Final Design Journal - Studio Air by nilushas8

ARCHITECTURE DESIGN STUDIO: AIR

DESIGN JOURNAL 2012

nilusha samarasinghe 378889

UNIVERSITY OF MELBOURNE _ BACHELOR OF ENVIRONMENTS

case for innovation

WEEK 01

ARCHITECTURE AS A DISCOURSE

WEEK 02

INTRODUCTION TO COMPUTING IN ARCHITECTURE WEEK 03

INTRODUCTION TO PARAMETRIC MODELLING

WEEK 04

expression of interest

INTRODUCTION TO THE DESIGN PROJECT: PUBLIC ART & MOTORWAYS WEEK 05

Why Computing? Performance-Driven design WEEK 06

Project Conceptualization: Materiality/Performance/Ornament WEEK 07

Project Theme: Air in Architecture WEEK 08

EXPRESSION OF INTEREST PROPOSAL: pRELIMINARY

WEEK 09

project delivery: digital fabrication

final proposal

TH E B OX

THINKING

OUTSIDE

CONTENTS

WEEK 10

project presentation 1: design documentation WEEK 11

project presentation 2: moving image in architecture WEEK 12

final review: critical design narrative

STUDIO: AIR nilusha samarasinghe 378889

WEEK 01

STUDIO: AIR nilusha samarasinghe 378889

ARCHITECTURE AS A DISCOURSE

p ersonal p roject

STUDIO: AIR nilusha samarasinghe 378889

Headspace was a practical project held during my first year in the subject Virtual Environments. The task was to design a digitally fabricated headpiece that could securely sit over the dimensions of our heads. The software Sketchup was used to fabricate the design and thereafter the model was created through the process of folding and cutting. This virtual model was contrived by integrating concepts such as apertures , geometry and shadow. The design of this headpiece was intended as an introduction to the use of representation in architecture, landscape architecture, urban design and other disciplines. It particularly required learning about design precedents and encouraged the understanding of digital architectural design theory. I learnt how to conceptualise my design ideas onto paper and transferring them into digital models using computer-aided software. Moreover being aware of external factors such as site and context that definitely affected the outcome

Oxman (2008) persuasively argues that contemporary design teaching needs to be founded on new digital design thinking rather than on templates typical for paper-based work flows. Thinking about this we realise that during the pre-digital era computational commands were not possible therefore today we have many advances and opportunities in the most fundamental categories like form making and material. Consequently, the rise of computing in architecture brings an endless scope for innovation and design in practice.

HEADSPACE

Architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings. Williams, Richard (2005)

DESIGN BRIEF

STUDIO: AIR nilusha samarasinghe 378889

The Expression of Interest proposal suggests the necessity of digital design and technology in relation to the upcoming Western Gateway Project, towards constructing a convincing argument for the parametric approach in the imminent design challenges. The brief designates that the installation should enhance the physical environment through the introduction of a visual arts component. A new architectural discourse introduced by computing design through the combination of space, nature and materiality.

BELL-LLOC WINERY

Through the consideration of architecture as a discourse and applying Williams’s three attitudes towards architecture, this will be a good starting point into forming ideas and concepts.

A rc h itec tur e as a form of A rt

The creation of architecture is a form of art in its individuality and is more akin to decoration. In a sense, this silhouette of architecture as an art has certain disagreement as it is more practical than other forms of art such as paintings. Yet the pleasures of it can interestingly be abstract as well as rational. In the Gateway Project all these parameters come together to determine the expression of interest. As with the Bell-Lloc winery, it was built for a private client to cultivate his own wine as family affair in tranquility of a rural retreat located a few kilometers inland from northern Costa Brava, near Palamos. The Bell-Lloc winery isn’t quite building and rather a form of art. The winery occupies a middle ground somewhere between architecture, abstract sculpture and landscape design. All considerations that could be applied to the Gateway Project.

A rc h itec tur e as a sign

Symbolism encompasses architecture in many different forms. It can be composed by a series of signs that communicate to the audience its broader picture. In Australia the Sydney Opera House is a signature of Sydney and an architecture one can identify with as a symbolic iconic structure. The Gateway Project can advocate its sculpture as an iconic pilgrim, a design that can shape the pathway of Wyndham into an identifiable figure that the community and others can recognize.

A rc h itec tur e as a spatial ex perien c e

Moving towards an experiential approach for the Gateway Project is something that I feel is very important when considering the design objectives. Overall the project isn’t about a complete set of architecture or an entire building but spatial experiences, acquiring through existed natural attributes and topography of the site. As the main audience are motorist travelling at high speeds they do not have the time to admire the details but instead have an iconic experience that is memorable and identifiable. The Bell-Loc winery is a fine precedent that demonstrates the essence of spaces and human activities that interplay with nature. The facilities embedded in the landscape, comply with the sensitivity of surrounding contours and slops. Visitors will witness tremendous spatial experience, distorted corridor created by series of leaning slats, with light, air and shadow penetrating the gaps and intervals creating a curious interplay between the sense of weight and dematerializations.

Bell-Lloc Winery

RCR Aranda Pigem Vilalta Architects Palamós, Spain 2007

STATE OF THE ART PROJECT

STUDIO: AIR nilusha samarasinghe 378889

The Guggenheim Museum Bilbao is noted to be one of the most magnificent works of contemporary 20th century architecture. This structure with its abstract geometries and innovating design is definitely a monumental landmark. Digital tools have made this building to be the structural backdrop to its surrounding visual and cultural context today.

