ADS:AIR by Matthew Chai

MATTHEW CHAI ARCHITECTURE DESIGN STUDIO : # 583290

CONTENT PART A. CASE FOR INNOVATION Introduction 3 Material Exploration in Relation to Context 6 Natural Integration 7 Immersion 9 Computational Architecture 11 Sinosteel Int. Plaza - MAD 13 Parametric Modelling 15 The Hinzert Museum 17 Mercedes Benz Museum 21 Learning outcomes 23 PART B. DESIGN APPROACH All Things Structural... 26 Case Study 1.0 - Reverse Engineering 27 Case Study 2.0 29 Design Intent 33 Technique Development 35 Technique Prototype 37 Technique Proposal 39 Algorithmic Sketches 41 Learning Objectives 43

CASE FOR INNOVATION

MATTHEW CHAI AGE: 21 HOMETOWN: MELBOURNE, AUSTRALIA

I have always been inspired and interested in architecture and the built environment so the descision to pursue a career in architecture was an easy one to make. I briefly studied a Bachelor of Architecture at Deakin University’s Geelong Waterfront Campus before transferring to Melbourne University’s Bachelor of Environments course. I have found the Bachelor of Environments course extremely interesting and well rounded in regards to relevant issues in design, the natural environment and sustainable living in all aspects of our lives. Design Studio: AIR is just one example of the course’s diverse syllabus which equips us, as architects, with the skills to influence change within our evolving world. I’m particularly interested in learning and discovering the language of computing in architecture as the notion of parametric modelling was a relatively foreign concept before Design Studio: AIR; my experience is somewhat limited in computing in architecture and design. Nevertheless, I’m extremely eager to put my computing knowledge and skills to the test.

PART A. EXPRESSION OF INNOVATION

MATERIAL EXPLORATION IN RELATION TO

6 “ARCHITECTURE IS THE MOST PUBLIC OF THE ARTS. IT IS INESCAPABLE ON A DAILY BASIS FOR ANYONE LIVING IN AN URBAN SOCIETY. WORKS OF ARCHITECTURE FRAME OUR LIVES; WE INHABIT THEM, THEY DEFINE OUR MOVEMENT THROUGH CITIES; THEY MORALISE AND DISCIPLINE, OR ATTEMPT TO.” RICHARD WILLIAMS As Richard Williams states - architecture surrounds us. It’s an obvious statement; it creates the tangible urban environment of our modern day society. From the early works of Marc-Antoine Laugier and his ideals of The Primitive Hut, architecture can be viewed as an entity which provides us with shelter, warmth and protection. However, as we progress from the premise that architecture is simply an enclosure of space which performs a certain function, the definition of architecture can become multi-faceted, subjective and even philosophical. Architecture is a unique form of expression which allows architects to design three-dimensional, inhabitable spaces unlike the limited nature of painting or sculpturing. Furthermore, architecture is often

free to experience as opposed to other forms of visual culture which is often sheltered from the public realm. Consequently, the consumption of architecture is not contained to the analyses of the professionally trained.1 As our urban environment grows rapidly, we are exposed to more and more new technology, materials and innovation. In order to consider architecture as a discourse, one must critically engage in architecture as something more than bricks and mortar, whether it be as art, as a symbolic representation or the way space can make you feel emotionally. I believe that the discourse of architecture in relation to material selection and context is one of utmost importance. Personally, I believe that architecture must not impose itself upon its vernacular, but it must integrate itself to achieve a wholesome expression. That is, buildings with no contextual formal gesture are lost or irrelevant. Material selection and performance is one way that creates harmony between itself and its surroundings.

Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 (p.108) 1

CASE FOR INNOVATION 01

NATURAL INTEGRATION OUR UNDERSTANDING OF ARCHITECTURE IS ALWAYS CHANGING AND EVOLVING. THIS IS ONE OF ARCHITECTURE’S MOST EXCITING FACETS; IF WE LOOK AT ARCHITECTURE AS A DISCOURSE, ITS MEANING BECOMES OPEN TO INTERPRETATION AND CONTINGENT. IN OTHER WORDS, THE MEANING OF ARCHITECTURE HAS NO RIGHT OR WRONG SPECTRUM. IN THE CASE OF ALVARO SIZA’S LA LECA SWIMMING POOLS PROJECT, NATURE HAS BEEN RECOGNISED AS A DRIVING SITE FACTOR WHICH NEEDED TO BE ADDRESSED AT THE FORE.

