edited in Rhino to fit the geometric rules; and origami crane which is drawn form the migrational behaviour of birds.
Each of these are used as the base unit in a variety of curves. We also adjusted and compared the appearance of the results of different number of segments as well as graph type. The results are shown as a matrix in the following pages.
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S=18 GT=linear
S=18 GT=linear
S=9 GT=linear
S=18 GT=Sine
S=9 GT=Sine
The MATRIX The results are awesome. For each change in parameters the subtle transformation of each units are unpredictable but elegant. We like the relationships between each unit which is subjected to the graph type we have assigned. All of these results are visually complex but the logic behind is simple. This recalls the simplicity of the precedent Yorkshire Diamond.
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S=18 GT=Bezier
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S=9 GT=Bezier
S=9 GT=linear
S=9 GT=Sine
S=9 GT=Bezier
All the base unit design are come from natural objects: particularly minerals structure but also spatial occupation of cells and behavior of animals. We found that minerals structure is good to represent complexity but a bit weak in showing trends. Minerals structure create more sharp, geometrical shadows while the others make organic shades. The ‘linear’ graph type as well as ‘Bezier’ graph type do well in showing size changes, but ‘sine’ graph is more dynamic. Last, we love all varieties of curves but we are kin to use curves with higher curvature to represent the dynamics and trend of grow. Overall, this technique should be suitable as a gateway project due to its visual complexity, with is iconic and promotional.
EOI Preparation We need to build a physical model for the presentation of the EOI, judging from the constructability of the results in matrix, we believed that surfaces are necessary in order to get it flatten, printed, built and create interesting shadows. Various approaches were tested in Rhino and we found that the structure from diamond structure unit is most attractive. and simple to be built among all the others. But then we realized that when grasshopper was trying to transform the originally flat surfaces to fit the curve, some edges are bent by this action which make the flat surface become double curved. Double curved surface cannot be unrolled to be printed. The way we solved this problem is to use grasshopper to fill the surface for us after the geometries are metamorphosed. However this means we cannot have pattern and holes on the surfaces. We can only add the pattern after the surfaces are baked and unrolled at this stage.
Image 09 - â&#x20AC;&#x2DC;bendingâ&#x20AC;&#x2122; of straight line caused by the twisting action
Since the issue of double curvature is now fixed, it is easy and straight forward to format the print layout. We unrolled all surface and drew pattern randomly, added tabs for sticking the surfaces on each other, and put the lines in appropriate layers so that the laser cutter knows where to cut and etch. In this model we decided to make 6 units only, just for time being and efficiency. This file was then sent to Fablab for cutting, boxboard of 1mm thickness.
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Meanwhile one of my group mate was working on the EOI presentation slides. We discussed what and how we put the content into a 5 mins presentation. Here is some recap of our arguments:
We want a art piece that can/is/preform:
- The structure will have a fabric or texture that compliments and contrasts the conceptual goals of our design team : to reflect Wyndham cityâ&#x20AC;&#x2122;s growth : express the juxtaposition of natural and industrial landscape : comment on the start and finish of suburban Melbourne ......................through an organically derived method and aesthetic. - Manipulation of light and shadow will be achieved through a design made of components modelled on biological forms. - The diamond lattice form will be used as a base element, deformed and reconstructed to create the structural and aesthetic properties of the sculpture. - Repetition, scaling and deformation of the base element will be used reach the conceptual goals of our design. - A skin derived from the shape of a cell will be used to reinforce an aesthetic of the natural, as well as act as the prominant mediator of light. - An element of interaction with the sculpture and site will be achieved through a subtle transformation of form as the user drives around the scultpure.
EOI Preparation + Modelling It is positive that our model can proof all this arguments both physically and as a reflection. The trend of growth is shown by the scaling; the shadow is interesting since the structure is complex and visually attractive; the skin (surface) is free and we are able to draw any theme we want onto it. More importantly, as a gateway it is highly attractive and is able to promote the city as a new landmark.
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Image 10 a,b,c,d - Modeling processes
Physically modelling was not hard since the laser cutting technology was very helpful. All we had to do is to build a prototype as the instruction and demonstration. Nonetheless we think the material choice was a mistake. Boxboard was possibly too thick for our model and it made the direction of scoring a bit messy. In some case we had to remove the tabs since the etching directions were wrong. Anyway the product is awesome, particularly when photographed with strong lighting effect.