STUDIO: AIR nilusha samarasinghe 378889

Overlooking the Pearl River the Guangzhou Opera House is the largest performing arts centre in South China, Designed by Zaha Hadid, a most inspiring and forceful architect this structure evokes her radical approaches and multiple perspectives to designing.

Combining art and technology this design is unique as it holds traditional art and music while expressing a modern and ambitious outlook on the exterior. Hence creating this mixture of old and new which is a captivating idea for added analysisn within the Expression of Interest Proposal.

Like pebbles in a stream smoothed by erosion, the Guangzhou Opera House sits in perfect harmony with its riverside location (Schumacher). This synthesis between the building and nature is another consideration that will be implemented and experimented with in connection with the Gateway Project and the Wyndham City. Guggenheim Museum

GUGGENHEIM MUSEUM

Frank Gehry Bilbao 1997

The manner in which the facade of the museum catches the natural light and floods it into the interior space is ingenious in many ways. It creates an illusion of mass space making the ends of the room disappear almost into nothingness. This manipulation of light and shadow in creating a spatial experience is an aspect that is intriguing and should be further explored in the course of the design process. It also relates to one of Williams aspects in architecture and is in my view point a key expression in the Gateway Project.

Furthermore, the smooth but solid exteriors fashions a statue-like quality. It is quite dramatic but also seems to blend into the surrounding with its smooth and curvy facade. These design solutions could be integrated into the Whyndham City Western Gateway Project as it delivers to a number of criteria. This includes designing a sculpture that integrates with the surrounding landscape.

Guangzhou Opera House

Zaha Hadid China 2003-10

GUANGZHOU OPERA HOUSE

WEEK 02

STUDIO: AIR nilusha samarasinghe 378889

INTRODUCTION TO COMPUTING IN ARCHITECTURE

COMPUTING IN ARCHITECTURE

STUDIO: AIR nilusha samarasinghe 378889

Computers, by their nature, are superb analytical engines. If correctly programmed, they can follow a line of reasoning to its logical conclusion (Kalay, 2004). Hence, the majority of computer-aided design research over the past fifty years has been directed toward developing computational systems that provide varying levels for assistance to human designers by taking care of smaller or larger parts of the design process (Kalay, 2004). With the Expression of Interest Proposal we move into using Rhino with the plug-in Grasshopper. This is definitely a challenge as this is the my first time with using either programs. But I did keep in mind the advantages of computerization and how it helps form our ideas with the aid of computer-aided programs while not letting them limit our designs. And with prior experience, once you strike gold with the program there will be endless possibilities from then on.

Below the Corian Super-Surfaces Showroom by Amanda Levete Architects was awarded the Interiors and Fit-Out Prize at the World Architecture Festival in Barcelona. Their idea came from a drop of water creating a series of ripples became the metaphor for transforming space through movement. Just as the ripple causes intricate moiré patterns in water, Corian Super Surfaces is about revealing the moment of change through visual complexity, creating dynamic kinetic effects. This concept of moving through the space, appearing to animate it is a exceptional concept and will definitely be integrated into the deisgn Gateway Project and is a major contribution into creating an spatial experience.

The dominant mode of utilizing computers in architecture today is that of computerization; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited. Kostas (2004)

Corian Super-Surfaces

Amanda Levete Architects Barcelona 2009

COMPUTERIZATION VS. COMPUTATION

STUDIO: AIR nilusha samarasinghe 378889

Aelous is a sculpture designed to resonate and sing with the wind without any electrical power or amplification, through vibrations in strings attached to some of the tubes. The light pipes act to frame, invert and magnify the landscape around the pavilion enabling the viewer to contemplate an ever changing landscape of light. The visual experience for the public will dramatically alter minute by minute, hour by hour. This can be seen in the vertical image displaying the mirrored tube at different points throughout the day. This integration of light and shadow is what makes this sculpture a unique experience. Again this is a good precedent that looks into the spatial experience of architecture. This piece was developed to offer the public a space through which to engage with the concepts of engineering, acoustics, and aerodynamics.

AELOUS

Aelous was digitally fabricated using Grasshoper in Rhino therefore a relevant precedent in developing design ideas for the Gateway Project. Below an image of the fabrication process can be seen. Similarly I believe the sculpture that is to be built for the Wyndham City Council will be modelled in this way. As we start learning and experimenting with Grasshopper at this preliminary stage there are a multitude of uses and functions that are already apparent. It does seem overwhelming at present but it is certain that this software is needed in order to fabricate such a parametric design. Hopefully with the weeks to come I will be able to control my design and prevent the program limiting my possibilities. This overall gives me a better understanding as to the debate of Computerization Vs. Computation.

Aelous - Accoustic Wind Pavillion Luke Gerram Canary Wharf, London 2011

WEEK 03

STUDIO: AIR nilusha samarasinghe 378889

PARAMETRIC ARCHITECTURE

STUDIO: AIR nilusha samarasinghe 378889

The technological explosion of the 21st century, besides the new way of treating three-dimensional geometry, has to offer different possibilities as the collaboration of the architect with the computer in solving various problems. Richard Williams, Architecture and Visual Culture suggests that in recent years, digital possibilities are explosively increasing, made up ground in the design industry, replacing the traditional architecture which cherishes the purpose of traditional shapes of buildings. Therefore, the process can easily result in a number of different spatial solutions by replacing parameters.

