MICHAEL XIE SEM 1, 2013
STUDIO:
AIR
A special thanks to my tutors Daniel & Kirily and my team Stella and Victor
CONTENTS CONTENTS: INTRODUCTION
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PART A: CASE FOR INNOVATION Architecture as a Discourse Computation Architecture Parametric Modelling Case for Innovation Conclusion
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PART B: DESIGN APPROACH Design Focus Case Study 1.0 Case Study 2.0 Technique: Development Technique: Prototypes Technique Proposal Design Approach Conclusion
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PART C: DESIGN PROPOSAL Design Concept Tectonic Elements Final Model
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CONCLUSION
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REFERENCES
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My name is Michael Xie and I am third year student studying Bachelor of Environments majoring in Architecture. Though my parents are from China, I was born here in Melbourne and have called it home my entire life and love it here (except when there are ‘four seasons in one day’). At a young age I was given Lego pieces to play with, which a found very interesting as it gave me the opportunity for my imagination to go wild. From that moment on I wanted to be creative and as time went by I believe Architecture is right path for me; I want to design structures that will draw peoples’ interests and be there for years to come.
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PART A: CASE FOR INNOVATION INTRODUCTION
My current experience with digital design tools is fairly limited. The main exposure I have had to digital design is through the subject Virtual Environments in 2011, though to be honest, wasn’t a pleasant experience because there was limited time given to learn Rhinoceros 3D; which is a powerful yet complex tool. When the subject was completed, I was relieved and decided to a keep a distance from Rhino 3D. In Design Studio: Water I explored the program Revit, which is a powerful tool as well and is easier to understand. However, when comparing these two programs, I believe Rhino 3D is a difficult program to grasp because there is a lot more ‘freeness’ in the sense that you can design almost anything. Through Rhino 3D I have learnt that digital architecture can be used to create very complex designs and look amazing, however, it can limit our imagination because we are then susceptible to designs that are based on a set of algorithms or parameters. Instead of these being like site surroundings etc, it is based on coded instructions that are like long sets of maths equations that the computer processes to produce a form. Many buildings these days use digital design in some form to produce complex yet beautiful structures.
PART A: CASE FOR INNOVATION INTRODUCTION
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ARCHITECTURE AS A DISCOURSE
‘What is architecture? This used be a straightforward question, with a straight forward answer.’1 Through the progression of time, there is more to architecture than just the aesthetics and materiality making it difficult to define. Architecture can be broken to three approaches; as art, symbolic and spatial experience.2 When viewed as discourse aspects such as cultural, social, political and other ideas become part of the discussion in relation to the architectural work. The architecture can then often change a current idea about aspects of discourse and functionality and pushes the limits of engineering. It defines our movement through cities and its society. This is because we always interact with them in some capacity.
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PART A: CASE FOR INNOVATION ARCHITECTURE AS A DISCOURSE
GUANGZHOU OPERA HOUSE Architect: Zaha Hadid
A project I find interesting is Zaha Hadid’s Guangzhou Opera House which overlooks the Pearl River in Guangzhou; the main river that runs through the city. The building’s site context is important to the discourse because it is located adjacent to the proposed Guangzhou museum, Canton tower and other new iconic buildings of the city. Zaha Hadid herself is an internationally renowned architect and her designs have often become landmarks. She combines the ‘cultural traditions that have shaped Guangzhou’s history, with the ambition and optimism that will create its future’. Therefore this building further defines the area as one of Asia’s cultural centres; a far cry from the industrial area of the past. The design was inspired by pebbles that are smoothed from erosion near the Pearl River. It rises and falls into the landscape. Although it sounds simple and logical, the structure is complex and its form is only achieved as a result of advanced technologies and machinery. Throughout the building there is the notion of ‘smooth’ from the transition between differences elements and surfaces. The interaction between all of these is the result of parametric modelling. The building will stand for many years to come and its style will not only shape architecture within the Guangzhou, but also internationally.
PART A: CASE FOR INNOVATION ARCHITECTURE AS A DISCOURSE
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SAGRADA FAMILIA Architect: Antoni Gaudi
A project I found interesting is the minor basilica Sagrada Familia, Barcelona design by Francisco de Paula del Villar. At the end of 1883, Antoni Gaudi was commissioned to carry on the works until his death in 1926. Not only is it a magnificent structure, but its discourse is interesting as well. Commenced in 1882, over 130 years later to this day, construction has yet to be completed for another 15 years; which demonstrates the commitment for this project.