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Image 11 - â&#x20AC;&#x2DC;prototypeâ&#x20AC;&#x2122;
Expression of Interest Presentato Wyndham Gateway project Parametric Biomimicry Matias Hon Pong LAO Roman AIZENGENDLER Dejun XIANG
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- Manipulation of light and shadow will be achieved through a design made of components modelled on biological forms. - The diamond lattice form will be used as a base element, deformed and reconstructed to create the structural and aesthetic properties of the sculpture. - The structure will have a fabric or texture that compliments and contrasts the conceptual goals of our design team : to reflect Wyndham cityâ&#x20AC;&#x2122;s growth : express the juxtaposition of natural and industrial landscape : comment on the start and finish of suburban Melbourne
......................through an organically derived method and aesthetic.
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- Repetition, scaling and deformation of the base element will be used reach the conceptual goals of our design. - A skin derived from the shape of a cell will be used to reinforce an aesthetic of the natural, as well as act as the prominant mediator of light. - An element of interaction with the sculpture and site will be achieved through a subtle transformation of form as the user drives around the scultpure.
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- Based on the diamond structure which has been studied in the precedent - Repetition of one unit that creates an unpredictable, dramatic transformation along the curve - Body that can represent the growth of the city with varying scale and density
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- Different Visual Experience - Experimentation on patterns allows more freedom in theme setting - Interesting shadows caused by the body and pattern
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- Based on the diamond structure which has been studied in the precedent - Repetition of one unit that creates an unpredictable, dramatic transformation along the curve - Body that can represent the growth of the city with varying scale and density - Different Visual Experience - Experimentation on patterns allows more freedom in theme setting - Interesting shadows caused by the body and pattern
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Reference [1] - Biomimicry Institution, 2012, ‘What is Biomimicry?’ accessed on 20 Sept 2012 from http://biomimicryinstitute.org/about-us/ what-is-biomimicry.html
[2] - Treehugger, 2012, ‘Nature Blows My Mind! The Hypnotic Patterns of Sunflowers’ accessed on 20 Sept 2012 from http://www. treehugger.com/slideshows/natural-sciences/nature-blows-my-mind-hypnotic-patterns-sunflowers/
[3] - Basulto , David . “The Yorkshire Diamond / Various Architects” 14 Feb 2009. ArchDaily. Accessed 20 Sep 2012. <http://www. archdaily.com/14312>
Img 02 - http://pheylonian.com/sacred-geometry-c411.php Img 03 - http://www.dailymail.co.uk/sciencetech/article-1184369/When-bees-buzz-erk-As-British-tourists-attacked-angry-swarmturns-humble-honey-bee-killer.html Img 04 - http://www.biomimetic-architecture.com/2011/gateway-structure-for-brunel-university-by-minimaforms/#more-819, http:// www.sciencephoto.com/media/198915/enlarge Img 05 - http://lilaesthete.wordpress.com/2012/02/08/romanesco-broccoli-the-fascinating-vegetable/ Img 06 - LMS of Architectural Studio Air 2012, University of Melbourne Img 07 - http://www.archdaily.com/14312/the-yorkshire-diamond-various-architects/ Img 08 - Illustrated by Matias LAO HonPong Img 09 - Illustrated by Matias LAO HonPong Img 10 - Photo taken by Dejun Xiang in 2012 Img 11 - Photo taken by Dejun Xiang in 2012
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EOI Feedback - reflections of the processes The feedback from the crit was generally neutral. By neutral I mean I don’t really know rather people like it or not. Anyway, they had raised a few questions that I think is worthy to think about.
The big question: how is our approach different from the others? Tricky. To be honest I think we have done something quite far from somebody else. Some of them tried to re-use the precedents in their design, which I think are relatively safe but lack of innovation. Some of them, however, invented a new way to address their arguments. Depends on what they were working at, the results varied. A few had achieved some really dramatic works but there were also some works which were a bit boring, and I don’t really see how those were related to parametric design. In my opinion our work is highly parametric and flexible if the patterning process doesn’t count. We can only draw it randomly by hand at this stage, which I guess needs further experiment. Flexibility is one of our strength and goal, I would say. But in fact I would think we have lost the connection between our work and biomimicry somehow. Although almost all the elements start from that concept, the result doesn’t sound biomimic. I am not sure if that is a correct path or not but I think we will need to readdress this somewhere in the future. I recall that there is another group who were doing biomimicry as well have done a pretty nice job. Their concept of coral reef in parametric design was strong and powerful, and it really show how biomimicry had done the influence.