INTRODUCTION TO PARAMETRIC MODELLING The project Urban Adapter is based on a digital parametric model created using computer-aided software. At its core the model utilizes explicit site information and programmatic data to react and interact with its environment. In this way the modelâ&#x20AC;&#x2122;s DNA structure is capable of producing a variety of unique furniture results. We can see parametric design in many forms and patterns. The contours of this design and its intergration with the landscape is a criteria of the brief and a growing idea in the upcoming design. The Whyndham City Gateway Project will be designed using parametric modelling offering an endless scope of design

Urban Adapter Proposal by Rocker Lange Architects Hong Kong 2012

With a generative approach to creative production it is possible for there to be a clear distinction between what is generated and what generates, between the code and resultant objects. (Burry, 2003)

SCRIPTING CULTURES

WEBB BRIDGE

STUDIO: AIR nilusha samarasinghe 378889

The Webb Bridge situated here in Melbourne, Docklands is experiential in form which is an aspect of our key considerations with the Gateway Proposal. In this weeks lecture the guest lecturer went into the details of the Webb Bridge and its architectural concentrations. When you approach or enter a building you move through the space, the scale changes, the proportions shift around you. This is what makes architecture glorious; the way it manipulates light. The experience that is encountered through the light and shadow effects created by the structure is what will be discussed next in the EOI. As you approach the South Bank, the hoops regain their intensity and evolve into a filigree cocoon. This gradation of pattern was intended to create a life, a moment in time. The resulting structure suggests a new connection, or a knot, between the old and new, past and future. Space is seen as atmospheric, dynamic and transitional. These aspects are all to be implemented into our Expression of Interest Proposal. Webb Bridge

Denton Corker Marshall Architects Docklands 2004

Pavilion â&#x20AC;&#x2DC;130008252010â&#x20AC;&#x2122; Digital TeaHouse Workshop Tokyo 2012

Scripting offers a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time. Burry (2003) describes scripting as effectively a computing program overlay, the tool user (designer) becomes the new toolmaker (software engineer).

The Digital TeaHouse Workshop, a project held by the University of Tokyo for architecture students who explored the japanese tea ceremony culture that served as a pretext for further exploring digital design and fabrication tools. The pavilion focused on the precise moment of 13:00 p.m.when the tea ceremony took place, for which to design a space with specific lighting conditions. interior space was determined by the software in terms of the angles and depth of triangular patterned sun-shading device over a semiconical surface of the arch structure. The software grasshopper for rhinoceros was used into creating this delicate structure. This form of scripting realtes directly to the Wyndham Gateway Project with its similiar software program and exploration of light and shadow.

WEEK 04

STUDIO: AIR nilusha samarasinghe 378889

WESTERN GATEWAY DESIGN PROJECT

STUDIO: AIR nilusha samarasinghe 378889

The Western Gateway installation offers a high exposure location to those entering the urban precinct of the municipality, as well as to those travelling along the freeway. The City is seeking for a design that is exciting, eye catching, provide an entry statement and arrival experience. On reading the brief given it is obvious that the scale and location of the structure can be taken into our own advantage. There were a list of key considerations and issues to be resolved and addressed in the development of the design. As a group we narrowed this down to a few significant points that would relate back to the explorations made in the Case for Innovation and could potentially be carried out.

INTRODUCTION TO THE DESIGN PROJECT: PUBLIC ART & MOTORWAYS

These are:  Prominent location of the site at the entry to metropolitan Melbourne;  Consideration of how the installation integrates with and/or sits in the immediate and surrounding landscape;  Dialogue between sculpture and landscape to compose the Gateway;  Original and engaging in form;  Object-centred individual sculpture or a more experiential approach;

The site of the future Western Gateway installation is located on the road reserves adjacent to the Princes Freeway, at the interchange with the Princes Highway, commonly known as the Western Interchange

We did an initial study about the speed and interference of the installation with the motorist travelling on the freeway. Therefore, when travelling 100 kilometers per hour on the freeway you will travel approximately 277 meters per 10 seconds. For the initial chosen site location (shaded in blue) it will take around 45 seconds to pass that area.

WYNDHAM CITY COUNCIL

STUDIO: AIR nilusha samarasinghe 378889

LIGHT & SHADOW

The Wyndham City has been addressing the issue of its image by undertaking significant works to upgrade the condition and aesthetics of its streetscapes, open spaces and parks. Hence the Gateway Project, where the installation will enhance the physical environment through the introduction of a visual arts component. A new architectural discourse introduced by computing design through the combination of space, nature and materiality.

TRA FFIC & INT E NSITY

The site of the Western Gateway installation is located on the road reserves known as the Princes Freeway. This road had two paths either towards or outwards Melbourne City. Research was accumulated concerning the traffic distribution between Werribee and the CBD as seen below. It is seen that the the CBD has a high concentration of traffic while moving towards Werribee it reduces significantly. Therefore, this could potentially relate to the fabrication of the sculpture. It should be formulated in such a way that the experience when travelling towards the city be gradually becoming more dynamic and intense whille the exprience coming out towards Werribee gradually becoming more calm and soothing.

