ARCHITECTURE DESIGN STUDIO AIR ABPL 30048
NAME: HO POH HUI (376181) JOURNAL
CONTENTS 1.0 Expression of Interest 1.1 Case for Innovation 1.1.1. Architecture as a Discourse 1.1.2. Computation n Architecture 1.1.3. Parametric Modelling (Scripting) 1.2. Research Project 1.2.1. Input/Association/Output Matrix 1.2.2. Reverse-Engineered Case-Study 1.2.3. Material Effects 1.2.4. Assembly Methods 1.3. Competitive Advantage
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2.0 Project Proposal 2.1. Project Interpretation & Concept 2.1.1. Concept and Precedent Studies 2.2. Design Development 2.2.1. Site Selection 2.2.2. Iterations and Optimization 2.2.3. Prototype Testing 2.2.4. Construction 2.2.5. Pixel-By-Me
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3.0 Learning Objectives and Outcomes 3.1. Personal Background and Learning Objectives 3.2. Learning Progress 3.3. Learning Outcomes 3.4. Future Work
References
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1.0
EXPRESSION OF INTEREST
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1.1. Case for Innovation 1.1.1. Architecture as a Discourse
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Architecture tends to be thought of as art, exclusive to the profession (Williams 2005). However, a deeper look into architecture reveals that architecture needs to be analysed as discourse. It then becomes possible to think that architecture as something in which everyone can participate and understood as a sign, symbol and spatial experience (Williams 2005). Dramatic changes in the society – new technologies, new materials and new way of living – often leads to changes in architecture. It is through the consideration of architecture as discourse that one can engage with it as visual culture. As Patrick Schumacher argued, architecture becomes a system of communication that self generates within the ongoing flow of discourse and the cross-disciplinary dissemination of knowledge, ideas and theories (2011).
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I think that architectural discourse should be sparked by the zeitgeist of the age. The zeitgeist is the use of the vibrant and growing digital technology within the architectural field. This then directly relates to the Gateway Project. The Gateway project demands a design focused on the sparking of architectural discourse among the wider community of Melbournians. The use of parametric modelling approach would be able to meet the brief requirement to propose a “new, inspiring and brave ideas that generate a new discourse” (Wyndham City 2011) as illustrated by the successful precedents elsewhere which utilise the similar innovative approach.
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HEADSPACE STUDIO AIR 2012
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Personal Project: HEADSPACE
HEADSPACE
Project is part of the Virtual Environments course at the Faculty of Architecture, Building and Planning, University of Melbourne that challenges 1st year architecture students to use advanced computational skills to manufacture complex and unorthodox wearable sculptures. The design is initially sketched, modelled in clay or plasticene and then remodelled in digital softwares for further development using digital tools resulting in unusual and intricate geometries that can be fabricated from paper.
HEADSPACE has received international recognition and was played at the New York Architectural film festival in 2010. This project attracts international attention due to its emphasis on dynamic generation in response to performance criteria and its focus on the utilising digital fabrication not as one workflow among many but as a fundamental shift in traditional design thinking and practices. HEADSPACE has since become a topic of architectural discourse in terms of the idea generated from it.
My concept and ideas are inspired by Experience Music Project and Restaurant Georges through the idea of deconstructivism where non-rectilinear shapes create a controlled 'chaos' condition. The initial physical model sketch is limited by the materiality of the plasticene. Hence the design is digitized and improved using digital softwares where the design is further elaborated with computationally generated complexities from the drawings.Overall, the project focuses on ‘gradual, iterative development that searches outcomes by exposing initial concepts to different media, techniques, contingencies and materials’ (Roudavski, Stanislav and Anne-Marie Walsh 2011)
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ADVANCING ARCHITECTURE DISCOURSE
State of the Art Project
WEBB BRIDGE
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Denton Corker Marshall artist Robert Owen ARU
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Other Project: WEBB BRIDGE
“Collaborations between artists and architects can produce fascinating results.Through that authorship,Webb Bridge has the roughness and experimental nature of a sculptural prototype ” Norman Day,The Age, March 2004 A competition-winning design for a new pedestrian/cycle bridge over the Yarra river, as part of a public art project, in Melbourne’s Docklands area. Designed by sculptor Robert Owen, the Webb Bridge is based on eel-trap shape lattice that borrows a cross-cultural imagery from the indigenous culture. Owen’s initial sketch and physical model is further developed using digital exploration by the architects. Engineers ARUP developed the spine and elliptical shaped structure so that it represents the artist’s intentions (Marshall & Owen 2010), but was also buildable and affordable. This public art sculpture becomes a experiential urban space, evoking a sense of culture, symbol and relation. This project challenges the rethinking of the relationship between artists, architects and engineers. Their collaboration in this case through the digital realm not only produce a fascinating urban sculpture that symbolizes Melbourne’s indigenous
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culture but also ‘bridge’ the gap’ between the artists, architects and engineers.
“The resulting structure suggests a new connection, or a knot, between the old and new, past and future” - Denton Corker Marshall This precedent broadens my understanding of architecture and what formal relationships and systems that are associated with it. In the context of Wyndham, I want to use digital tools to merge the ideas of art, architecture and engineering together in hope that something innovative, brave and new will emerged from the collaboration as demonstrated by this precedent.
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State of the Art Project Herzog & de Meuron Architects
BEIJING OLYMPICS STAD
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DIUM
Other Project: BEIJING OLYMPIC STADIUM
The Beijing National Stadium is one of the iconic architecture of the 2008 Beijing Olympics. The building’s circular shape represents the Chinese symbol of ‘heaven’ (Arup 2011). The progressive structural form of the building is popularly described as a ‘bird’s nest’ with its steel mesh pattern inspired by Chinese-style ‘crazed pottery’ (ARUP 2011). The steel mesh envelope forms the façade, structure and roof of the stadium (Herzog & de Meuron 2007). Nonetheless, the seemingly random steel mesh pattern abides by complex rules for which advanced geometry was defined (ARUP 2011). The envelope of the stadium is more than mere façade or structure: it is representative of the politics and of the people. The steel mesh becomes China’s icon of modernity to the world and through the non-hierarchical and non-modular geometry that reflects the diverse and global population of China (Zaera-Polo 2009). The spaces surrounding the interior of the stadium form the public space which becomes the autonomous urban site linking the stadium to the city outside. This area between the inside and outside gives the opportunity for the public to interact freely. Here, the building becomes an act of resistance to China’s dictatorship by providing urban spaces for free interaction between the public (Beyer and Knofel 2008).