Finally time control and teamwork is very important. I admit that it was a rush to finish the matrix to the actual model and presentation in one week. Fortunately I have nice teammate which are able to fulfill their responsibilities in high quality. Particularly the research part, which I am never good at. More importantly, we all love the result and the model, which I guess is invaluable.
By the way, I have now experienced some parametric design approach. As always, it is flexible, VERY flexible IF AND ONLY people understand the concept and technique, which is usually the hardest part in parametric design, I reckon. The outcome is interesting and can be very complex even though the inputs are just ordinary stuff. Well, I think that is why some people are now using parametric design to amaze the other? Last but not least, not only parametric designer have to get really good knowledge in computer, they probably need to get a good computer as well, otherwise it will just be too frustrating for ordinary computers! 58
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... and site REALLY matters.
Image 01 - The site
Site is prbably the wrong word, ‘context’ sounds better. The location of the gateway project marks the entrance of Werribee. Therefore it is important to make the gateway iconic (also one aim as mentioned in the project brief). Luckily, our approach well suit this goal by its visual complexity.
Since our approach is linear (transformation along a curve) , we probably need to find out the most indicative direction in order to implement our concept of showing growth. Towards northeast is likely to be a good orientation as it faces the city and also relatively spacious on the site. Moreover, the art piece may also fly above the freeway so it will become more like a ‘gateway’ then a sign.
Beside from the aesthetic attributes which the council concerns; we believe that the sculpture should also make a visual impact to those who drive by. The shadows and controlled view provided by the pattern should be able to achieve this goal. We probably need some knowledge of making view by point attractor, but it would be fine.
Due to the fact that our approach is based in one single unit that repeats and connects to each other in a linear manner, it probably will be hard to just remove one single unit in the middle for construction and maintenance or it will not stand. Perhaps it is better to build a base, or a rail that holds all units? To do so the material of each units should better be light weight and durable in order to suit the outdoor condition. That site is relatively open thus high wind velocity could be an issue, which means we need to make the structure more rigid. 59
Reference
Image Sources Img 01 - The site and its context, images from LMS
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PART C 62
THE GATEWAY P R O J E C T
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After the mid-semester EOI it is the time for the really boss. The Gateway Project. In order to produce something new perhaps it is a good start to work out what we have at this moment.
What We Have Concept / Technique Origin Biomimicry - based on imitation of natural phenomenons like animal behavior, organic structure or earth processes. Image 1 - â&#x20AC;&#x2DC;Biomimicryâ&#x20AC;&#x2122; design
Goal To present the process of grow, particularly the grow of the city of Wyndham and/or Melbourne Metropolitan area. Image 2 - Melbourne Urban Sprawl
Technique Grasshopper parametric definitions that allows continuous transformation of one single unit along a curve; the degree of transformation determines by mathematical functions. Image 3 - Linera transformation
Source of Inspirations Mineral structure, plant grow processes, organic shapes Image 4 - Crystal as an inspiration
We decided to work with the goal -- how can a piece of solid reflect the growth of population? There are contradictions: growth is dynamic, fluid, multi-directional, temporal; while a sculpture and our technique tends to be static, solid, linear and spatial. Therefore we need something, perhaps that is the form, the location, the reaction or the material of the artwork that can respond to our goal.
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â&#x20AC;&#x2DC;The FORMâ&#x20AC;&#x2122; We tried to be experimental. Several new forms were discussed. One suggested the thing should look like a forest or a group of fungi, with individual unit of different heights that grow toward the city. The result would probably like a huge block of mineral structure with irregular height. But then we found that this idea is too literal, also if we went with that way we need to develop a new grasshopper definition which went in two directions rather than one. We reserved this idea and went for something else.
Image 5 - Forest as a 3-d spatial experience of growth
Image 6 - group of mushroom
Searching of the Form To present the growth of population, we thought the demographics of the city will be useful. So we started to applied some found statistics onto our approaches. Numbers, after all, are what computers work with fundamentally so this should give us a clue how the population can be reflected in physical form.