TRAVELLING TO THE CITY

MORE INT ENSE

For centuries artists and architects have been fascinated by cast shadows and perspective – the two shaping factors of spatial representation. Today the direct control of production machinery by means of digital design tools imparts an entirely new complexity to ‘optical reliefs’, which not only enable any image to be created as a cast shadow, but also make it possible to represent a multiplicity of images in one relief surface. Drzach & Suchy’s artistic work shown above is based on a further fundamental observation, which is independent of the point of vision of the observer: the shadow which is cast by a physical object is dependent on the intensity and location of the light source and the shape of the object. The two different images of either Le Corbusier or Mies van der Rohe are seen from the same plane just at different angles. This is an effect created by light and shadow creating a motion of one image to another.

s h a d ow

EXPERIENCE L E SS INT E NS E Spring

Au t u m n

TRAVELLING AWAY FROM THE CITY

Summer

W i nte r

The relative angles of the sun were found in order to track the direction and position of shadow that is cast that would influence the experience created by the sculpture. With this certain desired effects can be explored according to the angles of the sun.

MOIRÉ PATTERNING

STUDIO: AIR nilusha samarasinghe 378889

moiré patterns at different frequencies

Moiré is an optical phenomenon that may appear as a wavy, rippled or circular pattern under certain lighting conditions. Moiré patterns may be created when one semitransparent object with a repetitive pattern is placed over another and the two are not aligned (David, 2009) The idea of using moiré patterns was inspired by the Corian SuperSurfaces Showroom by Amanda Levete Architects where the moire patterns created by the ripples in water motivated their design. Also, relating this technique back to my interest in nature, I imagined trees swaying in the wind creating a natural moiré effect with its overlapping leaves. This inspired the path of creating illusion of movement in a still object.

This design by Michielli & Wyetzner Architects displays the use of moiré patterning in architecture and large scale structures. The three-dimensional open parametric façade consists of two cables, material more commonly seen in DOT road barriers, extended in a continuous weave-like pattern. The front layer folds in and out from the flat-planed one behind, creating large-scale moiré patterns that move across the building as the viewer walks or drives up the street. This enhancement of a spatial experience of movement derived from a still object is a key aspect that is going to be integrated into the proposed Gateway Project, This could potentially create a delicate pattern of interweaving surfaces producing a memorable moment in time.

This effect could be potentially explored more in depth in relation to the cut definitions.

Winner of the 2011 design award from the NYC Design Commission Design Michielli & Wyetzner Architects

STUDIO: AIR nilusha samarasinghe 378889

WEEK 05

STUDIO: AIR nilusha samarasinghe 378889

MATRIX STUDY

STUDIO: AIR nilusha samarasinghe 378889

SURFACE NORMS

This Matrix Study evaluates the preference of the cut definition created in order of largest to smallest; the largest being the chosen cut we went ahead with further explorations. The Surface Norms + Image Sampler + Rotation was the chosen cut that was to be explored further in detail.

Why Computing? Performance-Driven design

SURFACE GRIDS

EXPLICIT GRIDS

OVERLAP PING P ATTERNS

MATRIX INVESTIGATION

STUDIO: AIR nilusha samarasinghe 378889

S U R F A C E G R ID S

s ur fa ce gr id s

O V ERL A P P I NG P AT TE R NS

s ur fa c e no r ms

BANQ RESTAURANT

REVERSE-ENGINEERED CASE STUDY

STUDIO: AIR nilusha samarasinghe 378889

The Banq Restaurant was the chosen project for the reverse-engineered case-study. This restaurant was selected due to its organic form and landscape-contoured patterns. The parametric form of natural contoured architecture was an inspiration into further developing our Expression of Interest Proposal. The continuous members are fastened to the main structural ribs running perpendicular to the lattice, tracing both the overall ceiling topography and the steel supports of the base building. Spacing between the visible ceiling ribs is variable; compressing and releasing to maintain visual densities of the overall surface as seen from different angles. This helps understand the construction detail for the proposed model.

BANQ Restaurant Office DA Boston, MA 2006-08

The integration of attractor point association to control extrusion lengths enabled to create a similar attempt of this restaurant interior facade, Grasshopper with Rhino was used to generate this contoured design with the combined knowledge of the cut definitions previously experimented with last week. This form will be integrated with the chosen cuts and further explored in the upcoming weeks.

Contour + Attractor Point + Extrusion

WEEK 06

STUDIO: AIR nilusha samarasinghe 378889

CUT EXPLORATIONS

STUDIO: AIR nilusha samarasinghe 378889

Proceeding with the Matrix Study previously generated the Surface grids+Image Sampler+Rotation was chosen to be laser cut into a 2d model on ivory card. With that a uniform grid of circles was also cut in order to create the moire effect that was anticipated. We experimented with light and shadow and took images to view the different perspectives that could form various effects and patterns from the overlapping surfaces. After exploring various methods of lighting and movement, it was sure that interference with a uniform grid of circles of similiar radius was needed in creating the most pronounced moire effect.

