ARCHITECTURE DESIGN STUDIO AIR 355491 KAT REN JIN
01. Expression of Interest
1.1. Case for Innovation
1.1.1. Architecture as a Discourse
1.1.2. Computing in Architecture
1.1.3. Parametric Modelling
1.1.4. Case for Innovation Conclusion:
I.2. Research Project I.2.1. Scope of Possibilities I.2.1.1. Input/Association/Output Matrix I.2.1..2. Reverse-Engineered Case-Study
I.2.1.2.1. Assembly Methods
1.2.1.3. Digital Fabrication 1.2.14 Digital Experiementation 1.2.15 Materiality I.2.2. Research Project Conclusion
CONTENTS
02. Project Proposal
2.1. Project Interpretation
2.2. Project Delivery
2.3. Project Presentation
2.4. Project Proposal Conclusion
03. Learning Objectives and Outcomes: Final
3.1. Personal Background and Learning Objectives
3.2. Learning Progress
3.3. Learning Outcomes
3.4. Future Work
01.
Expression of Interest 1.1. Case for Innovation
A Gateway to New York -Daniel Libeskind
D
The memorial’s waterfall goes to the bottom where the victims of 9/11 lost their lives. It is made visible to the public . It documents the day. People have a sense of verticality of the depth of the event. Five tall buildings echoes in the positioning, in the grid as a spiral form at the 1world trade centre. The tower of the 1 World Trade Cewntre has a symbolic height of 1776 – declaration of independence. Libeskind’s desgin inspirations: • Create a space that has never existed before • A space we’ve never entred except our mind and our spirit • Architecture is not based on concrete, steel and elements of the soil. • Architecture is based on wonder. • It is a story, told by hard materials. • A story struggles against impossibilities.
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1.1.1.
Dresden’s Military History Museum / Daniel Libeskind
The ‘killing’ of the ancient building. The extension dramatically slices the 135 year old original museum through centre, destroy the building’s symmetry and masses with an open and transparent glass façade, revealing some parts of the original building through opacity. It metaphors the openness and exciting new German democracy society pushes the severe authoritarian past. Libeskind’s design gave ‘life’ to the almost-abandoned-museum. It invites people to examine violent German past and experience the hope & courage and passion for peace.
Daniel Libeskind is one of the most successful and well-known architects in the world of the present. With Polish-Jewish descent, he often deals with designs that evolves a sensitive topic and a complex mix of different emotions such as his most famous project = Jewish Museum Berlin. Libeskind is a radical and expressionist. His designs often attracts critics’ discussion. But as he believes, architecture should be risky, vibrant, unexpected and create critics. His projects always involves history, culture, existing site and a specific group of community, which is what the Wyndham City Gateway Project is about. Every Libeskind design is unique and surprising with no trace of presidents to be found though many of them are to deal with similar topics. People cannot forget the buildings he has made and they have become the landmarks of the cities., which is how the art instalment needs to be
Architecture as a Discourse
State of Art Project-Ground Zero Master Plan
Design Approach Attributed to the brief of the Gateway Project - Memorable:
- Complexity:
• not only remembered by Wyndham City but also • it represents Wydham not just in terms of makes Wyndham remembered by the rest, the spatial complexity - City, Country, Coast, but passing-bys, the never-beens. also the complexity of our thoughts, mind • should not be recognised from any preceding experiences. art instalment should mirror that designs. complexity - Communicative:
- Hands:
• • • •
• Make computer respond to our design, not design respond to computer technology
art of communication reaches subjects that are not explicitly available vibrant and pluralistic an art instalment that is not just an ‘art instalment’ • stimulating
- Inexplicable
• the experience should be inexplicable in words • it should operate in light, proportion, material and technologies. - Pointed: • that connects people to varies sources • that isn’t really frontal but is imbedded in the • even in a small site on freeway it has the lives, history, and the city power through its leverage to transform Wynd- Emotional & Expressive & Radical: ham City • emotion is an important dimension that should - Raw & Unexpected & Real be introduced into city life • the art instalment should be an expression of • not just some abstract objects the city that tells a story • Untouched by experiences • a story that is on-going and not static • Untouched by expensive materials • and people push the story forward • The art instalment is not just something we aesthetically appreciate - Optimism • But moves ahead in unexpected directions, • most importantly making people curious, to wonder ‘why’, • that we believe the art instalment is going to • to make people explore further on the subject make an positive impact on Wyndham City • Leads to more possibilities beyond the site itself • that can drive the entire social & political as• creates sparkle of new energy pects of Wyndham City forward with big ideas • reaches human heart human soul - touches us • struggles through disbelieves and connects us • struggles through each problematic issues