Every detail of the building is a piece of art; from the exterior faรงade to the interior faces. The organic style of the architecture was part of the Modernism movement that demonstrated new dimensions but still wanted to remember the history of the city through rich decorations such as the nave. Its train of though and spatial experience demonstrates a discourse that has lead us to software that enables parametric design.
Though Sagrada Familia was designed by Gaudi, one can suggest that it was the people who constructed it because they provided the funding; through donations from the public only. It is an icon of Barcelona because it symbolises the population culture and their lives are affected by it; being declared a World Heritage Site by UNESCO. It also symbolises the religion they worship. Tourists frequently visit it every year, which further funds the project. The design of the structure was radical at the time because of the lack of advance technologies and machinery to aid the construction. Gaudi came up with a plan by hanging chains of strings with weights to explore possible arches that could bear certain loads. When one section is adjusted, others will move due to the centre of gravity. In essence they were models of buildings, only upside down and calculations need to be inversed to create a viable structure. It is radical way of thinking because it is much like parametric design, only that he did it manually whereas nowadays we have software to aid us.
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PART A: CASE FOR INNOVATION ARCHITECTURE AS A DISCOURSE
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COMPUTATIONAL ARCHITECTURE As tme progresses, styles change and conform to zeitgeist. At the turn of the century, a pursuit has begun in search of a new style that will succeed the current one. Debates and arguments have arisen to determine what the new style will be, and the roles in which humans and technology will play in it. The roles of architects are being questioned as its being consumed by others. Structures previously thought to be impossible to create can now be a reality through the technological advancement of design processes and construction methods. Computer technology has become a significant factor in the design of structures due to a variety of factors: representational prowess, codification, explicit space, implication, speed, backup, recall and replay. This is because ‘humans are endowed with specific and limited cognitive structures that constrain their behaviour’(pg63). As design is constrained by time, the use of computeraided design (CAD) enables us to have a greater capacity to explore the design space and be more efficient with the time available.
create their own because of their limited capacity to be creative and intuitive. (pg2) Therefore if we rely too heavily on computer software, we tend to question whether design was produced by humans or the outcome of a set of parameters or algorithms that was imputed into a computer. Our creativity can hinder the design too, as we limit ourselves to only what the technology is capable of doing. Computation Architecture will be a powerful design system if we humans can use them in harmony whereby ‘computers will contribute their superb rational search abilities, and we humans will contribute all the creativity and intuition needed to solve design problems’.3(pg3) This will allow us to go beyond traditional architecture and explore a greater design space.
Computer technology has become a powerful aid for us depending on the systems that we choose to use. It allows us to design structures with complexity that was previously thought to be impossible. The use of algorithms and parameters in the digital design space allows use to explore vast amounts of geometry. However, they need to follow precise instructions and are incapable to 10
PART A: CASE FOR INNOVATION COMPUTATIONAL ARCHITECTURE
WEBB BRIDGE
Architect: Denton Corker Marshall Webb Bridge is an example of a design that is affected by the use of computers. Designed by Denton Corker Marshall, it is located in Melbourne where it connects the old to the new Docklands via the Yarra River. The design of the bridge is based upon a Koori eel trap where there is a series of hoops to produce the notion of movement and transition. The use of computers has enabled the structure to have this curved and sinuous form. A set of parameters has been calculated to determine the size of each hoop to create the pattern: varying in width and height. The hoops are then connected to one another through a series of straps scattered in between. Through this example, it is visible that we are moving from reduced ornament designs to ones with complex ornaments and forms that would be impossible without the aid of computers. The use of computers has allowed engineers to turn the architects imagination into reality with little sacrifices; such as modern prefabrication techniques that allow greater control over the construction process.
It can also be suggested, from these projects, that computers have will gain a greater relationship with architects in the future. Computers will allow designers to create what their mind imagines and its feasibility in a matter of seconds instead of seeking engineers for advice. As a result of these opportunities, architects can in some ways become the ‘master builder’ of yester year as our designs not need to be constrained by the thoughts and boundaries of others.