Sliding the two planes shown below with the cut patterns generates the rippling wavy effect that we were hoping to produce. This delicate motion created is an extraordinary illusion that seems very simple but captures the core essence of spatial experience and also integration with the landscape. The integration with the landscape would be achieved using materiality such as a reflective surface or a clear surface. This wiil be investigated in the next section in the journal.

Project Conceptualization: Materiality/Performance/Ornament

Our next step is to combine this pattern created with a contoured surface in order to create a scupture that engages with the landscape like that explored in the reverse-enginneered case study, Banq Restaurant. Therefore the entire form would flow with the landscape and become part of the site whilst producing a spatial experience through the moire patterns.

UNIFORM GRID OF CIRCLES

WAVY PATTERNED SURFACE

RIPPLING MOIRE PATTERN

EXPERIENCING A MOIRE PATTERN EFFECT

WEEK 07 & 08

STUDIO: AIR nilusha samarasinghe 378889

MATERIALITY

STUDIO: AIR nilusha samarasinghe 378889

The Mirror Tree House is a four meter glass cube built in Sweden by Tham & Videgard. This structure reflects all its surrounding landscape making it almost invisible and a part of the forest it is located in. This concept of camouflaging the structure into the surroundings is an aspect that we want to create with our design. The use of the material, mirror has made this possible as it reflects the trees surrounding, the birds and even the sky. It sits as a form floating in air and creating a lasting illusion. Here materiality is explored with the use of a reflective surface, an almost old architectural trick. Blending the form into the landscape and creating an experiential experience is one of the main considerations when designing our parametric form. In addition to this using a reflective material would enhance the sculpture as it would change shades with the different seasons throughout the year.

MIRROR TREE HOUSE

Project Theme: Air in Architecture

MODELING

STUDIO: AIR nilusha samarasinghe 378889

The key considerations identified into fabricating the design for the Expression of Interest Proposal consists of: 1. Moire Patterning - spatial experience 2. Integration with the surrounding landscape - organic approach 3. Materiality - dialogue between sculpture and landscape

MOIR E P ATTE RNING To create this effect of movement within the sculpture the cut definition explored previously (Surface Grids+Image Sampler+Rotation) of the wavy pattern was overlapped with the uniform grid pattern of circles. As proved this would create the most effective moire patterns. These two surfaces were applied over many contoured panels.

In t egr a tio n w ith t he surroun d in g l andscape The patterns were applied to a multitude of surfaces that were contoured panels designed in such a way that followed the flow of the existing landscape. This form was inspired by the Banq restaurant case study modelled earlier. We came up with two parametric models in order to explore which would create a better experience and integration with the landscape. We wanted to design a sculpture that would blend into the surrounding whilst creating an illusion of movement, using the moire patterns. We experimented with light and shadow and also explored the different angles of light falling onto the structure creating different patterns and effects during various times of the day.

Ma t er ia lity In reference to the Mirror Tree House we wanted to use a reflective material to further integrate the form with the surrounding landscape. Also, it would hopefully blend into a manner that the illusion of movement would be seen by the viewer but at times the sculpture itself would disappear. This leaves the audience thinking and contributing to this extraordinary experience in time. As mirrored material was not available and could pose the problem of intense glares to the motorists travelling on the Princes Freeway we used clear perspex as an alternative.

EXPRESSION OF INTEREST

FEEDBACK

STUDIO: AIR nilusha samarasinghe 378889

On receiving feedback from the Expression of Interest mid-semester crit there were some major changes that had to be considered to the current design. The first major issue was that the models did not create the moire effect as intended. There were too many contoured panels that overlapped with each other and prevented the moire patterns from forming and the surfaces were not large enough for it to be pronounced throughout the form. Next the form of the contours did not really serve much of a purpose as it did not exactly matter what its shape was as it was to disappear into the landscape through its materiality. Finally, the clear perspex did create a seperate effect which was quite interesting as the cut circles could be seen in section as dappled water-drop like quality. But for the moire pattern to form a clear material would niot work to our advantage.

FURTHER DEVELOPMENT

STUDIO: AIR nilusha samarasinghe 378889

After critically analyzing the feedback received from the Expression of Interest mid-semester crit there were some major changes that needed to take place. We decided to go a few steps back and start from the initial cuts produced of the wavy circled pattern and uniform grid pattern. These alone created a very delicate and flowing pattern that was a strong aspect to our design. The contoured form was decided to be totally discarded as it unnecessarily complicated the design and prevented the moire illusion to be experienced. Furthermore, the clear perspex created a sense of depth and shadow and worked well with lighting but reduced the moire effect as it was not a solid colour. Therefore maybe one side would be lined with reflective steel that would enable the interference of the patterns to take place whilst also engaging and integrating with the landscape.

WEEK 09

STUDIO: AIR nilusha samarasinghe 378889

ARCHITECTURE AS AIR

STUDIO: AIR nilusha samarasinghe 378889

Proceeding from the Expression of Interest Proposal I started researching for precedents that constructed a structure of a reflective surface and integrated with the landscape. Architecture As Air was a Pavillion at the Serpentine Gallery in London by Junya Ishigami. This exhibition of architecture is almost invisible and has been stripped down to the purest of forms. The columns and bracing are extremely slim and wrapped with a glass facade to connect the structure with nature and make it one. This theme flows parallel to that of the main theme of air in this discourse. These delicate metal poles are very slender and would be quite complimentary if used as a support for a surface embedded with the previous patterns. They could be polished steel so that it would blend into the landscape and also bring a contemporary attitude which would run firmly with the theme of parametric architecture. In the following week we will be experimenting with this form and produce various forms to finally come up with our design solution.