It is expected and obvious that the city is growing. The population is increasing but when we look at the statistics things get interesting. The most intense growth is still the CBD and its surrounding, but in terms of grow rate outer suburbs win. Even in Wyndham different location have different predictions. Like Tarniet is expected to hit 80000 in 2031, and Point Cook will get steady since 2021.
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Image 7 - Grow rate of different regions of Melbourne
We though that the patterns of regional difference are interest and wanted to use these data into our design. Therefore we extract the data and create formulae in Excel spreadsheets. Those are the polynomial equations which depict the numbers graphically. Each equation shows how the population change in the 4 locations: Point Cook, Tarniet, Truganina, Williams Landing. They are here because these are the places with the most significant changes. We also decided that the head of our lines with point towards those locations to signify our concept, therefore there will be more than 1 string.
0.0922*x^4 - 0.5883*x^3 - 4.956*x^2 + 44.425*x - 24.264
-0.3172*x^4 + 5.0198*x^3 - 27.283*x^2 + 69.938*x - 39.721
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â&#x20AC;&#x2DC;The UNITâ&#x20AC;&#x2122;
Our technique, no matter what theme or site it is situated, have 3 basic elements: The Line The Shape The Unit Having the equations means we could use those to generate the line and scaling factors of the strings. Therefore what we were missing was the shape of the unit. As agreed the shape of the unit had to be developed from a mineral structure like the diamond example. We had looked at various mineral type, some of them were overly simple while some wre too complex. Even though we can build it in Rhino it may or may not be compatible to our rules of the unit, which the touching points had to be the same on opposite surfaces.
Successful examples including the simple quartz structure, which has 6 tetrahedral pyramid forms a hexagonal bend and the top and bottom surfaces are flat. Another is more complex, a mineral called zeolite which have cubes and octagons interlocking on a multi-surface solid. Both were suitable for our definition. Quartz
Image 9 - Quartz, the structure and its extracted skeleton
Zeolite
Image 8 - Zeolite, the structure and its extracted skeleton
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And the most exciting time of all (personally I think) was the following process: combining different things to make the design. As a analogy, we had the definition as a recipe; the equations, numbers and mineral structure as the ingredients. This design approach is somehow like a culinary process I reckon.
Image 10 - The grasshopper definition of the current approach
We had discussed about how should we place the lines on the site. Those could be straight linear, but that would be too â&#x20AC;&#x2DC;linearâ&#x20AC;&#x2122;. We thought about curves, but could not find a proper reason for that. We had also tried other weird configurations, like 4 strings surrounding a sphere, strings intersecting each other etc.
And we had found a few issues. The intersection point was extremely different to resolve. The scaling was difficult to control and each string tends to overlap onto each other if they were close and compact. We tried to scale it up but it got ridiculously enormous. We needs to found out how they were supported. The form of the unit were fair but the zeolite one looked so regular and dull, and the quartz deformed so great that it would be hard to make a physical model.
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To fix the problem we need to simplify things, and we had to develop another crystal structure for our unit. At the same time another idea came. Since our concept is growth, it is good that if the structure can literally ‘grow’. Expansion, change of shape along time would impossible and unrealistic so we focused on material change. The material employed would probably change overtime, and perhaps we can create condition for ‘real’ life to grow, such as plants and animals. This is it. We had finally established our goal for this project. The design needs to reflect growth through a series of linear transformations. The design will grow along time. We through plants are the good source of inspiration so the design should based on plants forms. We worked on mineral structure and though it is suitable to create complex and interesting geometry and spatial effect. Finally the design will be reclaimed by nature, this symbolizes the end of the life cycle of the sculpture but also provide new opportunities for wild life.
Image 11 - Nature reclaiming artifacts
Finalizing the Design ‘The FORM’ (again) To solve the problem of bulky intersection, we looked at plants and crops. It is more rational to split the strings, or branching the whole thing at different points rather than one. An analogy will be the growing of crops, where the head gets bigger and taller from a thin, small, branching central stem.
Image 12 - The growth of crop
This will work to resemble growth. We decided that there will be 5 strings, 4 will ‘grow’ from one main stem. The largest one represents the city as a whole, while the other four represent the suburb as discussed. The head will point towards to their assigned locations, and the scaling factors are controlled by the population.