The Leça Swimming Pools by Alvaro Siza is undoubtedly one of his most recognised and published works. It is also one of his oldest. Completed in 1966, it is situated along the Leça de Palmeira beaches, just north of Porto. It consists of changing rooms, a cafe and two swimming pools. The pools are purposefully sunken into the rocky hillside which consequently creates an undisturbed view of the Atlantic Ocean from the roadside; the pools blend into the landscape illustrating Siza’s careful consideration of the relationship between nature and the built environment. As visitors enter the complex, they are confronted

with previously unseen views.1 The surrounding walls are made of a sandy coloured concrete which reference the surrounding rocks around the site. The Leça Swimming Pool complex is extremely successful in achieving the seamless interaction of nature into the design. It is one of my favourite examples of how architecture integrates, instead of imitates, its natural surroundings. However, it simultaneously disconnects itself from its vernacular by contrasting the linear concrete walls with the jagged, sharp nature of the rocks. You could say it does not pertain to either the built or the

01 View of pools from beach. 02 The concrete steps blend into the rocky surroundings.

8 02

03 Winding, planar concrete walls create dramatic environment. 04 View from children’s pool.

natural; conversely, you could also argue that it bridges the gap between the two and therefore, could be considered as mutually exclusive to both. At first glance, the complex is reminiscent of an old WWII bunker on the shores of Normandy. Although I have never visited, it appears to sit heavily within the landscape. Moreover, in plan it creates many concealed and dark spaces. I can only imagine the sense of adventure one would experience as you navigate your way through the long

dark corridors, tip-toeing through with trepidation and excitement. Eventually, you are elevated from this dark and daunting environment and suddenly the feelings of adventure vanish and the breathtaking view of the Atlantic Ocean generates a completely contrasting expanse to the depths of below. The way Alvaro Siza makes his visitors feel by occupying his spaces is truly unique. He takes them on a journey through the sensitive use of materials and program layout.

Sofia Balters, “AD Classics: Leça Swimming Pools / Alvaro Siza” , Archdaily <http://www.archdaily.com/150272> (date accessed 30 March 2013) 1

CASE FOR INNOVATION 01

IMMERSION “MOUNTAIN, STONE, WATER – BUILDING IN THE STONE, BUILDING WITH THE STONE, INTO THE MOUNTAIN, BUILDING OUT OF THE MOUNTAIN, BEING INSIDE THE MOUNTAIN – HOW CAN THE IMPLICATIONS AND THE SENSUALITY OF THE ASSOCIATION OF THESE WORDS BE INTERPRETED, ARCHITECTURALLY?” - PETER ZUMTHOR

As visitors circulate through the narrow corridors, they immediately feel a deep connection with the countryside through the clever use of local materials such as stone. The internal pools are lit with minimal diffused lighting and subtle opening within the stones to allow for natural light to pierce through. Peter Zumthor’s Therme Vals in Switzerland has been described as a complete sensory experience. Built to create a cave-like structure set deep into the hillside, the baths create a serene and peaceful environment - perfect for immersing yourself. Immersion has strong connotations with water and cleansing, and indeed, they are both pertinent in terms of the Therme Vals. However, the notion of immersion is not limited to the tangible and can also include the psychological immersion of one’s self.

This building is as much about exploration as it is about relaxation. These may seem contradictory in theory however Zumthor states that this idea of “exploration” is not one of trepidation but more about personal emotional exploration.1 As Zumthor explains: “The meander, as we call it, is a designed negative space between the blocks, a space that connects everything as it flows throughout the entire building, creating a peacefully pulsating rhythm. Moving around this space means making discoveries. You are walking as if in the woods. Everyone there is looking for a path of their own.”2 Abstract in its conception, however it creates a unique experience for each individual as he or she “meanders” through the space.