â&#x20AC;&#x153;I want to make a new scale of architecture, a natural scale, an elemental scale," Junya Ishigami.

project delivery: digital fabrication

The columns, are about as thick as raindrops, and the bracing threads are as thick as drops of water vapour in clouds. Where classical architecture is based on the dimensions of the human, this is based on other sizes found in nature. Ishigami believed that in nature structure and space are not divided. He explained that air is space but it also has a structure, but architecture divides these things. He wanted his design to be so thin and lightweight that it would almost evaporate like a mist into the air.

Architecture As Air Serpentine Gallery Pavilion Junya Ishigami Hyde Park, London 2009

FORM & FUNCTION

STUDIO: AIR nilusha samarasinghe 378889

The Mirror Cloud Pavillion was another exhibit at the Serpentine Gallery in London. Designed by Kazuyo Sejima & Ryue Nishizawa this floating mirrored canopy spills out through the trees and over the grass, undulating between waist height and two storeys and open on all sides. From above it seems like a pool of water, from the ground the mirrored ceiling lends it a mirage quality. The reflection makes the slender supporting poles look as though they continue into the ceiling. The polished aluminium finish brings light under what might be an otherwise gloomy canopy.

STUDIO: AIR nilusha samarasinghe 378889

MIRROR CLOUD

This pavillion is an excellent precedent that is a solution to all the idea that posed an issue with the preliminary Expression of Interest proposal. As with the previous Air as Architecture pavillion we can see this continuing use of these slender polished metal columns and a delicate facade. In this case it is in the form of a horizontal roof that seems to stretch out into the landscape and engage with the surroundings. This effect is created by the use of a reflective surface on an organic form with a delicate structure.

In relation to the upcoming final design we decide to use the concept of a reflective roof to be a patterned surface. It also would be reflective surface as decided earlier on and would be supported structurally with a few polished metal columns. As to creating a moire effect there has to be two overlapping surfaces therefore the second roof layer would either be hanging off the first layer or also supported solely by the metal columns.

The main concepts of the design solution will also be explored further in regards to the final presentation in producing two A1 panels. This will be done alongside designing the final proposal for the Western Gateway Project.

Mirror Cloud - Serpentine Gallery Pavilion Kazuyo Sejima & Ryue Nishizawa (SANAA) Hyde Park, London 2009

WEEK 10 & 11

STUDIO: AIR nilusha samarasinghe 378889

PROJECT CONCEPTUALIZATION

STUDIO: AIR nilusha samarasinghe 378889

Looking back at the key considerations of the Western Gateway Project we started to organise our design process and how our main ideas were achieved throughout the semester. The foremost core concept was derived through the moire pattern experience. This was the breaking point into creating a spatial experience into which ideas flowed through from then on. It led to the cut explorations where two cuts were chosen that generated the most pronounced moire patterns. We also looked into the matter of traffic population between the CBD and Wyndham. A site analysis was also conducted in relation to where the sculpture would sit on the landscape.

Moir e p atter n

moirĂŠ patterns at different frequencies

This illusion of movement in a still object can be achieved by an interference pattern caused by two surfaces an angles with each other. The moirĂŠ feature is instilled in the design proposal for the Western Gateway Project.

tr affic & intensity

Project Presentation 1: Design Documentation

The traffic population density was integrated into the final design proposal. Motorist travelling to the city would experience the sculpture from a single layer merging into two overlapping surfaces therefore creating an experience of gaining speed and movement, On the other hand motorists coming towards Werribee from the CBD would experience a decreasing experience from a moire effect to a single patterned surface. This portrays the fast pace of the City and the calm and relaxing atmosphere of Wyndham.

CBD WERRIBEE

SITE SYNOPSIS

STUDIO: AIR nilusha samarasinghe 378889

The chosen location of the sculpture is where both roads going and coming from the City are covered therefore the intensity experience discussed earlier can be achieved. This area was selected as it had a good view from the station and the bridge therefore people could observe the structure. Even though it is not situated in the most prominent location I believe that our concept is creating an iconic experience than an iconic sculpture therefore this would be most suitable.

plan view DETAIL

When traveling at 100 kilometers per hour on the freeway you will travel approximately 277 meters per 10 seconds. This means that the site takes aproximatley 45 seconds to pass and 20 seconds of which you pass the chosen location for the sculpture.

site plan with chosen location (shaded area)

DIGITAL FABRICATION

STUDIO: AIR nilusha samarasinghe 378889

rendered model The final model was modeled in Rhino using the pug-in Grasshopper. This model exuberates a delicate flowing pattern that blends into the landscape with its reflective materiality and delicate structure. Finally this design was baked and sent to be lasercut.

patterned surface

design decisions

HANGING surface

The final design was created using former aspects of the previous experiments.This new form had a overlapping hanging layer beneath the top surface. This design was inspired by the Mirror Cloud Pavillion. This enabled the moire effect to take place whilst also portraying the increasing intensity as from a single surface to overlapping planes. The hanging surface was positoned as seperate panels with different angles as we had concluded earlier that the moire effect worked only at an angle to cause interfernece between the pla nes.