PART A: CASE FOR INNOVATION COMPUTATIONAL ARCHITECTURE
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PARAMETRIC MODELLING DRAGON SKIN PAVILION Architect: Denton Corker Marshall
Dragon Skin is a project designed by architects from Laboratory for Explorative Architecture and Design (LEAD) and assembled in Kowloon Park, Hong Kong. The design is an exploration in both computerisation architecture and manufacturing technology. The structure consists of 163 rectangular pieces of post-formable Grada Plywood that are bent and connected together to form a dragon like skin. Parametric design has been used to create such form hence its complexity and large amount of pieces. Each piece is bent into the same shape, which causes a repetition in the framework. By introducing a set of algorithms, it allows precise calculations in determining where the interconnections are located in each piece. The subtle difference in the location and angle of the joints between each piece results in the overall arched form. This will be very difficult and many errors may occur if it was done without design software; the use of it streamlines processes like ‘trial and error’ to check if the structure is viable. The uniqueness of each piece also creates aesthetic appeals: ‘as light and views are filtered, softened and dampened towards the interior, the interior is slowly and more hesitantly revealed outwards.’ The cutting of the files require precision too, therefore computers need to be implemented as well so that it can send information to a 3D printer to cut out the slots. This structure demonstrates the spatial, tactile and material possibilities digital design and advanced technology can achieve in architecture.
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PART A: CASE FOR INNOVATION COMPUTATIONAL ARCHITECTURE
The notion of parameters in design is not new; it has existed for many years. Clients’ goals, decisions and various boundaries affecting the site have narrowed the desired design outcome, which can be viewed as a form of parameter. These ‘traditional’ design methods have been applied by architects throughout, therefore structures often adhere to the conditions being set. Advanced technology and construction methods have driven the current architectural discourse where a new era of design awaits.
The relationship between them can then be efficiently explored and manipulated according to the computers rational. The design can then be adapted and not restricted to one location.
The definition of ‘parameter’ is adjusting nowadays to not only include traditional restrictions, but also other boundaries: parametric modelling. When using the phrase ‘parametric modelling’ it describes a deeper relationship involved with the design where computer aided design software is applied. It is not just a tool that aids the designer in the design, but becomes integrated within the design process therefore allowing a more explicit relationship. Designers can now explore greater possibilities based on a set of parameters that they themselves can set. Parametric modelling can be a powerful tool for form finding, as seen in many structures that have used it. The strength of this tool is the resultant of challenging and complex mathematical equations that are difficult to grasp. This is why computers are implemented as they quickly and efficiently perform calculations for form finding; repetitive tasks and the ability for future adjustments have too streamlined performance. Designers can place a certain set of algorithms and connect them together to form shapes that can be fluid and organic.
PART A: CASE FOR INNOVATION PARAMETRIC MODELLING
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ICD/ITKE RESEARCH PAVILION Architect: Emmi Keskisarja & LEAD
The ICD/ITKE Research Pavilion demonstrates how parametric modelling has assists in the language and scripting cultures of the discourse. Designed by Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), it explores parametric modelling and computer-controlled fabrication based on sea urchins. The dome like structure is designed based on certain principles: Different cell sizes adapt and conform to create curvature and each three meets at one point, though they interlock and different points and angles. The use of computers to create the pieces also allows greater control over the viability of the structure. The design adapts both algorithms and traditional parameters to create an organic and fluid like structure. Not all designs can achieve this, as the use of parametric modelling may hinder the designer’s ability to include traditions parameters like topography. However, the advantages out way the negatives because of the performance, flexibility, fabrication methods, and analysis power that architects have gained. The use of parametric design processes can further advance architecture and may become a new ‘style’.
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PART A: CASE FOR INNOVATION PARAMETRIC MODELLING
CONCLUSION
Through the case for innovation section of this journal we see that computers have become embraced in architecture and throughout society. The modernists of the 20th century solved the problems its predecessors were not able to, through the use of new technologies: concrete and steel. Computers were first used in architecture as a tool to emulate simple tasks performed by hand, such as the Sketchpad System by Ivan Sutherlands in 1963. I believe the zeitgeist of this era is computer technology because we humans are influenced by it at all scales therefore parametric modelling will become part of a future movement. It will allow us to achieve complex results that were previously thought to be impossible, with greater efficiency in design and processes. As a design team we should explore and investigate the possibilities parametric modelling has to offer for an innovative design and discourse. We should also seek to include not only the local site context by also Wyndham City itself; as an emerging city; its culture; identity and image. By combining parameters both in the digital and living realms, we can achieve innovative results that can utilises less material and enhance the performance and systems of the environment. This will further define Wyndham City as a gateway to Melbourne.