01 View from outside Therme Vals. 02 Dark, dramatic spaces foster a complete sensory experience. 03 Local stone used inside and out.

10 02

“The Therme Vals / Peter Zumthor” (2009), ArchDaily. <http://www.archdaily.com/13358> (accessed 27 March 2013) 2 ‘The Therme Vals / Peter Zumthor” (2009) ArchDaily. 1

COMPUTATIONAL ARCHITECTURE

12 Unlike most other design disciplines like sculpture and art, architectural practice requires a unique set of constraints in formulating a coherent building. Site context, costing, weather conditions and material properties are just a handful of objective constraints that need to be considered in the design process. In conjunction with other considerations such as the needs of the client, aesthetic values and contractors, architects indeed have a lot to think about in the design process. The role of the computer in architecture has drastically changed the way we think, operate and organise information and help to synthesise multiple design solutions into a final proposal. Computer-aided-design programs such as AutoCad provide a fast and efficient drafting tool to minimise time and costs to the documentation process. Modelling programs such as Rhinoceros, 3Ds Max and Revit enable architects to fully visualise complete buildings (within site context) without the need to build physical scale models. Moreover, through the use of programs such as Ecotect, we can simulate real-world conditions to monitor thermal performance, solar radiation, shadows and reflection and fully evaluate the cost of a building. Computers are extremely useful in aiding us as designers and indeed, have a place in the design

world. However, when we look at the debate between “Computation” versus “Computerisation”, a whole new argument is formed. Often these two terms are used interchangeably; however, their meanings, by definition are quite dissimilar. As Kostas Terzidis states “Computation is the procedure of calculating, i.e. determining something by mathematical or logical methods. Computerization is the act of entering, processing, or storing information in a computer or a computer system.”1 By this definition, computerisation is predetermined and well-defined (much like the application of AutoCad and Ecotect) whereas, computation is about the exploration of vague and unclear processes. In Architecture Design Studio:Air, we will be exploring these vague and indeterminate entities in the form of algorithmic expressions. This process of applying algorithms to the proposed constraints creates unprecedented geometries which can further be explored. Over the last decade, the emergence of digital programming in design has grown exponentially. Conventional methods in the design process are a thing of the past as parametric modelling enables architects to design spaces which stimulate our senses in ways we have never seen or experienced before...

Kostas Terzidis, Algorithmic Architecture, (Hoboken : Taylor & Francis, 2012) p.57

13 CASE FOR INNOVATION

SINOSTEEL INT. PLAZA MAD LOCATION: TIANJIN, CHINA TYPOLOGY: OFFICE AND HOTEL SITE AREA: 26,666SQM TOWER A: BUILDING AREA 228,638SQM, HEIGHT 358M TOWER B: BUILDING AREA 69,216SQM, HEIGHT 95M

building becomes energy efficient. However, what makes this building special? MAD architects wanted to move away from the conventional, repetitive and straight high rise buildings which dominated the urban skylines of China (and indeed the rest of the world). The design is futuristic, efficient and unique to its context. Moreover, the building is revolutionary. The outer hexagonal skin also is the main structure of the building. Consequently, the need for internal structures is removed.3 Through generative modelling, MAD architects were able to formulate an appropriate design solution for the proposal.

YEAR: UNDER CONSTRUCTION

The Sinoteel International Plaza in the heart of the Tianjin CBD, China, reflects a shift in economic prowess from the powerhouse of Beijing to the future of the urban metropolis in Tianjin. The concept combines geometry, structure and cultural symbolism as a repetitive motif.1 The facade is comprised of a combination of five different types of hexagonal shaped windows which symbolise the heritage values of Chinese architecture.2 Although the patterning of the facadeâ&#x20AC;&#x2122;s hexagons appears to be randomly positioned, the intent was to respond to climatic conditions. Wind and solar radiation was mapped and the position of thes windows will minimise heat loss in winter and heat gain in summer; the