METAL POLES

construction detail of hanging surface

STOP MOTION IMAGES

STUDIO: AIR nilusha samarasinghe 378889

Stop motion videos were created using the initial and final models. The initial model displayed the moire effect quite well while the final model reacted well to light and shadow.

STUDIO: AIR nilusha samarasinghe 378889

MODEL PHOTOGRAPHY The final model produced was photographed under different lighting conditions and using a series of techniques such as macro photography. The clear perspex is lined with a polished metal hence making one side of each surface reflective while the other creates the moire patterns.

INTEGRATION WITH THE LANDSCAPE

WESTERN GATEWAY SCULPTURE

WEEK 12

STUDIO: AIR nilusha samarasinghe 378889

FEEDBACK FROM FINAL CRIT

STUDIO: AIR nilusha samarasinghe 378889

The Final Presentation is done! The Feedback received after the final presentation was fairly constructive and reflected the way I thought about the design process throughout the semester as well. Firstly, the model created did not express the moire pattern effect as desired, in my opinion it was due to the scale of the model as the interference was not great enough. But also the hanging surface was too angular. Without having a multitude of panels at different angles there should have been just one of two surfaces, The reason was that it might have made the moire experience less pronounced and it took away the delicate and soft flowing nature of the sculpture. We were told that more investigation could be carried out towards finding a design solution to accentuate the spatial experience as it is the dominating idea in this design. Also the position of the metal poles was not thought out as well as it should have been. It was quite obvious that there were too many poles as the sculpture did not require that much support to be stable as the roof surfaces are not that heavy to begin with. Along with that the poles could have been spaced out differently so that the ends of the surfaces could cantilever out and create this floating-like effect. The placement of the reflective surface was also a dilemma as we placed them onto the top surface in order for viewing from the bridge but what was more necessary was for the design to engage with the landscape and disappear into the surroundings. Therefore if the reflective surface was placed on the down-side of the model and angled in a particular way that it would be seen by motorists and viewers from the bridge alike. This feedback is taken into consideration and we want to constructively improve our model and fabricate an improved design accordingly.

final review: critical design narrative

DESIGN SOLUTIONS

STUDIO: AIR nilusha samarasinghe 378889

The model fabricated below has been designed by taking all the feedback from the final crit into consideration and altering the design accordingly. The changes made and the solutions solved was: 1. The form was altered so that there are two flowing planes overlapping each other. This definitely made the structure more delicate in form and finally produced the moire effect intended. 2. The reflective material was applied to the underside of the surfaces. This proved to enhance the spatial experience pronouncing the moire effect and integrating the sculpture with the landscape. It made the planes seem as though they were floating in the air, almost invisible. 3. Finally the placement of the poles was changed. We decided to take away most of the poles and just keep the necessary amount to hold up the structure and be stable. Also the poles near the ends of the elongated panels were positioned so that the surface cantilevered out. This made it look more delicate and created a floating-like appearance.

rev i se d de s i g n patterned surface

hanging surface

HANGING surface

ICONIC EXPERIENCE

DESIGN OBJECTIVES

LEARNING OUTCOMES

Overall looking back at the design process from week 1 to week 12 there’s a long journey starting to unravel. Going back to the start of the semester when we were introduced to Rhino and Grasshopper I definitely believed that I would never figure them out. But looking back today I believe that in my opinion I have achieved something and gained an immense amount of knowledge from this course.

The structure of this studio did not have the best organisation as it was quite unclear and vague from the beginning of the semester. This did make it difficult majority of us and it took quite a while before I clearly understood what was expected from the brief.

The objectives were not very clear to alot of people to begin with especially since this was the first design studio to be held in this manner and therefore there were no prior examples to look to. The project proposed was a enormous challenge from the start as I had no experience with Grasshopper and it was a big chnage from the usual studios that are held. Also a major difference that everyone encountered was that basicaslly the entire design and form finding was to be done in groups. Working in groups specially for as long as 10 weeks can become quite demanding but it definitely helps grow ideas and learning to work with many people. The final design that my group produced wasn’t exactly as hoped for but it definitely was a huge improvement from the preliminary designs that we started of with. There was a time constraint since most models had to be lasercut and it was very time consuming and had to cater to all the students in the course along with other subjects. This did prevent further explorations which I would have liked to gone forth with. Although this was an issue that related to real life situations where there are deadlines and time constraints when working with projects. The theme of spatial experience and engagement with the landscape was the key considerations in the design of the Gateway Project. Looking into all these different precedents proved quite inspirational where I gained alot of knowledge and made me think outside the normal boundaries of design. The moire effect that dominated my design was something I was very interested in and when researching about it further and when reading many studies found out about other architecture that has incorporated this effect. Moire is an illusion that hasn’t been explored in depth with architecture and there are many current studies and architecture contributing to it. I believe the final design outcome does satisfy the Wyndham City Council design brief while there are definitely more improvements and further explorations that could be done. Creating a moment in time where you have an experience that is ever changing in form and movement is quite extraordinary. When this experience engages with the landscape dragging you into it and creating a path for you is the objective of the design.