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In a nutshell, this stadium represents an iconic landmark of Beijing, an architectural representation of the society, a new urban experience and a politically controversial building. The discourse created by this stadium resonates across the world. It changes the perception of the world towards Beijing as the rising economic power of the East capable of building architecture that is complex, advanced yet still embrace its culture. Also, the building represents the rising importance of urban spaces in Beijing as a place for the public to interact freely in a communist country. Similarly, for the Gateway Project, the design should be able to be read and open to various interpretations to spark interest and gain attention of the professionals and the public in order to “make a significant impact”. Using innovative digital tools could imply the readiness of Wyndham to embrace the new and exciting challenges associated with a growing city. As suggested by Richard Williams (2005), a design that sparks discourses could be symbolically rich in its context, but still be located within a widely understood vernacular of signs.
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1.1. Case for Innovation 1.1.2. Computation in Architecture
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As mentioned in the lecture this week, computation in architecture is still very young, and hence offers huge potentials in pushing the boundaries of the discourse in architecture. Kalay states the separation of the design conception of a building from the construction during the Renaissance as it implies that architects had relinquished some of their powers over the design process. However, computation had tied the two together again in recent years and forms a sort of “digital continuum” (Kolarevic 2003 p58). The complexity of many parametric designs necessitated the union of the two because the design intent could be easily lost with unsuitable construction methods or choice of materials (Kolaveric 2003). Architecture has become much more multi-disciplinary.
With computational design, the final design of the Western Gateway will be: -innovative, collaborative, better informed design decision, and cost efficient, as all the required parameters may be pre-set in order to remain within the budget while also carrying out the requirements set out on the brief. -exploration of designs on a more advanced level; generating designs from algorithmic codes and set parameters, so that as the design progresses, details may be fine-tuned, ideas can be added, but all within the set constraints.
“Digital architecture will be very useful when it works for cultural, social, ecological and economic concerns. As digital techniques become more and more sophisticated, and are not just realized, in more and more projects there will be new tendencies away from the abstraction and neutrality of earlier models towards a real-world rendering and the manipulation of the actual and the existing, producing more- unique works.” -Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pg183.
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BMW KINECT SCULPTURE
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“For us the design process starts in a chaos; it’s a chaos of many, many different ideas that are independent of each other. And then from this chaos, different shapes begin to emerge...then split into several kinds of ideas that compete with each other. And then given the context, the final step in the narrative, you will see a real recognizable shape of a car.” Art + Com The mechatronic installation involves 714 metal balls moving in an interplay of mechanics, electronics and code. The Kinetic Sculpture covers an area of six square meters, featuring 714 aluminium balls hung with fine steel wires (an almost invisible 0.2 mm), each moved by individually computer-controlled stepper motors. The installation starts in a chaotic state, then compete with each other forms until it is finally to a final object. The design uses advanced digital technology to orchestra the dynamic sculpture. With technology, such precision to map the position of each metal balls is possible. It is important note that technology in this case is a design tool. “The project are always driven by the content and not by the technology. Technology is merely a tool for design development” - Art + Com
Art + Com
The kinetic sculpture I believe changes the notion of exhibition. Static exhibitions of
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the past no longer hold the same appeal over viewers these days. These dynamic sculptures change over time and presents a story. In this sense, reactive and interactive architectures enabled by digital technology are the future of communications. In the context of the Gateway project, I believe this form of kinetic sculpture could be a kind of ‘dynamic sculpture’ , one which is not merely static but has a dynamic appeal and convey a changing story to viewers. It is important to note that digital tools and computer software are merely tools that facilitate design. It does not overtake the design process itself. I think this is a vital concept to remember while undertaking this endeavour of parametric design to not lose out role as designer to these programs.
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QATAR NATIONAL CONVENTION CENTRE Yamasaki Architects
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Evolutionary Structural Optimisation
One of the many kinds of contemporary architecture is performative architecture – performance based priorities achieved using computational tool. It utilizes digital technologies of quantitative and qualitative performance-based simulation to offer a comprehensive new approach to the design of built environment (Branko 2003). Qatar National Convention Centre, Yamasaki Architects is an example of performative architecture that optimizes its structure to its most performative and efficient form. Final form is load and cost effective. Computation enables evaluative tools from outside disciplines to enter conceptual phases of the architectural design process so that information “typically developed
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downstream and acted upon reactively [is made] available to help actively guide early design exploration” (Nicholas 2008: 17). Yamasaki’s work here is a case of innovation and are only achievable through computationl design to derive the most optimal structural form. This is a radical and unconventional approach that I would like to explore in the Gateway project for Werribee. The idea of optimised structure that is cost efficient, load effective yet still aesthetically appealing will appeal to the Wyndham Council and will to a certain extent fulfil the brief requirements of the Gateway project.
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1.1. Case for Innovation 1.1.3 Parametric Modeling (Scripting)
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Parametric modeling or scripting is a new way of creative and speculative designing being explored collaboratively with emerging digital fabrication technologies. Scripting enables computer programming to be an integral part of the design process. Scripting liberates the design process by automating many routine aspects and repetition of the design process.
mere “architectural play” (Lynn and Gage2010).
The use of algorithms as an interactive feature takes computational design a step further. This project is revolutionary in its traversing of unexplored territory by “exploiting generative processes; toying with the unexpected and delving into the unknown; engaging with complexity” pp 39 (Burry 2011). It tries to form particular linkages between various disciplinary and technological nodes, promoting interelated relationships between architectural elements and social behavior.
SCRIPTING IN RELATION TO GATEWAY
However, many instinctively swarm to consolidate a dominant paradigm such as the swarm itself, agent-based modeling (Burry 2011). This leads to the lack of inventiveness despite scripting programmes being able to be generative and emergent. There is also a need for symbiosis between the designer and code writer to unleash the full potential of scripting in design (Burry 2011). Code writer should not lock their script into predefined outcomes. Hence it is imperative for designers themselves to master the scripting programs so has to be able to explore and generate many outcomes without being limited by code writer or the software itself. The use of scripting to generate emergent outcome should not be considered (as is currently the fashion in many architectural form-finding exercises today) 18
These programs should be integrated into existing architectural platforms, to create a more formally robust software that maintains architectural applicability. Certainly a full collaboration between disciplines would result in more fruitful outcomes.
The employment of scripting in the Gateway Project can be explored by encoding certain criteria relevant to the site and design intent, and then embedded into the agents to create emergent architectonic response sensitive to the site. More possibilities/variations/design outcomes in respond to the requirements and expectations of the Wyndham city council can be created. As the Gateway project will be developed using provided CUT definitions, it is imperative that Grasshopper does not become limiting/cloning tool. Instead, it should be used as a time-saver, utilising various combinations of relevant premade definitions as a basis to allow more focus on the design development, where design concepts and required modifications can be applied to create a project that is original and fulfil the gateway brief.