Image 13 -Schematic layout of the structure
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‘The UNIT’
The design of the unit is critical. It affects the entire outcome of the design, both appearance and the performance. Quartz and Zeolite were discarded because of the reasons aforementioned. We had gone through many different types of mineral, and finally settled on Kaolinite - a clay mineral that is stable in physical sense due to its planar geometry. And planarity means it is suitable to be employed in our definition and easier to add surfaces so we choose this structure for our unit. We first constructed the basic skeleton, and found it a bit too ordinary so we went with its atomic linkages. After the final skeleton was done we started to add surface in order to build it. While we were adding surfaces we tried to create spaces and pockets which would allow plants growing in the unit.
After that we put the unit to the string. We had experienced a few difficulties, like the scaling by population would eventually cause overlapping of the strings. Therefore we baked the lines that control the height which were generated by the demographics first, and manually did some fine adjustments so they would not overlapping each other. The other difficulty was the connections. Originally we tried to use a special connector to attach two branches but we found it too complex. The geometry of the connector was too deformed and very difficult to construct. For time sake we discard the idea of connectors and allows those strings start freely, which doesn’t affect much because the connection will not be a point of focus.
Image 14 - Kaolinite structure
Image 15 - Unused connector
The result looks good, it fulfills all our goals, so we though it would be fair to start thinking about other issues.
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Material, Growth and Decay To make the design change overtime without any mechanical assistance, we deal with material. All material will change over time given that no one goes to maintain them. For this case we choose materials which change their appearances particularly quick and obvious. Metals are favourable for this concept as they are subject to erosion, oxidation, react to salt and organic content. To avoid total collapse in a relatively short period of time the more structural, big components will use metals which remain their integrity even when expose to chemical erosion. Corten steel and coated steel are suitable for this purpose. On the other hand we want some of the panels actually disintegrate over time due to corrosion of metals with other ions. Copper can achieve this quite easily with the contact of exposed steel.
Copper
Corten
Uncoated Steel
Plant is another important aspect in this design. The growth of wild plants like glass, clover and small trees would enhance the temporal changes of the structure. The geometry of the unit allows the sculpture naturally catches seeds, dirt and water so it is ideally for the plants to occupy the sculpture eventually. Moreover, as plants exists, insects, followed by small animals, would come and make the gateway as their new habitat.
Image 16 - Pocket that allows plants
Image 17 - Decay as an aesthetics
Year 0 It is true that the decay of artificial objects has its own unique beauty1. We thought this idea is very romantic. We believed that the result after a few years will be amazing; this also rise the awareness of our own role in the natural world. It seems that without human control the ecosystem will still flourish. So what can we do with the amazing cycles of ecosystem and life with architecture? I believe that through our own intelligence and technology human should be able to improve, not destroy, the natural world.
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Year 1
Year 5
For the reason of allowing natural growth, we do not want the sculpture to be too close to the busy highway. Therefore we choose the middle of the site as the location for our design. Yet we want people, like the drivers, to see and experience how the gateway will change. We put the design on a hill and the highest point of the sculpture will be 12 meters above ground - fair enough to be seen from a distance.
Construction Methods Since the loading will be irregular along the strings, we chose pile footings to support the structure. The footings will be connected to the ground touching sections so it will not expose on the ground. Schematically drawn diagrams are shown on the left.
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Because the whole structure is to be made with metal panels, they can be assembled by welding and transported quite easily. Smaller modules, like those at the tail, can be prefabricated and transported by trucks.
At location where dirt and plants are supposed to grow, Holes are punched at the bottom to drain away excessive water to avoid damage of the root.
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Finally we came into the last and hardest part of the project. There are 5 main strings and around 30 deformed units in total. We were able to unroll each unit into maximum 9 individual pieces. Therefore there were 270 single pieces to be printed and assembled, which fulled up 10 A1 sheets.
Physical Modelling A
B
The lesson from last time was to use thinner material for fabrication. The only available material in Fab lab that is ideal for modeling is black 300 gsm card. It was suitable because it was thin to be folded without extra etching, and strong enough after folding. Although I was uncertain about black colour but it didnâ&#x20AC;&#x2122;t really matter. Everything went as what had done in the mid-semester modelling. It got properly sent and cut.