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Daniel Libeskind’s 17 Words of Architectural Inspiration: MEMORABLE vs FORGETABLE
DEMOCRATIC vs AUTHORITARIAN EXPRESSIVE vs NEUTRAL
OPTIMISM vs PESSIMISM
RADICAL vs CONSERVERTIVE EMOTIONAL vs COOL
SPACE vs FASHION
COMMUNICATIVE vs MUTE POINTED vs BLUNT RAW vs REFINED
RISKY vs SAFE UNEXPETED vs HABITUAL
INEXPLICABLE vs UNDERSTOOD
REAL vs SIMULATED
HAND vs COMPUTER POLITICAL vs EVASIVE COMPLEX vs SIMPLE
“I wanted to create a bold interruption, a fundamental dislocation, to penetrate the historic arsenal and create a new experience. The architecture will engage the public in the deepest issue of how organized violence and how military history and the fate of the city are intertwined.” —Daniel Libeskind, 2012
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1.1.1. Architecture as a Discourse
State of Art Project - CONSTRUCTING MESSAGES: LOOKING AT THE DESIGN PHILOSOPHY OF DANIEL LIBESKIIND
Light Installation K73 The structure was created with use of 520m (130x4m) of protective corrugated pipe and one hdtv projector, creating functional low resolution holographic display (L:2,5m W:1,7 H:4,8m). Animation shown was inspired by elements and physical phenomenons. A short story contained visual interpretations of liquids behaviour, light interferences and simple geometries. It become a main point and attractor located in the centre of an old factory hall and for the one night it interacted with our guests. That inspired out design of using multiple simple logitutional beams to create dramatic affects by the manipulation of colour lightings driven by parametric datas.
1.1.2
2. Computing in Architecture CROSSING BOUNDARIES : MEDIATION THROUGH COMPUTATION
FLUX: ARCHITECTURE IN A PARAMETRIC LANDSCAPE ‘Scripting Cultures’- driving force for 21st Century architectural thinking. Parametric design opens a new chapter in architecture history. It shows us the infinite possibilities of future designs. It ‘liberates’ (Burry, Mark 2011) imagination to create something we couldn’t before, due to technology restrictions. Parametric design allows use to engage deeper between computer and user resulting achieving ‘greater range of potential outcomes for the same investment in time’. (Burry, Mark 2011) With its initial intention of reducing production, construction costs. It allows much more efficient constructing method of off-site fabrication and on-site assembly that allows the reduction of not just the cost but also time. The precise computer programming allows the architects provide accurate data for the builders that inevitably reduces risk of architecture design and construction mistakes. Parametric design productions are often seen on building facades, industrial designs. We need to extend that beyond these old clichés. To unlock its potential we ought to master in the computing skills in order to not letting the computer programs restrain our design productions but let the computer programs become our responsive hands. ‘Flux exhibition is a great exampl of what parametric designs could acheive with the current technology (Rhinoceros Grasshopper plug in) By learning about the design and desgin approach it gives us a good first impression of what to be expected for the following weeks in Studio Air
the grasshopper defination
FLUX focuses on the ‘emerging field of advanced digital design. In the last two decades of architectural practice, new digital technologies have evolved from being simply representational tools invested in the depiction of existing models of architectural space to becoming significant performative machines that have transformed the ways in which we both conceive and configure space and material. These tools for design, simulation, and fabrication, have enabled the emergence of new digital diagrams and parametric landscapes—often emulating genetic and iterative dynamic evolutionary processes—that are not only radically changing the ways in which we integrate disparate types of information into the design process, but are also significantly altering the methodological strategies that we use for design, fabrication and construction. After the early digital explosion of the 1990’s, new forms of rigor and production have entered into the field of architecture, supporting the emergence of parametric and building information modeling and the enhanced use of computational geometry and scripting that together represent the second critical wave of digital design practices. ‘ ‘The undulating structure expands and contracts.Through the use of parametric modeling the installation design can be quickly updated to address new design criteria. From the thickness of the ribs to the overall twisting geometry and perforated skins, the spatial form can be controlled through a complex set of relationships defined by its formal, performative, and fabrication constraints.’