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MESONIC FABRICS EZIO BLASETTI “Through scripting, the eventual outcome will be much more sophisticated” - Burry 2011 Mesonic Fabrics is a contemporary scripting project that experiments with ways of scripting toward a solution or answer. The scripting uses algorithmic logic to generate new emergent patterns. DESIGN PHILOSOPHY The project is concerned in the exploration of transcoding 3 different algorithmic expression (Biothing 2007). Electromagnetic field is explored as a mean of recreating a generative systems in an innovative way. The process of scripting employed by Biothing enables rapid iteration and variation by exploiting the generative process.
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EMERGENT FIELD KOKKUGIA This project is based on the idea that a public space should emerge from interaction rather than prescribed by briefs (Kokkugia 2003). The project explores an understanding of emergence as the generation of pattern or form using local interactions between agents, fields of information and architectural elements, all within a complex system in scripting programs. Agent-based simulation techniques are used to generate programmatic relationships and architectonic response. Set of rules and constraints are assigned to architectural elements such as faรงade and structural grid to govern the way in which they interact with this field in the form making process. This develops an emergent relationship between program and peculiarities of architectural form, enabling the design process, and resultant architecture to not only exhibit particular behavourial qualities but also maintain architectural applicability. The final emergent outcome is an urban space that integrates the program, site and people together. Both projects use scripting as experimentation tool to create emergent pattern. While this two examples illustrate the potential of scripting in creating innovative/emergent form, scripting can be a limiting tool to amateur script writers such as students like me. While new forms were made possible by computer-controlled manufacturing techniques, it does seem all these forms bear resemblance due to the sharing of scripts between designers and lack of proficiency in parametric modeling. For instance, rotating brick, waffle structure system etc and one of the many examples of parametric modeling are replicated in many new designs. using similar fabrication methods. Hence, the challenge is to use scripting (grasshopper) to create an innovative design as entailed in the Gateway brief, even if the fabrication methods might be similar.
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1.2. Research Project 1.2.1. Input/Association/Output Matrix
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A combination of matrix is explored briefly before further exploration. All combinations were decided independently, allowing us to explore in different directions, hence a range of results are produced. In regards Architecture’ New Media by Kaylay, this could be categorised as a breadth first search method. “To try to overcome this unpredictability, without compromising the delight of discovery, architects have developed methods that can be relied upon to produce satisfactory results” - -Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press)
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MATRIX INPUT 1.Arbitary Points 2.Boolean Patterning 3.Curve Intersections 4.Explicit Grids 5.OverlappingPatterns 6.Surface Grids 7.Using Surface Normals ASSOCIATION 1.Attractor Point 2.Curve Attractor 3.Image Sampler 4.Maths Functions 5.Multiple Maths Functions 6.Streaming Text Files 7.Using Sets OUTPUT
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EXTRUSION N/A refering to unsuccessful combination of components.
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NO# accross Association NO# down Input
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MATRIX INPUT 1.Arbitary Points 2.Boolean Patterning 3.Curve Intersections 4.Explicit Grids 5.OverlappingPatterns 6.Surface Grids 7.Using Surface Normals ASSOCIATION 1.Attractor Point 2.Curve Attractor 3.Image Sampler 4.Maths Functions 5.Multiple Maths Functions 6.Streaming Text Files 7.Using Sets OUTPUT
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ROTATION N/A refering to unsuccessful combination of components.
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NO# accross Association NO# down Input
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Exploration from Matrix
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1 Surface Normals_Attractor Point_Data Driven Component_Extrusion 2 Arbitary Point_UsingSets_Rotation 3 PatternAndOverlap_Extrusion 4 ExplicitGrids_Streamtext_Extrusion Normals_Attractor Point_Data Driven Component_Extrusion STUDIO AIR 2012 5 Surface HO POH HUI 376181 27
6 Boolean Pattern_Attractor Point_Rotation 7 Surface Normals_MathFunctions_Extrusion 8 Surface Normals_MathFunctions 9 Surface Normals_Attractor Point 10 Surface Normals_Curve Attractor_Rotation
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Surface normal_ curve attractor_ rotation
Boolean Pattern_ Attractor point_ rotation
Surface normal_ MathFunctions Surface normal_Math Functions_Extrusion
Surface normal_ Attractor Point
Exploration from Matrix BREATH FIRST
DEPTH FIRST
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Grid_ MathFunctions_data driven shading
Surface normals_ curve attractor_data driven shading
Surface normals_ Attractor Point_Data Driven Component_ Extrusion Domain
Surface normal_ curve attractor_ rotation
BREATH FIRST
DEPTH FIRST
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Search Process (Kalay 2004) Matrix
The matrix layout shows the search process using grasshopper with no outcome determined in advance. It was necessary to have variety of outcomes, but also necessary to search towards the optimal design possibilities for further consideration and development. As we redefine our goals and design criteria, we could pick variations that are better than the others and further developed the parametric variation. Nevertheless, accidentally generating something better than what that we initially intended is all part of the voyage of discovery that parametric design techniques can take you.
Design interest (at this stage)
Progression/change on surface to reflect the change that is experienced by Wyndham now. The progression is explored via changes in perforation location, sizes and colour.
Breadth first
The breadth first method (Kalay 2006) is used as start of the experimentation. In this method several alternative ways to develop a solution are explored briefly before any one of them is developed to a logical conclustion. This is to explore the possibilities of parametric modeling. Using the breadth first method, I explore with how pattern or perforation on different curved surface could create a sense
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of progression. This simple exploration showed me how diverse outcomes can come from simple manupulation of parameters. This brings in possibilities to the Gateway project from which the design can be explored further.
Depth first
Variational exploration to its logical conclusion. Here each exploration made in the previous breadth first method is further explored by controlling certain parameters according to its relationship with other features. The perforation could be rotated or changed based on the attractor points, colour could be applied differently to the perforation etc. Despite not opening up more avenues for design outcomes as such in the breadth method, this method allows for a logical focused investigation of one candidate solution before moving to the next solution.
In relation to Gateway Project
The search process for the Gateway project for Wyndham city can produce more optimal outcomes and design solutions. Depending on the search method as specified by Kalay’s reading it is apparent that computational design has much more innovative and possible candidate solutions for consideration.
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Surface normals_Attractor Point_Data Driven Component_Extrusion Domain
Extrusion of line to form multiple component on the surface
Experimentation with the possible uses of attractor point in different location to create variation on the surface.
Experimentation with the uses of multiple attractor points placed close and appart to see the relationship between them.
The surface become rather complex, hard to be fabricated, need to be optimised.
By controlling the location of the attractor points, we can control the progression of its form. The parameters give us freedom to explore different changes on the surface. This is related back to Whydam as a city experience major changes within its community.
Grid_MathFunctions_data driven shading
Colour is arranged to create a spectrum.
Different colour and sizes of perforation is explored.
Colour could show changes by using spectrum. Parametric modeling comes in handy to easily apply and change various colour on the vector itself.