01 Photo-realistic rendering of Sintosteel Tower A showing varying hexagon sizes

MAD Architects, 2010, MAD Architects, Beijing < http:// www.i-mad.com/#works_details?wtid=4&id=48> (date accessed 1 April 2013) 2 MAD Architects, 2010, <http://www.i-mad.com/#works_ details?wtid=4&id=48> 3 Sinosteel International Plaza by MAD, 2008, ArchiScene, <http://www.archiscene.net/hotels/sinosteel-internationalplaza-by-mad/> (date accessed 1 April 2013) 1

PARAMETRIC MODELLING

THE HINZERT MUSEUM AND DOCUMENT CENTRE WANDEL HOEFER LORCH + HIRSCH

So, what makes this building special? How is computing relevant to this design? Firstly, computing plays a pivotal role in the outer and inner skin designs. In the diagram below, we can see that each skin and surface has been created using a mesh which has then been folded and welded together to create an enclosed surface. In relation to its context, the material selection is a symbolic gesture to the earthy hills which surround it.

01 View of landscape from roof. 02 Diagram of internal and external netting. 03 Internal exhibition space.

LOCATION: GEDENKSTÄTTE ROTER OCHSE, HALLE, GERMANY TYPOLOGY: MUSEUM SITE AREA: 470,7 SQM YEAR: 2005

Set within the rolling landscape of the Hinzert village, the Hinzert Museum and Document Center acts as a shelter space as well as a museum. It houses a document center including archives, research library, seminar and exhibition spaces. The 43 metre long building is comprised of threethousand 12mm Corten steel triangular plates which are all welded together to form the facade and roof.1 The angles between the triangular panels were calculated to ensure that the elements have an adequate structural height and that the entire construction forms a rigid folded plate.2 Moreover, the inner skin consists of birch plywood panels in which photographs and text are engraved through a direct printing process.3

Diego Hernandez. “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013) ArchDaily,<http://www. archdaily.com/317207> (date accessed 1 March 2013) 2 Diego Hernandez, “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013) 3 Diego Hernandez, “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013) 1

21 CASE FOR INNOVATION

MERCEDES B E N Z M U S E U M UN STUDIO LOCATION: STUTTGART TYPOLOGY: MUSEUM SITE AREA: 35,000SQM YEAR: 2001-06

The Mercedes Benz Museum, located in Stuttgart, Germany, is the crown jewel of Mercedes Benz. Its programme includes a car museum, shop, restaurant, offices and auditorium. The design is based on the geometry of a clover leaf with the three spaces connected by two helical ascending ramps which spiral around a central atrium.1 The main emphasis of the design are these two circulation pathways which enable visitors to choose their own journey through the space. At each floor, the paths intersect allowing visitors to alternate between each route.2 The curved walls are in fact a result of rigorous parametric processing. UN Studio employed the expertise of parametric consultants, Designtoproduction, to meet the design specifications and contextual constraints. The doubly-curved concrete surfaces

reflect the interior sweeping corridors. To achieve these forms traditional formwork systems and manual planning methods were not suitable. Designtoproduction developed a method of planar boards to create formwork in order to achieve these curved concrete panels. The panels were precisely cut on a CNC-router and were bent into the desired shape in situ.3 The Designtoproduction team were also responsible for implementing a 3D-parametric model of the entire edifice to coordinate all the planning and construction steps involved in the building process. Due the unique an intertwining nature of the building, traditional plans and sections were nearly impossible for describing the building.4 The decision to use exposed concrete within this builing reflects the industrial language of Stuttgartâ&#x20AC;&#x2122;s automobile history. Concrete is often clinical and cold but has been elasticised to express a sense of futurism to the building. 01 View of museum from highway 02 Pre-cut wooden panel form work 03 Atrium Space 04 Walls that turn into ceilings

UN Studio, 2006, UN Studio, Amsterdam, < http://www.unstudio.com/projects/mercedes-benz-museum> (date accessed 4 April 2013) 2 David Basulto, â&#x20AC;&#x153;Mercedes Benz Museumâ&#x20AC;? (2010), ArchDaily, <http://www.archdaily.com/72802/mercedes-benz-museumun-studio-photos-by-michael-schnell/> (date accessed 4 April 2013) 3 Designtoproduction, 2013, Designtoproduction, Stuttgart, <http://www.designtoproduction.ch/content/view/15/28/> (date accessed 4 March 2013) 4 Designtoproduction, 2013, Designtoproduction, Stuttgart, <http://www.designtoproduction.ch/content/view/4/21/> (date accessed 4 March 2013) 1