PART A: CASE FOR INNOVATION CONCLUSION
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“What if every, inventor, at the moment of creation could ask: how does nature solve this? How does nature flow without turbulence?� - Janine Benyus
PART B: DESIGN APPROACH
DESIGN FOCUS
Biomimicry is a powerful idea because by imitating and taking inspirations through understanding nature’s products, we can achieve designs with far greater efficiency in performance and resources, as nature has been successful at it for billions of years. Looking at natural organism provides us with solutions that will solve human problems. Wyndham City has been addressing the issue of its image and experienced rapid growth in recent years therefore a new ‘eye-catcher’ should be placed that will identify the city. In our view we see growth in terms of a city that is continually developing itself; in a sense it is a living organism. Wyndham city is a vibrant area where everyone has a unique identity within the community. As part of the development we believe the notion of ‘sustainability’ has influenced the city’s future: through the construction of open landscape and parks. When looking at nature, we think that everything is plotted randomly. However, when examine further everything is logically placed and designed according to adhere to the local environment.
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PART B: DESIGN APPROACH DESIGN FOCUS
Through understanding the systems of nature we see that it is a life cycle where ones waste is another’s source of energy. This is the way of nature and we a part of it. Therefore, as suggested by the the diagram below, we should question what we want from this site then look at how nature efficiently solves the problem. We can then emulate these functions to better our designs and using the least energy doing it. We want to create an experience for the users where the non-linear nor restricted geometric forms of the structure will create shadows with different sized surface opening throughout to represent the diversity of the city.
THE GIANT’S CAUSEWAY Architect: Nature or Giant?
One of the most interesting things about biomimicry is its ability to use the most efficient structure given the environment. It is only right to seek inspiration from one of the natural wonders of the world: The Giant’s Causeway. This wonder was formed from a volcanic eruption. The cooling time and processes resulted in cracks going into the earth thus causing columns to form. The way in which the cracks are shaped into hexagons are interesting because in invokes the question: why does nature often use hexagons? We can find hexagons in bee hives, snowflakes etc. The shape of the columns results in ‘ball and socket’ joints where its geometry allows a natural interlocking structure without the need for extra materials; hence being able to naturally support itself. The use of all these elements results in a structure that is formed because of natures engineering and adopting to the local environment. This then creates and interesting form that has stood the test of time and still stands today.
Top, Fig. 1 Top view where the hexagons have different dimensions Bottom, Fig. 2 Change in columns heights
PART B: DESIGN APPROACH DESIGN FOCUS
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THE EDEN PROJECT Architect: Grimshaw Architects
The Eden Project’s design intent was to transform a quarrying site into a habitable space through the use of biomimicry. This is to consider what the design was to replace because implementing biomimicry has help keep the human foot print to a minimum. The domes are constructed from hexagon and pentagon steel frames that are enclosed by inflated plastic cells derived from pollen grains to increase material efficiency. Since the development, The Eden project has created a unique culture that represent’s the country’s heritage of plant exploration and attracting visitors. The context of the site is like Wyndham Gateway but less damaged because it is currently situated in a location that people would just pass and be unnoticed because nothing is interesting. The constant use of motor-vehicles at the location, and the service station nearby, causes change to the landscape. Therefore we need to find an approach the will represent the notion of efficiency.
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Top, Fig. 3 Interior view Centre, Fig. 4 Close view of polymer cells made of plastic Bottom, Fig. 5 A habitable landscape
CASE STUDY 1.0 VOLTADOM
Architect: Skylar Tibbits Our group selected Skylar Tibbit’s VoltaDom definition as opposed to The Morning Line and Spanish Pavilion because we believe it was appealing and most appropriate in terms of our design direction. VoltaDom appears to have a complex structure that was aesthetically appealing but not over complicated like The Morning Line. We believe that, though it seems complex, it could be flattened down to have a main set of parameters that everyone can see which will then create a certain experience as the users travel under it. The parameters of the structure allow it to have an arch that is self-supporting, which is one of the points we want to achieve in our sculpture. The original VoltaDom definition consists of a 2.5D voronoi which we found challenging. Each surface has four curves and a circular hole where the total area is manipulated. The sliders allowed us to adjust the number of control points, their positions, and the size of the extrusions. We further explored the definition by using various strategies such as changing the primitives and form boundary as seen in the matrix.