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1.2. Research Project 1.2.2. Reverse-Engineered Case-Study
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Moire Effect The Christian Dior facade is developed as double-layered skin comprises of two independent, 10mm thick aluminium surface: an outer, perforated layer, produced with a CNC milling machine, separated from an inner, printed layer by a 34cm airspace which is fibre-optically illuminated. The silkscreened pattern is scaled down 30%, which combined with the literal offset or layering of the two layers to create a moire effect. The facade presents itself as a ghost-like volume articulated solely through the luminious effects of the surfaces. This case study is chosen to explore the effect of layering of surfaces to generate interesting architectural effect, in this case is the moire effect. Here the moire effect can be seen when a person move accross the facade and see an interference of dots. In a way, the facade respond to the movement of people passing the building. This is related back to the Gateway project as it brings the concept of the movement of drivers and the relation to the sculpture itself.
DIOR GINZA
Kumiko Inui Tokyo, Japan
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Process The Dior ginza pattern is made using attractor curves, The attractor curves were first drawn on a surface in Rhino according to the Dior pattern. A grid of points is then created on the surface and their distance from the attractor curves is measured using the pull point component. The values are remapped into the domain between 1 and 0 rounded up, The new set of integers is then associated with a set of two numbers so that only two radii will be produced. Circles are then created using the grid of points and the radii, and the remapped values can be varied to adjust the number of circles. The same grasshopper definition is duplicated twice so that both layers can be controlled separately. This enables quick experimentation such as changing the scale of the perforation, the distance between the two layers and attractor points.
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Virtual Moire Effect This effect is created by varying the parameters of the grasshopper definition to ‘represent’ the moire effect that could be possibly created when one move around facade.
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Case Study Exploration: Accentuating Moire Effect Varying Distance Between the Layers The moire effect is more visible with the further separation.
L: Further separation
R: Less separation
Varying Scale of Circle WIth the smaller circles, the moire effeect is not visible and focus than the larger circles. The criss-crossing pattern for the larger circles become heavier and more dominant. This method creates a strong sense of depth and space.
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L: Smaller circles in 1 layer
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R: Larger circles in 1 layer
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Case Study Exploration: Beyond Moire Effect Colour Effect Exploration with colour on the facade using image sampler and shader definition. This example is as if some sort of colour growing on the facade. I find it quite interesting that colour adds another dimension to the existing facade.
Void and Fill Space Exploration with colour on the facade using image sampler and shader definition to create positive and negative space.
Typography/Sign Exploration with colour on the facade using image sampler and shader definition.
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1.2. Research Project 1.2.3. Material Effects
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EFFECT 1 - Layering at different angles
Apart from arranging the 2 layers parallel to each other, the layers are arranged at different angle to create an interesting space of contrast and shadow. However, the application of varied angle on the Gateway side need to be carefully considered.
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Factors for consideration • Will the slanting angles cause issues to the motorists? • How could a three dimension space be created on side to fully engage with the changing angles (possibly a curved surface slanting at various angles)? • How would the effect of shadows on the ground be visible to the drivers? • Have shadows extending to the road? • Maybe the structure extends over the road and thus the shadow could be cast on the road itself?
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EFFECT 2 - Moire effect
EFFECT 3 - Light and shadow
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The moire effect can be seen when one move across the panel, most visible where the larger circles are. However, the moire effect is not as successful as the Dior Ginza because the tartan dots behind the first layer is also sprayed in the small colour. Hence the blurring effect.This is a lesson to be learn.
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Applying our exploration of this case into the gateway project is the most crucial part. First, proper planning is important for the fabrication process. Our overlook of the similar colours between the dot and screen made the moire effect less successful. The joining of the nine panels was a challenge too. As the panels are quite huge, the joints between each panel must be strong to hold itself up.
The images depict the shadow patterns that aare cast by the front layer as the light source travels from one side to the other, trying to represent the movement of the sun. As the light moves, the shape and strength of the shadow changes as well. These images demonstrate how taking into account movement of light and its relationship to the pattern cut into the panels have a rather interesting and progressive effect.
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1.2. Research Project 1.2.4. Assembly Methods
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Fabrication Template A section of the facade is fabricated at 1:10 scale, fabricated in 2 amount. The section is separated into 9 panels to emulate real condition. However, the decision to fabricate in separate panels pose as a problem during fabrication as we need to consider the joint of each panel and how the 2 different layers can be connected. The second layer will be sprayed on tracing paper to emulate the effect of the silkscreen layer.
Assembly Process of 1:10 scale model
1. All 9 sections of the facade are glued together.
2. Paint is sparyed on the perspex with tracing paper layered behind.
3. Both layers are ready.
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Materiality The material that we chose to fabricate the facade is clear perspex. As we soon realise that the clear perspex does not produce the moire effect well as it is see through, we decided to lightly spray colour on the perspex to create translucency . Interestingly, the reflective quality of the perspex adds another dimension on the facade itself. It now reflects the surrounding as well. This is somewhere that could be further explore or exploit in the future design process for the Gateway project.
Reflective quality of perspex
Issues Dior Ginza real assembly method use bolts to hold the 2 layers together. For the physical model at 1:10 scale, screws could have been use to connect both layers together. I think our group fails to consider further how both layers of the physical model could be layered at 1:10 scale hence we face many problems trying to capture the moire effect. This assembly failure made us think more in depth about how we could assemble the physical model for the final design proposal.
Dior Ginza real assembly method using bolt
During our second attempt, we made a model at 1:100 scale all in one single panel to avoid the need to assemble the 9 individual panels. We assembled both layers by attaching the base so that the layers could stand upright. Of course, we soon realize that this method is simplistic and not representative of the real scale. The moire effect is not so obvious at 1:100 scale.
Physical model 1:100 scale
Both attempts are good lessons in understanding the importance of scale and materiality to successfully fabricate a physical model and create the intended architectural effect. STUDIO AIR 2012
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Fabrication: REFLECTION The reverse engineering case study is an important opportunity to comprehend the whole process of fabrication. In digital space, with the absence of real world physics it is difficult to comprehend the how would the design perform structurally in the real world. It also requires experience to deduce surfaces that are simply too difficult to be laser cut for fabrication unless more sophisticated tools such as CNC milling or 3D printing are employed. The process of fabrication requires us to rethink the whole design and building process. We need to be able to flatten a 3 dimensional virtual object such that it is possible to reconstruct the model in real world. One of the easiest way is to contour the
model into strips and connect each individual part together using tabs. Of course, there are more sophisticated way to connect the strips together such as crosscontouring. The use of parametric software ties the designer closer to the fabrication process. It links up with the fabrication process by giving us digital tools to unroll our design. Materiality is also important. We need to consider how materials come together to best realize your idea. A good understanding of the material properties would be vital to decide on the most suitable material to fabricate the model. Adjustment to the design such as simplying the curvature of the model might be needed to fabricate complex designs. A balance between
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design intent and fabrication needs to be achieved. Understanding of the scale is also a key factor. We need to also refer back to the actual site and consider the spatial constraints on the site. Fabrication allows use to make many prototypes to test the design in the real world For Dior case study, we need to examine how the panels are connected. For the small scale model, it is possible to connect them at the base. It will be interesting to make the panels movable to the front/back/left/ right to uncover any unexpected architectural effect it may have. However, a proper assembly system would be required, such as the use of hinges to connect the real size panels together.