23 CASE FOR INNOVATION

CONCLUSION In order for architecture to progress, architects must employ the use of computation in the design process. With progress comes change - a change in the way we view buildings as art or a functional entity. This change may simply introduce new ways of looking, designing and experiencing space. That is not to say that computers must design for us. Through parametricism, we are able to design and create architecture that integrates its contexts in unprecedented ways. One only has to look as far back as Alvaro Siza’s Leca Swimming Pools or Frank Lloyd Wright’s Falling Water to understand the importance of context in designing. Therefore, in the instance of the Wyndham City Gateway competition, it is imperative that the design heavily incorporates its surroundings. This will be important in defining it as a symbolic gesture - one that the people of Wyndham City will be proud to call “their own”. Moreover, the design will also, be preoccupied with the notion of structure, more specifically, structure as form-finding. The combination of structural emphasis and contextual materiality will hopefully bring about an innovative and strong design solution.

LEARNING OUTCOMES From the beginning of the semester, I feel as if I was already on the back foot as my knowledge of algorithmic architecture, parametricism and generative design was very limited. However, as this semester has progressed, these preconceptions in regards to parametrics became much clearer and more informed. Through the readings and lectures, computational architecture became not as daunting as first imagined. The idea of architecture as discourse was also a relatively new idea to me. As discovered, architecture has become much more than a design discipline; it has become a conversation with many facets. This notion of the discourse of architecture may have proven beneficial to past projects due to its philosophical nature. The in depth discussions by relevant notable academics may have given my projects another level of analysis. Moreover, the critical analysis of precendented projects perhaps could have further informed my design choices.

PART B. EXPRESSION OF APPROACH

ALL THINGS

26 WHY STRUCTURE? In order to explore structure within the parameters of architectural design, we must first explicitly define structure and what it entails. History tells us that structure has always been, and will always be, an integral component to architecture. Ancient Greeks employed the use of over scale stone Doric columns as support structures in their temples, civic buildings and homes. The sheer strength of these post and beam structures was enormous and they were often highlighted as political or social symbols of strength, power and wealth. Moreover, they represented the time. However, as time progressed, various architectural movements have hidden or expressed structural elements in a multitude of ways. We only need to look as far back as the early 1900’s to see that the modernist movement of architecture was preoccupied with “progress’’ and creating something new to represent its own time. The “form follows function” argument has proliferated throughout architectural and, indeed, other design arguments, in the last century as architects such as Le Corbusier, Ludwig Mies van de Rohe and Louis

Sullivan all strived for full functionality of a building’s components. This idea of stripping back ornamentation and “simplifying” architecture rejects past styles in search for a new language. More importantly, the importance of structure has still prevailed throughout the ages despite changes to its symbolic motives – structure has emerged as a vital tool of expression. Although the modern architecture movement claimed to strip ornamentation from its buildings, they almost unconsciously (and ironically) create a new form of ornamentation within its simplicity. Some critics have stated that monumentality is undesirable within the contemporary vernacular as it contains totalitarian ideals.1 However, in the Wyndham City Gateway competition, structure will be used to create a new form of monumentality, one that creates excitement, joy and an intimate experience for its inhabitants. Through its rawness and calculated nature, structure provides the ultimate language for expressing progress and evoking awe-inspiring emotions - an idea which has proliferated throughout architectural history.

27 DESIGN APPROACH

CASE STUDY 1.0 BIRD’S NEST HERZOG + DE MEURON For the exploration in Case Study 1.0, I have attempted to reverse engineer the structural expression of Herzog and De Meuron’s Bird’s Nest in Beijing, Chine. Built as the main stadium for the 2008 Summer Olympic Games, the Bird’s Nest creates an iconic symbol for Beijing through the marriage of ground breaking engineering and monumental scale. Using two different grasshopper definitions, I attempted to achieve the same cross pipe pattern. In the first definition (figure 1.), I aimed to create the effect of the Bird’s Nest by increasing the amount

of pipes that would sprout from the center of the circle geometry. It was found that the iterations with the fewer amounts of pipes gave a more accurate representation of the Bird’s Nest. The second definition involved connected a curve through 3 corresponding points of 3 different curves. From there, each list of points was shifted by a factor of 5 which in turn, created a crisscrossing effect of the pipes. This was found to be effective in the iterations with a higher shift list value as it gave the geometries more of a random shape.