Top, Detailed view Left, Exterior View PART B: DESIGN APPROACH CASE STUDY 1.0
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M AT R I X
MATRIX
Species 22
PART B: DESIGN APPROACH CASE STUDY 1.0
CASE STUDY 1
1.0 Mutations
PART B: DESIGN APPROACH CASE STUDY 1.0
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Amongst the outcomes achieved, I feel the following four are most interesting: A1 – We first attempted to look at what happens when we create a structure in 2D plane. The nonlinear position of each cone creates a cell like structure that seems very intriguing from top view. By cropping at the intersection of each cone, it creates a completely different surface where all the intersections are unique. The openings allow natural light to penetrate through, and through the disordered positions, it may seem to user going underneath it that there are flashes of ‘random’ light. C5 – By plotting the spheres onto a curved surface, we found that we would then have more control over the position of spheres. The variation in sphere sizes causes leads the notion of hierarchy within the community. When visualising it in a 3D perspective, we believe changing to semi-spheres can lead to a functional sculpture or potentially create certain effects if water flowed down it. D2 – We were trying to achieve an arch that would later be reflected as though the road may be hovering through it, though we weren’t able to change the direction of the bottom of the structure. Though this outcome was not very successful, it caused have different train of thought ‘Ring of Fire’ where we could possibly explore the concept of volcanoes because there are extinct ones along the Princess Freeway. E5 – We plotted the cones onto a cone surface to where although the cones are of the same dimensions, the change in height can seem as though the dimensions are changing. We think that the notion of an illusion changes the users’ views on the sculpture, but further exploration is needed. 24
PART B: DESIGN APPROACH CASE STUDY 1.0
M AT R
I believed these outcomes were most successful in this case study because they each allowed us to further develop our techniques and forward our design path. They each contain different qualities: light and shadows, functionality, inspiration, manipulation of space, mass and scale. These qualities are applicable to our site because the site is large so therefore each section is different. Exploring and manipulating the original definition enables a numerous forms through the use of a complex shape being placed onto a curved surface. Combining the parameters of the local environment and ones explored in Grasshopper, an innovative design can be achieved so that the design is most appropriate for the selection location. However, some of the drawbacks were that the use of such primary shapes (cones and spheres) being cropped at intersections will be very difficult to manipulate and fabricate. Our limited knowledge of Grasshopper at this time restricted our abilities to further explore other opportunities such as changing the direction of the objects.
Fig. 6 Matrix A1 Fig. 7 Matrix C5 Fig. 8 Matrix D2 Fig. 9 Matrix E5 PART B: DESIGN APPROACH CASE STUDY 1.0
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CASE STUDY 2.0 ICD/ITKE RESEARCH PAVILION Architect: Emmi Keskisarja & LEAD
The project explored the form and functions of a natural organism then apply it to create an efficient structure. The sand dollar’s plate skeleton morphology was studied to determine its performance. Through understanding its modular system of polygonal plates being linked together via finger like calcite protrusions, they found its design to have high structural stability. 6.5mm timber panels with finger joints were then used to construct the pavilion. The project’s design intent of mimicking biological organisms enabled a design where the structure is able to support itself with minimal material usage and efficient construction method. We see that the design is difficult to achieve without the correct geometries and material used considering the size the structure: it even needed to be bolted to the ground so that it wouldn’t be blown away.
Fig. 10 Interior view of the pattern and openings.
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Using what we have learnt throughout the semester we decided to reverse engineering it, because also it was highly relevant to biomimicry. It would also become a challenging process because we first thought it aesthetically looks simple, but became interested in it when studying it further.
4.
Various outcomes
5.
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PART B: DESIGN APPROACH CASE STUDY 2.0
Some issues we encountered were: Unable to change from flat surface to a curve Unable to create lofted surface on arch – only created a wire frame Only being able to create uniform shape with the box tool seen in figure 11. When we finally achieved a voronoi structure, we saw a great potential in the design because we now have the ability create numerous forms using different geometries. We thought our time would be best utilized if we further explored and manipulated the Grasshopper definition to our intent. Therefore we disregarded the outer shell of the pavilion. We were excited and intrigued by the structure we created. The next step we would look at is potentially testing the definition out with different geometries, changing the size and scale of each surface, seeing how changing the openings can affect light and adding movement to the structure.