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1.3. Competitive Advantage
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Our current society hitherto is one which celebrates individuality - and art must follow suit. Mass production is no longer desirable. Something unique, fresh and new to signal out development is required. Parametricism is the answer to this - a revolutionary, progressive new style, seen as the first real movement since the advent of Post-modernism (Burry 2011 p.18足). Parametric design brings to us a whole new and diverse avenue to explore our design ideas. The Gateway project needs to advance itself and ensure that it is up to date with the ever advancing technology so as to create an innovative, inspiring and iconic project as entailed in the brief. The design approach that we intend to direct the project will be an installation that people will reflect upon and will generate a discourse among the wider community of Melbourne. The Beijing Olympic stadium is a landmark and icon, an exemplary case of innovative project that has sparks interest in a global context. In order for the gateway to be the landmark of Werribee, the project will take on a similar approach. Parametric modeling enables efficiency in the design process. The integration of parametric software can save the designer a lot of time by processing menial and repetitive task. Parametric modeling also allows relationships between a range of factors to be interconnected, making the design itself more relevant and site specific. This is achieved by exploring multiple parameters of data and link its performative features to the design process. Using parametric modeling we can establish stronger links between the design and the Wyndham city itself. Our group finds the use of scripting technique to design our model is very convenient and help us to achieve certain pattern and exploration through the emergent approach.
significantly reducing the time and construction cost. Scripting can also be the antidote to standardization forced by an ambition to lower production costs, rather than any more sophisticated motivation: the previously elusive opportunities for multiple versioning and bespoke production can now be considered more seriously through the use of scripting. Care must be taken as not to exploit computational tool as a cloning tool instead as time saver method. This might happen due to the ease of obtaining pre-made definitions and lack of skills in computational tools. Nevertheless, the pre-made definitions can be used as a basis for further development of the design concept to create an original and inspiring project. In conclusion, parametric design as a design tool brings forth vast potentials and benefits to the design and construction process. It enables various possibilities in the design process and allows a whole new depth for the design itself in relation to the site context and the architectural effect that we want to achieve. We believe that through parametric design, we will bring Wyndham to a new level of sophistication and have it recognized as a forward-looking city with much to offer and be proud of.
Computer Aided Manufacturing allows the fabrication of precise units in large quantities through the use of computerisation. This allow efficiency and cost saving from the design to construction process, thus benefiting the stakeholders of Wyndham City and the industry as a whole. Prefabricating components off site and optimizing them help to ease transportation cost while
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2.0
PROJECT PROPOSAL
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2.1. Project Interpretation 2.1.1 Concept & Precedent Studies
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A few core ambitions and challenges extracted from the design brief are: “an exciting, eye catching installation at Wyndham’s Western Gateway” “propose new, inspiring and brave ideas, to generate a new discourse” “a proposal that inspires and enriches the municipality” “have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further reflection about the installation beyond a first glance” “day time and night time viewing” In summary, the project has to be exciting, attention grabbing, inspiring and innovative. The notion of day time and night time viewing is taken into serious consideration in our design concept so that the installation can be seen at all time of the day. To achieve all the core ambitions and challenges stated above, we have chosen to use parametric techniques due to its advantages as summarized in section 1.3 Competitive Advantage.
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Concept The design for the Wyndham Gateway project proposed by our group explores three design criteria: Colour, dynamism and non-static form. •
COLOUR is achieved through pattern and movement across the sculpture whereby colour is digitally manipulated to ‘dance’ across the sculpture.
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DYNAMIC EFFECT is achieved by creating the appearance of movement using colour applied on volumetric cells (voxels) that when viewed together generate pattern and effect across the sculpture.
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NON-STATIC FORM is achieved by using colour to vary the appearance of the form during night time. Our concept takes in account both day time and night time view.
Precedent Studies Precedent studies explore the notion of colour lighting, pixelation and cellular autamata. The precedent studies are important to help develop out interest and design criteria and how computational tool could combine and reveal the potential of the three design criteria as a concept.
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Precedent 01
KUBIK • • • •
by Balestra Berlin
Illuminated cubes, visual effects and electronic beats The dynamic space, light and sound sculpture is based on standard industrial liquid storage tanks The incorporation of a light bulb turns the plastic tanks into giant luminaires, which can be stacked and arranged to form objects of varying sizes and shapes. Computational tool enables the modular structure to be augmented by video mapping, synchronized lighting and choreographed sound design
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Precedent 02
CHROMATEX • • • • •
by Softlab
Highlights colour as the focal point of the installation Adding visual enhancement and emphasizing parametric forms through colour Systematic and easy fabrication of a complex sculpture that is economically viable The colour of this sculpture is manipulated through Grasshopper scripting and is produced economically and quickly It saves time and cost. Likewise, we would like to use colours to emphasize the parametric forms in our design to enhance the experience of the drivers.
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Precedent 03
CHRISTMAS LIGHTS BAHNHOFSTRASSE • •
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by Gramazio & Kohler
Continuous band of light with a changing pattern of light according to the set of various parameters Empowered by the contemporary digital information technology the installation can change its light dynamics and pattern over increase or decrease in the number of visitors and activity level on site which is generated by an algorithm controlled by recorded data using sensors on the streets. In this way, each passer-by can alter the street ambience by influencing the lighting patterns – people become parameters themselves In a form of collective interaction the Christmas lighting creates an unpredictable, dynamic and immaterial architecture
“the main premises behind the time-based light installation is that light is not static, but fundamentally dynamic in nature” (Gramazio & Kohler, 2005)
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Precedent 04
VOXEL-BASED GEOMETRIES
by Michael Hansmeyer
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The project uses volumetric cells – voxels as its basic geometry. Algorithms to control the interaction between voxels are explored: cellular automata similar to the Game of Life. The pattern that is created by using “Game of Life” cellular automaton is a mix of order and chaos, which is similar to natural conditions. The resulting structures exhibit and astounding variety of features. Yet one thing that they have in common is that they only function at a single global scale. There are no regional variations in the dimensions of the structure or in the level of detail. As such, their application in architecture appears better suited to generating components of a structure rather than the structure itself
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Precedent 05
GAME OF SPACE • • •
by So Sugita + Hiromitsu Konishi
”game of space” expresses the complex phenomenon that is generated by simple rules of cellular automata devised by John Conway The pattern that is created by this system is a mix of order and chaos, which is similar to natural conditions. “Game of Space” expresses the complex phenomenon that is generated by simple rules, yet also creates architectural forms such as slabs and arches. The idea of cellular automata and pixelation as seen in this precedent help out form making process by using grasshopper with its intrinsic capacities for versioning as a design tool to to generate a variety of design possibilities for a given situation
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2.2. Project Development 2.2.1. Site Selection
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SELECTION OF SITE
Our main idea for the gateway project is to create a form of pixels. This form a generation of randomised pixels based on curves that followed the contours and curves of the site. Our model location is at Southern end of Site A. We choose this part of the site because it is one of the narrowest sections of the site. We also want to have the model evenly from both sides of the road hence we placed it here.