Reference: Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 http://matsysdesign.com/2009/06/25/flux-architecture-in-a-parametric-landscape/
I.1.3. Parametric Modelling
COMPUTATIONAL POSSIBLIITIES
DESIGN FOCUS AND CRITERIA
• SITE CRITERIA - viewed from a car at 100km -able to be understood quickly -interesting profile from afar -low maintenance once installed -exciting and eye-catching -visible at night -focus sunset and drive from Melbourne to Wyndham • RESPONSIVE ARCHITECTURE -using data relating to the site and inhabitants relying on depth in parametric relations -emergence as a possible form generator -growth of structure as you drive emphasising movement -kinetic architecture -possible data collection: weather climate: light/ cameras: movement -design re-forum -public projection -installation of projectors on site to show realtime movement
1.1.4. Case
• PROJECT CRITERIA -create an identity for the city (Wyndham) -relate and interacts with the community • PUBLIC ART - Use public art as a way to connect and involve the community, to make a statement, • introduce the broader community to the concept of parametric design • PARAMETERS -views from the car -direction of light and wind (as a way of interacting with the site) -landscape - data collected from Wyndham city. Motto: city, coast, country (halfway zone). Creating three interlinked zones -relate to cars moving by - data collection over three months with accompanying simulation -either questions relating to the three zones or the same data collected from three zones fabrication: - varying size apertures
ase for Innovation Conclusion
01.
Expression of Interest
I.2. Research Project
nterest
Here a number of inputs and outputs were combined and used for ‘Using Sets’ Grasshopper def ing to Kalay’s Search technique to explore on a range of design possibilities. The repeating process of [developing design goals - seeking for solutions - uncover limitations goals and new solutions to be found] will help us to accomplish acceptable set of goals.
finition accord-
- modifying
I.2.1. Scope of Possibilities I.2.1.1. Input/Association/Output Matrix
Data Driven Components
surface normal
Overlapping Pat-
Explicit Grids
ASSOCIATED TECHNIQUES -Using Sets
Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design 1.3 Paradigms of Design
Data Extr
a Driven rusion
Data Driven Rotation
Data Driven Shading
I.2.1. Scope of Possibilities I.2.1.1. Input/Association/Output Matrix
Matrix development: surface normal + surface grids +overlapping pattern image sampler + extrude+Using sets
In this example of further matrix development, I combined input definitions of ‘surface normal’ & ‘surface grids’ & ‘overlapping pattern’, and output definition of ‘extrude’ with association techniques definitions of ‘Image sampler’ and ‘using sets’. I achieved this surreal, atomic looking dynamic result. This could help with future design of several parameters combination.
asgddddddddddaggggggggggggggggggggg ggggggggggggggggggggggggggggggggg
I.2.1. Scope of Possibilities I.2.1.1. Input/Association/Output Matrix
Reverse Engineer : Ned Kahn - Articulated Cloud
We chose Ned Kahn’s Articulated Cloud as our reverse engineering studies because it provides with us a very good example of an architectural installation that interacts with its surroundings. The little panels as the skin on the children’s museum reacts to wind’s external forces and it moves like a wave when you blow onto a liquid surface. We used an engineering program called Kangaroo to aid Grasshopper in the physics part. The goal of creating the exact effect of this case study was not achieved due to the limitation of our programing skills. However this gives us an excellent opportunity to explore beyond grasshopper definitions and use other plugins to create the outcomes desired.