FIGURE 1.

29 DESIGN APPROACH

CASE STUDY 2.0 KING’S CROSS STATION WESTERN CONCOURSE JOHN MCASLAN + PARTNERS For case study 2.0, we as a group decided to explore the new Western Concourse at King’s Cross Station in London by John McAslan + Partners in association with ARUP engineering. Completed in 2012 for the London Olympic Games, the semi-circular Western Concourse rises 20m high and spans 150m making it the largest single spanning station structure in Europe.1 It comprises of 16 tree-like columns which flare outwards into the diagrid shell structure. The project has been described as “dynamic transport interchange and a destination in its own right.”2 Rowan Moore

from the Guardian describes the building’s effect as “a mighty oomph as you enter, from whatever direction, caused by the abundance of space and the unity of the structure.”3 Moreover, the scale of the space is exacerbated by the flooding natural light which pierces through the top of the central column structure. This flooding of light gave the space a unique spatial clarity. Also, the large scale space-truss form adds a sense of monumentality which leaves its occupants with a sense of awe; in our opinion, it makes its inhabitants feel a sense of joy and excitement.

KING’S CROSS STATION WESTERN CONCOURSE BREAKDOWN

Henry , Christopher. “In Progress: King’s Cross Station / John McAslan + Partners” 24 Aug 2011. ArchDaily. Accessed 09 May 2013. <http://www.archdaily.com/162461> 2 King’s Cross Station, Arup Engineering, 2012, London, < http://www.arup.com/Projects/Kings_Cross_Station. aspx>, date accessed 26 April 2012 3 Rowan Moore, ‘London King’s Cross Concourse - Review’, in The Guardian, 18 March 2012, The Observer, <http://www.guardian.co.uk/artanddesign/2012/mar/18/london-kings-cross-concourse-review>, date accessed 25 April 2012 1

31 DESIGN APPROACH

Case Study 2.0 Matrix - developed by Albert Chandra

32 Using the Lunchbox plugin for Grasshopper, we attempted to recreate the notions of spatial quality and flooding light through various outputs in the Lunchbox framework. As well as this, we also tried to take it further by adding paneling in an attempt to create a different quality. The qualities that we would like to take from King’s Cross are its monumental and awe-inspiring structural forms. As Rowan Moore put it, we will attempt to recreate that “oomp” feeling upon entry to the space. Whether this is created using the Lunchbox plugin on the opposite page, or completely from scratch, we will aim to explore these qualities in conjunction with other criteria we believe are pertinent to the site of Wyndham City.

DESIGN INTENT Wyndham city’s geographical location provides a unique opportunity to create a monumental and unforgettable spatial experience that emerges from the landscape. The relatively empty space yearns for a place-making visual gesture. We believe the new gateway should serve as a symbolic bridging gap between the CBD and the greater suburbs – a threshold between the two. This will be achieved through the expression of structure and spatial contrasts. Moreover, the definitive “threshold” between the two shall be defined through a gradual and smooth change in form. As the occupants will be travelling at 100km/h through the site, it is vital that we satisfy this intent whilst simultaneously accommodating for the high speeds at which the space will be experienced.

35 DESIGN APPROACH

TECHNIQUE DEVELOPMENT FLUIDITY STRUCTURE SPATIAL CONTRASTS

MONUMENTALITY

FEASIBILITY

FORM FINDING The next step in our process is to develop our own form (specific to the site of Wyndham City) that will express our intentions of spatial contrasts, structural expression, fluidity and monumentality. The following matrix is represents our findings in regards to these parameters. Each iteration shows a slight change in the form in order to achieve a different effect with regards to each criteria. From here, we can determine the best fit for the site at Wyndham. Another important criteria that we felt was extremely important to the success of this project was the idea of â&#x20AC;&#x153;feasibility.â&#x20AC;? This over-arching factor was critical as it was a real-world (and not conceptual) consideration which would ultimately drive all of the sub- criteria. Without it being a feasible option in terms of construction methods, costs and material availability, we feel the project will remain purely conceptual and unachievable.