Fig. 11
PART B: DESIGN APPROACH CASE STUDY 2.0
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PART B: DESIGN APPROACH TECHNIQUE DEVELOPMENT
maths function
rotation
curve attractor
image sampler
TECHNIQUE DEVELOPMENT
PART B: DESIGN APPROACH TECHNIQUE DEVELOPMENT
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colour relative to hieght
multiple attractors
single attractor
manually plotted points
Analysis Now that we are able to plot various geometries onto a surface with the MapSurface tool, we decided that we should conduct experiments on a 2D plane first and then further development it if we found a species to be interesting. The first three species demonstrates that surfrace opening can not only be create thought opening but also via the seperation of circles. We think the potential of these outcomes are positive as we can then stretch the distances to our liking, but these ones are limited in terms of constructability as they will seem ‘floating’ and is not what we are disering. This is because a sub-frame structure will be need which then defeats the purpose of biomimicry in terms of material efficiency. The use of hexagons on the manual point plots seem appealing because we can obtain a self supporting structure. By further developing it with attractors to change the diameter of surface openings we realised that we can then play with light. This was a positive move in terms of our design so we decided to plot it on a curve surface and fabricate it to see the real life outcome. The voronoi patterns of the last column created an interesting definition of the notion of ‘living organism’ because the each surface looks like cells at different stages of life and we think that with further development we can create something interesting.
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PART B: DESIGN APPROACH TECHNIQUE DEVELOPMENT
TECHNIQUE: PROTOTYPES The complex nature of our design development meant that we had to really consider how the sculpture will be fabricated both in the model and real realm. We decided to first test our the performance of a voronoi that was placed onto a cruved surface to see what potentials there are as seen in Model 01. We then assembled a full model (Model 02) of a hexagon variation fabricated from cardboard and tabs to visualize how the sculpture will appear in real life. As cardboard is a solid material, this allowed us to see what impact sun light has on the opening and what happens when travelling through it at high speed. At certain points, the sculpture will intruding into the ground for structural support and also make it seem as though it’s disappearing back into the ground. The aim for Model 03 was to create full model that was transparent but became a failure because the material used was 2mm Perspex. The Perspex was too thick for the scale of our model. There were other major problems with it because, as Perspex is impossible to fold without snapping, when gluing it we found that we did not know angle to glue each individual piece to form a surface. The glue used also made the prototype white and was not neat. Model 04 used polypropylene, which is semi-transparent. This created an effect where there is appropriate light for vehicles to drive through safely, but everything becomes blurred and only being clear and focused at the openings.
PART B: DESIGN APPROACH TECHNIQUE PROTOTYPES
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Model 01 - Voronoi Surface
Model 02 - Hexagon Surface
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PART B: DESIGN APPROACH TECHNIQUE PROTOTYPES
Model 03 - Perspex
Model 04 - Polyporylene Tabs should be used for models to hold the elements in place, however, in the real realm finger-type joinery or create an overlap to screw the pieces together. The most appropriate assembly method will consist of a numbering sequence in rows where each surface is constructed then connected with neighbouring surfaces. This is due to the complex and non-linear nature of the position of each surface. Through the exploration of materialization seen in the prototypes we believe a form of metal sheeting will be most appropriate for the sculpture so as to maintain longevity and reduce maintenance. However, due the large amount of joineries and complex structure, it is better to consider the scale, size and length of the sculpture because different densities may require a new approach.
PART B: DESIGN APPROACH TECHNIQUE PROTOTYPES
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TECHNIQUE: PROPOSAL
Through the developments of this phase of design, we believe the use of biomimicry is a viable approach because the design will be intricately related to the natural environment of the site. This will create an effective and efficient design that portrays the beauty of the local area. Its design will portray the uniqueness and growth of Wyndham City and as a major vein for Melbourne where people throughout the west coast will travel through. The limitation of this design is that nature is a slow process compared to the speed of vehicles travelling past. Therefore we propose the sculpture to be arched over the road so that users will not only experience it but also questioning it. The use of material efficiency on the site will mean the structure will likely be self-supported and be fabricated from one material. This will reduce negative impact on the environment. By finding the best system and processes the local environment and adapting it tothe design, people will remember Wyndham City not only as a place, but the opportubities it has to offer.