FINAL FORM AND SITE PLAN The final form of the design is an “object-centred individual sculpture” rather than an “experiential approach”. Hence our final form is a concentration of a cluster of pixels at the corner of site A to take advantage of the narrowness of the southern end of Site A.
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Parametric modeling comes in handy to easily apply and change various colour on the vector itself and on the site to suit the design concept.
SITE DIAGRAM 1. SCATTER We start by layering colours randomly on the site. This is achieved using the the definition of colour shader from the matrix as a basis to randomly lay colour on the site.
2. PIXELATE Then we pixelate the colours into grid randomised using parametric modeling.
3. CONVERGE
Then based on the curves that follow the site, we concentrate the pixels and converge the pixels into a point.
4. ELIMINATE The selected elimination of the pixels create gaps that act as a through window across the sculpture.
5. THROUGH To cater and expand the experience of the sculpture for drivers and passengers we made gaps in the design to act as windows so that drivers could see through the design and not only experience one side or surface.
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2.2. Project Development 2.2.2. Iterations and Optimization
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Volumetric Pixels The pixels are to be thought as only having one function to be either on or off, individually they have little meaning put viewed together they form patterns and movement across the sculpture. The initial form of the sculpture is random and uncontrollable similar to the “game of life� that is generated by simple rules of cellular automata devised by John Conway. Many model iteration could be created by simply manipulating the grasshopper definition. Grasshopper is used for its intrinsic capacities for versioning as a design tool to to generate a variety of design possibilities for a given situation. However, our design objective is : \\ -to make gaps in the sculpture to act as windows so that drivers could see through the design and not only experience one side or surface. -concentration of volumetric pixel at a point, not scattered or too far apart. Having this in mind, we optimize the various model iteration to reach a final form that fits our design objectives. The optimization process is a long one as we try to grasp how the grasshopper definition create the random patterns of volumetric pixels and hence we try to manipulate the grasshopper definition to suit our design objective.
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Final Design Iterations PLAN
PERSPECTIVE
1 A colossal of volumetric pixel. Too ceoncentrated, no gaps,
2 A different form is explored. Note there are floating pixels at the edge of the form. This floating pixels are not supported and must be removed.
3 Elimination of volumetric pixel. Again, too concentrated.
4 Too long and scattered.
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PLAN
PERSPECTIVE
5 Too long but less scattered.
6 More concentrated at a point. Not enough gaps in the form.
7 Form is futher optimised by eliminating pixels and creating gaps in the form itself.
8 RIght amount of gap in the form. Right concentration of volumetric pixel.
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Pixel Dimension Despite the random form that is generated as seen in the various design iteration, the pixel dimensions are governed by a set of rule whereby they are proportional to each other, so the large pixel is four times the medium pixel and the medium pixel is 2 times the small pixel (4.8m, medium pixel 2.4m and small pixel 1.2m). Because the pixels are proportionate to each other it allows for a standardised connection system between the different sized pixels. (Box diagram 3 sizes)
(4.8M)4X (2.4M)2X (1.2M)1X
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Relation of the pixel dimension in form making
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2.2. Project Development 2.2.3. Prototype Testing
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In week 9, we decided to construct one of the iterations (Iteration 1) as prototype testing. We soon first problems with the translation from virtual model to physical model. As there are volumetric pixels attached to the edge of the form unsupported, we face challenges in putting the volumetric pixels together such that it can hold its own weight. Hence we decided to cross contour the whole model into 17 layers. For the cross contouring to work, a grid system need to be derived to establish a guide where the different layers can be put together when making the physical model. SHORTCOMINGS Cross contouring is not an ideal model making method because it the pixelation is lost. Each cube is not defined. Besides, we are restricted to one type of material only hence it is difficult to explore the different lighting qualities of other materials. Nevertheless, the prototype testing enables us to learn the shortcoming of cross contouring method. A new contruction need to be derived to best represent our concept of volumetric pixelation.
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Fabrication Template
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Model at 1:100 Scale
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Model at 1:100 Scale Detail Shot
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2.2. Project Development 2.2.4. Construction
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Constuction of Final Iteration (Iteration 8) To best represent our concept of lighting and pixelation, we decide to discard the cross contouring method and to derive our own construction method. From the virtual model to the physical model, difficulties occurred that meant slight alteration needed to happen in order to proceed with this design. Our virtual model has pixels attaching at edges and corner vertices and grasshopper could not resolve this. Our solution was to create overlapping of the pixels, a process, which has partially altered the outcome from the computational design. The process involves moving a pixel and having all the pixels attached to it having to move with it, this process was repeated and the result meant a more compact design with grooving system to support the physical model.
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Lighting Effects
Materiality
There are three lighting effects that occur due to the three different material qualities of the pixels. • white perspex: glowing effect • clear perspex: refraction of light • relective painted boxboard: reflection
Three different materials • white perspex • clear perspex • reflective silver paint on boxboard
These different lighting effects we think add another interest to the lighting intent.
clear perspex: refraction of light
white perspex clear perspex
Exploded diagram
reflective silver paint on boxboard
white perspex: glowing effect
relective painted boxboard: reflection
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Construction: Grooving System The construction system that we derive is the grooving system that allowed for the construction of the physical model that retain the concept of pixelation. The grooving system allows for the construction of the physical model that couldn’t be achieved by the virtual model. Grooving system as shown on the right: • The arrangement of the layers - need to go in certain order to successfully join the pixels when build the physical model. • the grooving system allows for cantilevering of the pixels off one another, which allowed us to create, overhangs on the model.
The images on the left show how the grooving system allow each cube to be connected. The grooving system overcome the constructibility problem faced by the virtual model. The final physical model is more compact than the original virtual model due to the cube overlapping and being pulled together. Only by overlapping the cubes together that the cubes that are cantilevered can be supported and not just merely being glued on. The overlapping of the cube becomes an aesthetic notion by itself. STUDIO AIR 2012
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Fabrication Template
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Construction Process The grooving system makes the construction of the physical model very easy and time saving due to the flexibilty of the system. We could simply overlapping any of the cubes (whichever dimension) in whichever direction because the cubes can be overlapped in any direction. Since perspex and boxboard are both 3mm in thickness, the grooving system works for both materials.