Matrix developed in association with Merik Morley and Albert Chandra

37 DESIGN APPROACH 01

TECHNIQUE PROTOTYPE Following on from our exploration of space trusses in the form of curved forms, we opted to design a rough prototype model. Using 3D printing, we were able to fabricate a small scale model to show the stresses, movements and composition of each individual member. Even though the prototype model may not convey our final proposal or form, it was interesting to be able to physically hold and rotate the model in our own hands. Consequently, we discovered a multitude of new challenges which may have been looked over had we not fabricated these prototypes. Firstly, we observed that each member was not actually made of straight members - many were curved on multiple planes. Secondly, through the use of artificial lighting, we observed that the structure produced a different shadow effect than first anticipated. Thirdly, the physical model made us question (if we had not already done so seriously) the real-life materials that were to be implemented. Our original idea was to employ steel members; however, the complex form forced us to reconsider the material selection. We also had to consider how these members would connect together at

1:1 scale as well as the appropriate construction methods for the Wyndham site. We considered welding the members together. However, the process of welding on site is a tedious and time-consumind task, especially over a major freeway. One alternative method we explored was a concealed bolted method which joined two members together at pinched ends. The joint would then be concealed with an aluminium sleeve to create the illusion of seamless connections. Although this is a logical alternative, it was pointed out that the budget for the Wyndham City Gateway competition is two-hundred and eighty dollars. To accomplish such a highly detailed joint with this modest budget renders it unfeasable.

01 3D print model 02 3D print model 03 Shadow exploration of model 04 Exploded intersection joint

38 02

05 Assembled intersection joint 06 Exploded member section 07 Assembled member section without sleeve

Photographs of model by Albert Chandra. Renders produced by Merik Morley

39 DESIGN APPROACH

TECHNIQUE PROPOSAL Using the form finding matrix developed in the Technique Development section, we were able to compare and contrast the various iterations. Each option was critically assessed in regards to its structural, monumental, fluid and spatially contrasting properties. Furthermore, each option was also assessed

in regards to feasibility. We are continuously pushing the boundaries of these criteria whilst keeping in mind the pragmatic and realistic constraints. We believe this will give us a well-rounded and researched outcome. Our findings are as follows:

STRUCTURE:

Next, we analysed structure. We found that iteration number 06 the best fit. This was due to its simple and controlled structural layout. Too many lines and nodes may make it hard to read or make it read as a continuous unperforated surface. Not enough lines or nodes may completely remove this structural expression. We may have to reduce the number of nodes and lines slightly to accommodate for costs and building logistics.

FLUIDITY:

Firstly, we opted to pursue iteration number 07 in regards to fluidity. Itâ&#x20AC;&#x2122;s form and liquid nature clearly describes the notions of gradual change. The movements are dynamic yet smooth without being abrupt or jagged. We believed this section was important due to the high speed at which the users will occupy the space at. Another reason we chose not to pursue others with large sweeping curves was because of costs and construction methods.

MONUMENTALITY:

Although the iteration 08 is hard to picture due to the top view of the matrix, we found that the scale of the structure would heavily influence the monumental quality of the gateway. We were happy with this scale because we felt it was large enough to convey our desired effect. However, it was small enough to still be manageable from a construction and cost point of view. Other aspects, such as form curvature, contrast in space and structure are also intertwined in creating an aweinspiring sense of monumentality.

SPATIAL CONTRASTS

Lastly, we assessed the fitness of each of the Spatial Contrasts iterations. Each of these provided dramatic and evocative spaces. However, the one which stood out and intrigued us the most was number 04. It was fluid in its motion while also creating gradual changes in lengths. The end of taper downwards which also gives the impression of an emerging form from the

WHERE TO NOW? The next step now is to develop these four ideas further. We will continue to optimise each of these iterations and attempt to combine each iteration with each other. After all, we are creating one gateway design, not four. Once we are able to synthesise all of these parameters as well as it being constructible and budget satisfying, we will begin to prototype a form which is site specific.