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PART B: DESIGN APPROACH TECHNIQUE PROPOSAL
Learning Outcomes and Objectives
I have found biomicry to be a very interesting yet challenging field of study because it is not as simple as ‘copying’ what looks natural, but it is a more intriqete process. This is further evident from the surprise feedback we recieved on our presententations that our design do not have a relation to biomimicry. When criticalling analyzing our design after the feedback I realised that it is true and I think it has helped my team move in a positive direction because we now much more developing and exploring to do. I think we missinterpreted what ‘biomicry’ is about and thought it was just using materials and shapes. Through further investigation we realised biomimicry is more related to understanding the systems and processes and how its form achieves it given the environment. It is also about using these ideas to further develop as design and solve problems. This is likely to change the our views of what our design should be and create greater debate amongst each other. I believe we have the tools and knowlege from the work we have accomplished so far to explore different opportunities. Tere is mcuh more for development to achieve an innovative design
PART B: DESIGN APPROACH LEARNING OUTCOMES AND OBJECTIVES
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PROJECT PROPOSAL
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PART C: PROJECT PROPOSAL DESIGN CONCEPT
DESIGN CONCEPT Reviewing the feedback given during the interim crit, we realised there were two concerns with our proposed technique that needs to be addressed. Firstly we realised a stronger argument is needed for our design; in particular our relation to biomimicry. We went back to the fundamentals and ask ourselves: What is biomimicry? How is it used? How is it going to be integrated into our design? Another concern was that our technique appeared to be static and did not have much integration with the site. These concerns will be addressed through the following section of this journal. Our concept is conceived through a step by step analysis. We began by exploring Wyndham City and its features. It is a rapidly growing city with a multicultural population. The city has become a natural icon featuring Werribee Zoo, open landscape parks and internationally recognised wetlands. These natural features and attractions are what draw the many tourists and visitors into Wyndham. Wyndham wants the new Gateway installation to become a ‘new identifier for the municipality’. Because there is such an emphasis on natural environment, we believe that biomimicry is the best approach. Biomimicry is just more than abstracting natural form; it is about mimicking nature’s principles and applying it appropriately. The design will then be able to behave like nature which can then create non-geometrical forms efficiently. Biomimicry can have many definitions, but we think the best for this design is to an abstract approach so that the gateway is understood by both designers and non-designers. This approach will allow users to gain interests by the complex shape but also the simple logic behind it.
PART C: PROJECT PROPOSAL DESIGN CONCEPT
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Our design intention is to create an installation that is lightweight so then material efficiency can be achieved. This can then allow us to create forms that cannot be achieved conventionally. By exploring what biological features and principles can be used for our design, we eventually found the dragonfly wing. A number of features of the dragonfly wing can be adapted into our design. The wing uses materials and patterns efficiently so that it is able to hold up such a large structure when compared to the body. It can be seen as a canter lever.
Rigid
Flexible
The patterns on the dragonfly’s wing may seem complex, but when examined, it is logically placed. The veins become thinner as it extends further out. The number of sides each cell has is closely related to the structural need to of wing where fewer sides mean greater rigidity and vice versa.
Major veins
Root Thick Thickness of veins and membranes Thin
Thin
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Thickness of veins and membranes
PART C: PROJECT PROPOSAL DESIGN CONCEPT
Thick
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2
We decided to choose the most appropriate site location first in order to create a form that can adhere to the immediate surroundings. Scale was also considered in the section. 1. Road The majority of the users will be motorists, therefore the installation needs to have some sort of experience to the appropriate roads. 2. Site Boundary The site boundaries limit our location for the installation therefore some users may only experience it from a distance.
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3. Traffic Direction The location of the installation should give the right experience to the users according to the direction in which they are travelling. 4. Location of Installation We decided to place the installation over sites A and B because it has the greatest opportunity. Not only will it be a gateway for Wyndham City, users who take the bypass will be able to experience it as well. 5. The Form The idea that a large cantilever can be achieve motivated us to move away from a literal tunnel approach to a half tunnel that is supported by a cantilever. The curves allow the structure to appear to be flowing and be integrated with the site. The form also appears so that it is coming out of the ground.