C
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The fabrications were not actually hard. All units were the same, and the assembly are almost identical. Nevertheless, to be honest it was a painful task to repeat the same thing over and over again. Even with the aid of computers and machine to help cutting it took a long time to assemble the model. Perhaps people are not suppose to do fast in repetitive task? If the task can be achieved by machine the process would have gone better. But it was kind of satisfying to see the model was being realized from the digital world to the physical world gradually. The design and the concept are no longer cold, emotionless flat screen images but something that we could touch and feel the effect of the material and light. I think this is the value of making physical models.
Image 18 a, b, c - Building of the model
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Image 19 - Model, photographed
...And here it is! It took us 3 days to complete the entire model, which is huge and looks great. The black card does better than I would have expected, and overall it looks complex and impressive. We would like to stress that the concept is rather simple - a repeating unit transform along the curve. By combining 5 strings and the complex base geometry of the unit it really looks good. We are all happy with this.
But one thing that is not so satisfactory is the base, which was made in a rush. Originally we intended to put the model on real soil so it can tell the topography and â&#x20AC;&#x2DC;wildernessâ&#x20AC;&#x2122; more effectively. Unfortunately we did not manage to get the sand nor soil nor a container to place the soil. So we just place in on boxboard.
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Wyndham City
Gateway Project
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Architecture Design Studio - AIR
Derek Dejun XIANG
Using the growth of plants as a analogy, through repetition of one single unit which transforms with scale and density to represent grow of the city. Material will represnet the impact of time and which complete the life cycle of the sculpture.
By studying the trend of growth of Wyndham City the form is used to to reflect city growth. The trend is a factor of the scale and the lines represent directions. Several minerals structure are tested as mineral can represent growth in a geometrical pattern while gives complex looking shape. Kaolinite is selected to inspire the structure of the base unit.
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Architecture Design Studio - AIR
Derek Dejun XIANG
The structure will be supported by pile footings. While smaller units can be prefabricated and transported to site, the structure can be transported in panals and assemble on site. Soil can be use to fill the pocket to allow growth of wild plants.
Once constructed, nature will start to reclaim the place and this is allowed. Metals will change its colour due to oxidation and will eventually dissappear due to chemical reaction, before that plants and animal will occupy the sculpture. The changes represent the concept of growth and the power of nature.
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GROWTH
- The development of a city: landscape and population -
- Influence of nature - structural - aesthetic - Complex form for greater light and shadow outcomes - Representing the social, political and physical growth of Wyndham - A comment on the continuing growth of outer Melbourne - Repetition of a single unit(inspired by the structure of a Kaolinite atom) - Overall form resembles the sinuous lines of plant or tendril growth - Representing the growth of Wyndham and its 4 major towns((Point Cook, Truganina, Tarneit, Williams Landing) - Form, density and scaling alluding to the citiesâ&#x20AC;&#x2122; growth - A juxtaposition of natural and constructed landscapes - Transformation over time - Fastest growth of all Victorian local governments - 3,500 children born in the past year, almost 50,000 more expected in the next 10 years - Material material change over time, reflecting community growth - Triangulated surface treatment contrasts the site, and natural growth within the structure -
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LIFE CORTEN steels Light darkening over time
Copper Protective blue patina over time
Uncoated steel Rusting and corrosion over extended periods of time
Pockets Encourages native plants growth
Decay The design is supposed to leave decay and show the aesthetics and power of nature
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PRECEDENTS
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DEVELOPMENT
Concept developed from the population growth of Wyndham
Unit form developed from mineral structures
By testing, extracting and modifying the atomic structures of mineral the final form was inspired by the Kaolinite mineral
Various forms were also been experimented and 5 strings were chosen to represent the fastest growing area of the city
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CONSTRUCTION
Located at the centre of the site to minimize the effect of traffic, use pile footings for its long, uneven structure
Some large panels can be assembled on site, while small parts can be prefabricated.
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RESULT
- Base unit developed from Kaolinite structure - complex, suitable in the definition and allows growth of plants - Units transform and repeated along each string - 5 strings, pointing to different directions that indicate the growth of that place - Materials will change and deteriorate over time, nature reclaims the place -
Yr 0
Yr 1
Yr 5
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The Confession The presentation went well. Things were done in order and pretty smoothly. Although there were some criticisms about the layout and the model, the critics expressed their approval of the design and the concept.