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Construction Reality Three construction materials will be used: Clear glass, frosted glass, aluminium composite panel
FROSTED GLASS
We propose to have u-beam system to cantilever the cubes. The u beams are to be bolted and welded to the panels on a base plate. We do realise the U-Beam system is simplistic and might not be fully constructible as the complete model is around 15m high and 30m wide. Hence a structural enginner will need to be engaged to advised on the constructability of the final installation. A metal framing system of each cube might be a more viable option to constuction the final installation as advised by a structural enginner that is engaged.
UNIVERSAL BEAM
ALUMINIUM COMPOSITE PANEL
SINGLE LAYER CLEAR GLASS
UNIVERSAL BEAM
JOINED COMPONENTS
SEPERATED COMPONENTS ANCHOR BOLTED
BASE PLATE
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2.2. Project Development 2.2.5. Pixel-By-Me
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Pixel-By-Me Colour, light and movement as pixels. The design we present for the Gateway project can be thought as a crowd of pixels that stand side by side one another in creating sculptural form. This form has been generated through computational means and consideration of site boundaries and layout. Our design in represented through different dimensioned boxes and material constructions, each with a purpose and quality that adds to the design. These boxes as pixels have only one function to be active or inactive at a given moment of time. This function is the establishment of an interior light that illuminates the box. As individual pixels their purpose is non-existent but when functioning together a mass of unique and exciting lighting effects and patterns are presented. Colour has been a constant influence and driver in this project. We have integrated colour through the use of lights within the boxes to give different effects relative to the box material. The clear provides fraction, white gives a glowing aspect and silver/ metallic presents reflection. The colour becomes a mean of communicating active pattern across the exterior of the design as a way of making the form become non-static and an example of dynamic design. Final model is constructed at 1:100 scale. Dimension approximate 15m height x 30m width.
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1
2 Top left: Driver view (day time) Top right: Driver view (night time) 1: Detail shot 1:100 2: Detail shot 1:100
3: Top view 4: Detail shot 1:100 5: Bird’s eye view 6: Detail shot 1:100 7: Top view 8: Detail shot 1:100
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Daytime the model is to display its raw material qualities to create strong sculptural effect, the three materials each have their own reactions to the variance in sun light during the different lighting throughout the year.
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Night Time
At night the model uses coloured lights that are inside the sculpture to illuminate and project pattern. The patterning can be randomised or preset to achieve a desired effect. Each pixel can illuminate itself in a variety of colours and does not require that it is only singular.
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Stop Motion Videos Stop motion 1 and 2 shows the light pattern effect. It demonstrates how colour becomes pattern of movement that dance across the scultpure. The colour becomes a mean of communicating active pattern across the exterior of the design as a way of making the form become non-static and an example of dynamic design.
Stop Motion 1
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Stop Motion 2
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Sun Route and Shadow Exploring the shadow movement of the sculpture on its surrouding environment. SUMMER MID DAY
WINTER MID DAY
SUMMER SUNRISE
WINTER SUNRISE
SUMMER SUNSET
WINTER SUNSET
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Project Proposal Conclusion For this gateway project we have taken the desires of Wyndham and applied a computational system that delivers beyond standard design and linear thinking to finalise a design that we believe will define Wyndham. Our gateway sculpture proposal intends to create and sustain discourse not only as a sculptural piece but as a beacon for the City of Wyndham, Imagine yourself driving pass the installation, imagine the experience of colour ‘dancing’ across the sculpture. The view experienced by the drivers changes all the time due to the changing colour pattern across the sculpture. If Wyndham proceed with the design proposal, there will be no doubt that Wyndham city gets what they have asked for in their brief: iconic, distinctive and innovative.
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3.0
LEARNING OBJECTIVES AND OUTCOMES
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3.1. Personal Background and Learning Objectives
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No Prior Knowledge Prior to this studio, my only experience with digital modelling and fabrication was back in 2010 when I was doing a subject called ‘Virtual Environments’. In my 2nd year of architecture education, I mainly use digital modelling as a tool to construct my virtual model non-parametrically. The process is very time consuming and I soon realised that it is very difficult to change/improve the virtual model at the last minute near submission. I have heard and seen many examples of parametric designs but never explore it in detail. I thought the traditional kind of design method using pens and pencils are good enough but soon I realise that pen and pencil have its own limitations especially when the scale of the project is large. Up to this point, all I have learnt in my 2 years of architecture studies are SketchUp and hand drawing.
students are required to develop skills in various three dimensional media and further develop an ability to make a case for proposals. Both requirements I think suit the changes in the architecture landscape today. Developing a case proposal would be an important skill for any architect-wannabe in the architecture field. Learning new computational skills that are up and coming is important for architecture students like me to be exposed to the emergence of digital design currently taking place in the design field. My feeling about the new studio course is mix. It is an unchartered territory for me yet it is a new opportunity for me to learn new computational skills.
Towards the end of the summer break when it was announced that the studio will focus on parametric modelling, it was a great shock. Never before had a large studio in Melbourne Uni tackled on parametric modelling in undergraduate course. Looking at the learning objectives in the course outline document,
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3.2. Learning Progress
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A Journey - an end and a new beginning Now at the end of the semester, I have learnt a lot from this compact and intense course. My skills in utilising Grasshopper has definitely improved. But I still think that I am an amateur in Grasshopper. As mentioned before in the lectures, it will take years and heaps of practice before one becomes a master of any skill. This is only the beginning. At this point in time, I could better understand the data flow and most importantly the data structure of Grasshopper. Understanding the data structure is vital in the first step to the mastery of this program. From knowing nothing to being able to write and manipulate short Grasshopper definition is a progress that I am proud of myself. The journey is a bumpy one because of no prior knowledge in scripting. Thankfully the visual interface of Grasshopper makes life a bit easier for students like me with no experience with coding. Nevertheless, I still consider myself a novice user of Grasshopper. I still have to always refer to manual guides, premade definitions and the grasshopper forum when I write a definition. I still find my grasshopper skills very limited and many times have I failed to make Grasshopper to work the way I want it to. There are more to learn about Grasshopper. The next step will be to master the many more components in Grasshopper and become more comfortable when using Grasshopper. I have found that I really enjoy playing with Grasshopper. I think it is a tool that I will continue to learn and utilise in the future. Another important aspect is of course, making arguments in architecture design and proposal making. This had been the most research-heavy studio so far and had opened up my eyes to the complex and interesting world of architectural discourse. Doing the readings in the first few weeks of the course and using them to write the EOI has exposed me to the current discourse around digital
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technology. The term “Expression of Interest” is a foreign term to me. Now I have some experience on how to write one. I believe this will be a valuable skill in the future. By reading the readings provided as well as personal research, I have learnt to analyse architecture deeper and more critically. Another requirement of this course is to produce highquality and provoking photography that best represents the concept design. We also need to produce stop motion videos to demonstrate any form of change in the design. This subject has definitely thought me the importance of lighting and angle when it comes to take pictures. Care is to be taken on avoiding “God shots”, bad background and lack of light. I personally enjoyed making stop motion videos as I think the videos are excellent to demonstrate the concept of “change” in a creative way. Working in group for a design studio is a new challenge for me. It has brought upon many frustrations and frictions in the group. But I also learnt from them through sharing ideas and skills. Without my group mates, it will be near impossible to complete the final design in a matter of weeks (5 weeks!). To be honest, I have never thought of model making using fab lab. An advantage of digital fabrication is the immense possibility to fabricate nearly anything. This subject has thought me the proper way of setting up the fabrication template and how to maximise the use of the materials by efficiently laying out the template. In conclusion, the subject has been very demanding but at the end I felt that I have learnt many new skills such as Grasshopper and making stop motion video that communicate design ideas. All in all I enjoyed this subject very much.