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5
Elevated
PART C: PROJECT PROPOSAL DESIGN CONCEPT
Ground level
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1. Pattern development for rib section
2. Pattern development for remaining sections
3. Extrusion sequence for design
4. Variation of openings
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PART C: PROJECT PROPOSAL DESIGN CONCEPT
The Pattern For the facade to adhere properly to the form we decided to create the pattern on a planar surface first, then map it onto the from. 1. We began with squares for the rib section as it will be the primary structural elements and squares are the most rigid 2. The rest of the pattern consists of a voronoi where each cell size different because of attrators. The base will have more cells for rigidity.
Structural rib
3. The cells are then extruded and scaled to create openings.
Footing of cantilever section
PART C: PROJECT PROPOSAL DESIGN CONCEPT
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PART C: PROJECT PROPOSAL TECTONIC ELEMENTS
TECTONIC ELEMENTS Fabrication Below are details of the fabrication methods that will be used for the installation Materials: 3mm Stainless Steel Sheeting for the cantilever because of its strong properties 1.9mm Polypropylene for the rest of the installation because it is semi-transparent and lightweight. 1. The installation will be unrolled into 2D shapes 2. Cut the sections onto the material 3. Fold each of the sectrions to create a cell. 4. Transport cells to site For Stainless Steel - Weld each of the ribs together with cleats For Polyproylene - Bold each of each of cells together according to numbering sequence
The fabrication of the same procedure for protoVictor Eric 4 - 0.6mm Polypropelene types, butGoh because of the scale we were unable to create enough bolts and fold the tabs correctly which meant the model kept on bending in ctor Ericdifferent Goh 4 directions. - 0.6mm It Polypropelene was also unable to stand up because we did not have footings in place
mm Polypropelene
ropelene
Bolts Internal tabs
PART C: PROJECT PROPOSAL TECTONIC ELEMENTS
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West View South View
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PART C: PROJECT PROPOSAL FINAL MODEL
North View
FINAL MODEL
East View
PART C: PROJECT PROPOSAL FINAL MODEL
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Morning Shadows Aerial View
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PART C: PROJECT PROPOSAL FINAL MODEL
W E S T E L E VAT I O N
SECTION
PART C: PROJECT PROPOSAL FINAL MODEL
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LEARNING OUTCOMES & OBJECTIVES The feedback recieved during the crit was overall positive, however, there is alway points to improves on that can be taken with us in future as well. The design looked beautiful however, given the time constraints we were not able to test the structural stability of the overall structure, which became questionable by one of the jury. Another thing I have learnt is that the confidence and exercution of the presentation is important as good communication can make a great different in the design. One queestion was raised which we were unable to answer the due to not revisiting the start of the project of why we chose biomimicry. Overall this semester has been a turning curve on what my perception of architecture is about even though it has been tough. Rhino 3D and Grasshopper are definately the most difficult programs I have come across so far, mainly because I have had very little interaction with such a design language. I have alway been used to the notion of ‘traditional design methods’ where the computer is just a tool to aid us in our design. Throughout this semester, as I gained more and more confidence with it, have gained knowlege of designing unique and sometimes weird designs that I never thought was possible which is fun and a uniqe experience. I have realised that the computer is a powerful tool and feel that it is starting to become more and more interrelated in which both the human brain and it are ‘designing’. Though this style is questionable in my mid, I feel that one day computation architecture will become an era in architecture.
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REFERENCES http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead/ http://www.biomimetic-architecture.com/2012/ted-talk-janine-benyus/ http://grimshaw-architects.com/project/the-eden-project/ http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/ http://www.livingprinciples.org/biomimicry/ http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.html Fig. 1 - http://simonward.com/wallpaper/causeway.jpg Fig. 2 - http://media-cdn.tripadvisor.com/media/photo-s/00/1a/69/f2/giant-s-causeway.jpg Fig. 3 - http://transitionculture.org/wp-content/uploads/edendome2.jpg Fig. 4 - http://www.ease-ds.com/wp-content/uploads/2009/10/The_Eden_Project_Dome_Vents1. png Fig. 5 - http://upload.wikimedia.org/wikipedia/commons/f/f2/Eden_Project_geodesic_domes_panorama.jpg Fig. 10 - http://www.archiable.com/image/design/120519_ICD_ITKE_Research_Pavillion/Archiable_ ICD_ITKE_Research_Pavillion_01.jpg
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