Aside from this, I most definitely learnt alot from this course as there was such as wide range of programs and applications used. When creating the model we used Rhino with Grasshopper alongside Adobe Illustrator. This was also the first time I’ve used the lasercutter and wouldn’t be the last since it is technology that is very advantages. The journal contributed alot with my learning curve as I learnt more aspects of Photoshop, InDesign and Illustrator. I learnt how to photograph models more professionally and just how much lighting and backdrops can help to make a huge difference. Here I learnt how to objectively argue about precedents and apply the knowledge appropriately. It showed me how to gain from other designs while keeping my ideas original and enhancing them. What I gained alot of insight into was stop motion photography, something I have never done before and was completely new to me. I was very interested in it and wish I had more time to experiment with it and produce better stop motions. I’ve learnt alot during the course of this studio and hopefully our feedback will make it better for those students taking up this subject in the future.

REFERENCES

STUDIO: AIR nilusha samarasinghe 378889

Week 01

Images

Oxman, Neri, 2008, Material Computation: Higher Integration in Morphogenetic Design Architectural Design, John Wiley & Sons.

Urban Adapter, 2011, viewed 28 May 2012, <http://designaloud.spaceworks.co.nz/2011/12/urbanfurniture-we-all-use-it.html>

Schumacher, Patrik, 2011, Introduction: Architecture as Autopoietic System, The Autopoiesis of Architecture, Chichester: J. Wiley.

Digital TeaHouse, 2012, viewed 02 May 2012, <http://www.grasshopper3d.com/profiles/blogs/utdagsapp-work-shop-tea>

Williams, Richard, 2005, Exploring Visual Culture: Definitions, Concepts, Contexts, Architecture and Visual Culture, Edinburgh: Edinburgh University Press.

Webb Bridge, 2005, viewed 02 May 2012, <http://www.architecture.com.au/awards_search?option=sh owaward&entryno=20053006>

Images Aumuangudom 2007, Bell-Lloc Winery, photograph, viewed 08 April 2012, <http://aumuangudom. wordpress.com/2012/04/15/project-7-design-brief-placing-ideas-2/> Guggenheim Museum, Bilbao 2007, viewed 14 April 2012, <http://www.students.sbc.edu/muglia07/ arthsrsem/page2.html> Jonathan Glancey 2011, Guangzhou Opera House, viewed 14 April 2012, <http://www.guardian.co.uk/artanddesign/2011/feb/28/guangzhou-opera-house-zaha-hadid> Personal Photography 2010, Headspace. Week 02 Kalay, Yehuda E, 2004, Architecture's New Media : Principles, Theories, and Methods of Computer-Aided Design, Cambridge, Mass: MIT Press. Images Aelous, 2011, viewed 22 April 2012, <http://www.designboom.com/weblog/cat/10/view/20124/lukejerram-aeolus-wind-sound-sculpture-at-canary-wharf-london.html> Corian Super-Surfaces Showroom, 2009, viewed 23 April 2012, <http://www.designboom.com/weblog/ cat/9/view/5747/amanda-levete-architects-corian-super-surfaces-at-milan-design-week-09.html> Week 03 Burry, Mark, 2011, Scripting Cultures: Architectural Design and Programming, Chichester: Wiley. Ceborski, Jaroslaw, 2010, Introduction to Parametric Design, viewed 23 April 2012, <http://www.rethinking-architecture.com/introduction-parametric-design,354/>

Week 04 David, Burns, 2009, Moire Studies, viewed 10 May 2012, <http://epress.lib.uts.edu.au/research/handle/10453/14188> Jeronomo, 2012, Architectural Visualisation Gallery, viewed 12 May 2012, <http://www.jironomo.com/ light-shadow-studies.php> Wyndham City Council, 2012, Competition Document, Werribee, Wyndham City. Wydham City Council, 2012, About Wyndham City: Statistics, viewed 12 May 2012, <http:// www.wyndham.vic.gov.au/> Images Drzach & Suchyâ&#x20AC;&#x2122;s, 2009, Architonic, viewed on 20 May 2012, <http://www.architonic.com/letter/8800141> NYC Design Commission, 2012, viewed 19 May 2012, <http://www.evolo.us/architecture/nyc-garageto-get-innovative-cable-facade-michielli-wyetzner-architects/>

Week 05 Images Sinaga, 2012, Banq Restaurant, viewed on 28 May 2012, <http://.designartistic.com/print-articles/2011/09/banq-interior-office-da-unique-restaurant.html>

STUDIO: AIR nilusha samarasinghe 378889

Week 06 No References.

Week 07 Annelie, 2007, Mirror Tree House, viewed on 12 June 2012, <http://natureasis.blogspot.com. au/2011_03_01_archive.html>

Week 08 Personal Photography 2012, Model Images.

Week 09 Holt, Michael, 2009, Serpentine Gallery: Junya Ishigami, viewed on 15 June 2012, <http://www.domusweb.it/en/architecture/sanaa-falling-upwards/> Nayeri, Farah, 2009, Serpentine Gallery: Mirror Cloud Pavillion, 2009, viewed on 15 June 2012, <http://www.bloomberg.com/apps/news?pid=newsarchive&sid=aWIvvQQXz2lI>

Week 10 Personal Photography 2012, Model Images.

Week 11 Personal Photography 2012, Model Images.

Week 12 Personal Photography 2012, Model Images.