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3.3. Learning Outcomes
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None
Week 12
Learning a new software program is an uphill task in this course. I am still an amateur in Grasshopper. As mentioned before in the lectures, it will take years and heaps of practice before one becomes a master of any skill. This is only the beginning.
First time in making stop motion video. The process was fun. Learn from looking at existing examples online. The use of tripod is important to make a stop motion video so that the camera angle remain in the same position throught the video. I find this method of design representation very interesting and fresh, Definitely worth exploring more. (See Wiki for stop motion videos)
None
Photography
Stop Motion Video
Grasshopper
Early semester or before
Photography of final model for ADS Water. Problem: God’s view, poor lighting, lack of contrast. Does not sell aspect of the design. (Year 2, Sem 2)
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Photography of final model for ADS Ai. Better composition. Take consideration of background (black in this case to accentuate the colour effect). Better lighting. Use of tripod. (Year 3, Sem 1)
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Making arguments
Early semester or before “Kinetower’s dynamism seeks to fulfil the changing needs of the complex society through the use of sophisticated forms resulting in dynamic or organic appearance. This is facilitated by the strength of computer design technology and production possibilities. Here is another example of how dynamism in architecture can respond to the changing needs of our everyday lives in the site context. And through this dynamism will it advances architecture discourse that enriches the static city space.”
Week 12 Kalay states the separation of the design conception of a building from the construction during the Renaissance as it implies that architects had relinquished some of their powers over the design process. However, computation had tied the two together again in recent years and forms a sort of “digital continuum” (Kolarevic 2003 p58). The complexity of many parametric designs necessitated the union of the two because the design intent could be easily lost with unsuitable construction methods or choice of materials (Kolaveric 2003). Architecture has become much more multi-disciplinary. With computational design, the final design of the Western Gateway will be innovative, collaborative, better informed design decision, and cost efficient, as all the required parameters may be pre-set in order to remain within the budget while also carrying out the requirements set out on the brief. Excerpt from this journal (Part 1.1.2. Computation in Architecture). Better articulated with stronger argument properly referenced in relation to the Gateway brief.
Real construction
Excerpt from earlier journal. No referencing. No argument on discourse.
ANCHOR BOLTED
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Little thought on construction system of the buidling. (Detail shows cladding). (Year 1, Sem 1)
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This subject forced me to think about the construction system of the real installation. (as per explained in Part 2.2.4.)
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Week 12
Discover the unexpected though the physical model
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Constrcution of Physical Model
Previously model making is just to physically represent a design. The most that I have experimented with model is with lighting.
Little thought on construction of the physical model as just planes of cardboard connected to each other.
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Discovering the unexpected outcome of the physical model by placing the model on lightbox and playing with different colours.
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3.4. Future Work
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The skills and learning outcome through the semester has been very valuable. This studio is my first step into understanding parametric design more in depth and learns how to apply it in my future design career. Nevertheless, I emerge from this subject better equipped with computational skills. Apart from hand drawing, now I could utilise the benefits of digital tools to produce drawings more efficiently. For instance, Grasshopper and Rhinoceres are more efficient in producing crisp line and vectors than the scanned copies of hand drawing. 3D digital modelling becomes more flexible and easier. Hopefully, the skills that I have learnt in this subject could be utilised in the future.
A huge thank you to my group mates: Calvin Cheok and David Fitzwilliam, as well as my tutors Gwyll and Andy. 104
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References: I.1.1 Architecture as a discourse Art+Com 2012, <http://www.artcom.de/> ARUP (2011). Beijing National Stadium (Bird’s Nest), <http://www.arup.com/Projects/ Chinese_National_Stadium.aspx> [accessed 2 April 2012] Beyer, S and Knofel, U (2008). ‘Herzog on Building Beijing’s Olympic Stadium’ [interview], in Spiegel Online International, trans. by Christopher Sultan from German, < http://www.spiegel.de/international/world/0,1518,569011,00.html> [accessed 3 April 2012] Biothing (2007), < http://www.biothing.org/?p=51> Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71 Day, N (2004), Webb Bridge, The Age< http://www.theage.com.au articles/2004/03/26/1079939835363.html> [accessed 1 April 2012] Herzog & de Meuron (2007). 226 – National Stadium, < http://www. herzogdemeuron.com/index/projects/complete-works/226-250/226-nationalstadium.html> [accessed 30 March 2012] Gramazio & Kohler, 2005, Christmas Lights Bahnhofstrasse <http://www. gramaziokohler.com/web/e/presse/index.html> Kokkugia (2003), < http://www.kokkugia.com/> Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 Lynn and Gage (2010), Composites, surfaces, and software : high performance architecture,Yale School of Architecture. Marshall & Owen (2010), Webb Bridge by Denton Corker Marshall in collaboration
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with artist Robert Owen, Australian Institute of Architects http://www.architecture. com.au/awards_search?option=showaward&entryno=20053006 > [accessed 20 March 2012] Roudavski, Stanislav and Anne-Marie Walsh (2011), The Generator, < http:// thegenerator.net.au/capstone-subjects/first-year-subject-profile-virtualenvironments-headspace-project/ [accessed 2 April 2012] Schumacher, P (2011). ‘Introduction: Architecture as Autopoietic System’, in The Autopoiesis of Architecture: A New Framework for Architecture, (Chichester: J. Wiley), pp. 1 – 28 Williams, R (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116 Zaera-Polo, A (2009). ‘Patterns, Fabrics, Prototypes, Tessellations’, in Architectural Design, vol. 76 (6), pp. 18 - 27
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