What I like
No doubt that I like the result. I donâ&#x20AC;&#x2122;t create things I donâ&#x20AC;&#x2122;t like anyway. I love the complexity of the shape. In particular the fact the it comes from very simple idea - the repetition of one single geometry that creates unpredictable forms. It demonstrates how flexible parametric design can be. With the interesting shape it gives special spatial experience, shadows and atmosphere to the surrounding. I also like the concept that it changes overtime. Static sculptures are lovely but when it changes in colour or form it gives life and spirit to the design. I do love the model itself. The blackness of the material make it looks elegant. Although it really takes time to build it is worthy because it tells a lot. In addition, I appreciate the consideration of how the design will end with nature. Decay and mortality are usually not something light and easy but everything -- life and non-living matters, ends. Why people always focus in how their great building will stand and run but a few consider about how it will stop functioning, disintegrate and return to the origin? Moreover I believe that any ending is just another start of something. Therefore the decay of our design is not necessary bad. It will become a new hub of plants and animals, and when they die something will come to occupy the space again. The cycle is definitely fascinating to me.
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What I don’t really like And again, the timing was bad. We spent too much time on finalizing the design, making we only got 3 days to complete the printing and making of the model, as well as the presentation. That is why the layout of the presentation was not satisfactory to me and the critics. And I don’t like the fact that the branches are separated from the main stem. It is due to technical issue, and again if we had more time we probably can find a solution. In terms of the design I guess we should have trying the strings flying over the highway, making it more a ‘gateway’. In reality since it is allowed to deteriorate and the structure will not stand, it will be dangerous to the drivers. However it is possible if we have combined deteriorative and structurally strong parts in one complex though. With advancing computing technologies it should be easy to work out which part would really fall and which could stand I think.
Looking towards future
Growth is a strong concept that link space, material and time together. Who really knows what is going to happen in the industry? Will robots design for us or will the daily life of people governed by 1s and 0s? One thing is certain that computers will be used more widely in the design process. Complex form, intelligent services, structural and material efficiency... all can be done quicker and smarter by computers, so why don’t we embrace this invention? And why should we embrace computational design if we can do thing smart enough already? I mean, we know how the sun goes around the Earth; we know where to put the column and beam effectively; we know what is beauty and what best suit the local culture. Should we give up our natural intuition in design and be controlled by machines? Do the most appropriate thing. We can have a lot different approach in one single question or task. That is the beauty of design process. While there is only one brief there are no same designs. I always find myself amused after watching the other’s approach to our same task. Therefore we don’t need to stick with one style and forget about style, It is the design that works, not the style or approach.
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Reference [1] - Fein, Z., 2010, The Aesthetics of Decay: Space, Time and Preception, from http://zfein.com/architecture/thesis/thesis.pdf
Image Sources Img 01 - http://www.biomimetic-architecture.com/2011/gateway-structure-for-brunel-university-byminimaforms/#more-819, http://www.sciencephoto.com/media/198915/enlarge Img 02 - http://www.habitatadvocate.com.au/wp-content/uploads/2012/02/Melbourne-Sprawl.jpg Img 04 - http://www.crystalinks.com/cactusquartz.jpg Img 05 - http://www.dnr.wa.gov/SiteCollectionImages/Plants/em_fwf_wa_rainforest.JPG Img 06 - Youtube screen capture, Wow! Fungi plant growth - The Private Life of Plants - David Attenborough - BBC wildlife Img 07 - http://raywhitemelbournecbd.com.au/files/2012/06/melbourne-population-growth.jpgImg 08 - http://www. molecularsieve.org/image/Zeolite_Molecular_Sieve_4A.gif Img 09 - http://www.ndt-ed.org/EducationResources/CommunityCollege/Materials/Graphics/QuartzGlass.jpg Img 11 - http://talkurbex.com/ Img 14 - http://pubs.usgs.gov/of/2001/of01-041/htmldocs/images/kaostru.jpg Img 17 - http://talkurbex.com/ Img 18 a, b, c - Building of the model, photo taken by Matias LAO Oct 2012
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