41 DESIGN APPROACH

ALGORITHMIC SKETCHES The following images are a few screenshots of some outcomes using a twisting loft to represent the change in areas from suburban to urban. Whilst incorporating a variety of different strategies to illustrate this contrasting threshold. These are rough concepts of how we might incorporate structure. The sketch below shows a braced grid structure with an overlaying panel system. The structure is then twisted in the centre to provide a change in material which can be seen. This idea of materials assigned to a certain place reflects the ideas of material representation from Part A and would be a very compelling exploration. Undoubtedly, the idea is interesting and dramatic. However, in relation to the group’s design focus and feasibility, this path may be better suited to another project.

The sketch below shows something quite unusual which was created by mistake. I have included this “mistake” because to me, it illustrates structure’s limits in terms of constructability and the message it aims to convey. Although it was unintended, it reminded me that the use of structure has to be controlled on so many levels. If we create something completely wild, the meaning will become morph into something quite different.

The following sketch shows this controlled use of structure being applied to a form.

If and when fabrication of the built and scale models are needed, material propoerties of piping were explored. For the sake of a scale physical model of the gateway proposal, we looked into alternatives for pipes and came up with a square section as opposed to a circular pipe. This would be easier to fabricate on a large and small scale. However, if it hinders the design intention, we may have to continue looking for another method. The image below was created by simply dividing a series of curves and apply ing perpendicular frames to these points. Square frames were then applied at these points, then, lofted together to form square hollow sections.

43 DESIGN APPROACH

LEARNING OBJECTIVES Following on from the mid-semester presentations, we found we had a long road ahead of us (pardon the pun). The general feedback we received was that we had not yet developed a clear form and it was ultimately going to be the type of structure we chose that would truly inspire our form. We were asked: “do you want to design with a set structure and joint in mind? Or do you want to be more open and develop the criteria to suit the structural system?” Therefore, we decided to re-think our inspiration and what we were intending to portray as this remained very convoluted during the presentations. We sat down and looked back on what we originally set out to achieve and from there, we elaborated and specified what was important to us. As stated, our new intent is as follows: “The new gateway should serve as a symbolic bridging gap between the CBD and the greater suburbs – a threshold between the two. This will be achieved through the expression of structure and spatial contrasts. Moreover, the definitive “threshold” between the two shall be defined through a gradual and smooth change in form.” This resolved definition immediately gave us a clear direction to follow. Prior to the mid-semester presentations, our design technique was purely formulated by applying a structural algorithm to a surface. This method showed a very

superficial understanding of structure. More importantly, it did not reflect our design intent through structure. Consequently, we decided to take the advice of our tutors to incorporate the site and devise clearer design intent. The two methods of thinking are illustrated on the right; the top diagram shows our process prior to the presentations and the bottom shows more rigorous and interrogative approach. In terms of my personal parametric design skills, I believe they’ve improved significantly especially after approaching the presentations. The new approach made me criticize and continuously change and develop design aspects within the grasshopper environment. Trial and error, and independent research forced me to learn new techniques. WHAT NEXT? From here, we will keep refining and developing our design technique in order to satisfy our design intent. Once that is completed, we will look at applying our technique to the site in greater detail. This will comprise of where it will sit on the site, how it will be connected, material selection and lighting at night etc. Other site specific factors such as weather and traffic conditions will also be considered in the next phase. More prototyping, 3D modeling and superimposing will also be explored. Hopefully, by the end of part C, we will develop a highly convincing and eye-catching gateway. Stay tuned.

BROAD CRITERIA

SELECT STRUCTURE TYPE

STRUCTURAL EXPRESSION FLUIDITY CONTRASTING SPACE MONUMENTAL

APPLY TO SIMPLE FORM

OUTCOME

YES

FEASIBLE?

SELECTED CRITERIA REFINE NO

YES

FEASIBLE?

REFINE APPLY TO SITE CONTEXT

OUTCOME

PROPOSAL