I.2.1. Scope of Possibilities I.2.1.3. Assembly Methods
Reverse Engineer : Ned Kahn - Articulated C
SAMPLE 1- MOVES DYNAMICLY HORIZONTALL
SAMPLE 2 - CREATES STUNNING SHADOW - SUNS
SAMPLE 3 - SWINGS AND FLIPS TO THE WIND
SAMPLE 4 - HARDLY REACT TO THE WIND
Cloud
NTALLY
SUNSET
In studying the assembly methods for this reverse engineer case study, we Experimented with: Lightings - Sunrise & Sunset 4 Different assembly methods to seek for different manipulation of movements on the surface in respond to the changing environments. However this exploration shows that its lack of link with parametric digital design. Nevertheless, by completing this tast we had improved our model making skills and analytical thinking and imagination - with no experience of assembling such type of design we came up with 4 different assembling methods
IND VERTICALLY
I.2.1. Scope of Possibilities I.2.1.3. Assembly Methods
Digital Exper
CIRCLES & COLOUR
POLYLINE VERTICAL
POLYLINE & Z- VECTOR
L S
riementation
LINE EXTRUSION & SURFACE NORMAL
• We used Image sampler with firefly video camera tool • it shows interaction with the audience - refer to our design brief = a possible design solution we desired. • we explored on the effects of the different geometry shapes, lines etc • reacts instantly to the video camera inputs • However, the images are too literal. I.2.1. Scope of Possibilities 1.2.14 Digital Fabrication
Digital F
PACHUBE
FIREFLY BREATHOSC KANGAROO WEAVERBIRD
EXCEL/GHOWL
Fabrication
• pacube collects real time data frOMonline and we used them as attrac points • however the data only updates every 15 minutes • since we were looking for something dynamic, t this was uncessesful. • • Excel data imprted through Ghowl plug-in • presented in Extrusion • different colours represent different Excel columns • • The result is very pleasing. • Very interactive • can be possible for collecting real time wind data for the Gateway Project • lLINK:
L I.2.1. Scope of Possibilities 1.2.14 Digital Experienmentation
MATERIA
PLASTIC
MESH
DEFORMED SURFACE
experiementin
• We explored a series of different types of materials such as pla jected ITunes visualiser onto the surfaces to see how they reac gave this ‘bubbly’ effect. • Some of the materials can let the projection penetrate through. materials such as cloth and metal mesh. • We also explored on deformed surfaces such as bended mesh. T the image wrapped around the globe. Seen from certain angles t
ALITY
ng shapes
deformed + layering
COMBINATION
LAYERING
astic, metal mesh, timber etc. We used projector and proct towards the projections. We especially liked the Plastic. It So we further explored on layering several semi-transparent
The image distorts at the deformed surfaces. On the Globe the image is extended. I.2.1. Scope of Possibilities
1.2.15 Materiality
DESIGN S
GATEWAY ART INS
INTERATIONS: INTERNET
• OurDesign will extend beyond the site art instalments in Melbourne CBD, Wynd It invloves in d • using real time data • it is not sta • will become an icon for Wyndham City. • raises people’s curiosity when driving resear
aditional outcome
I.3. Expression
SYSTEM
NSTALLATION
itself. Can develope further into series of dham City even possible in petrol stations. different scales. as parametric design. atic, is dynamic . Seen on postcards, advertisements etc. past the Gateway and want to do more rch on it.三
wyndham city real life data
outcomes
ression of Interest Conclusion
02. Project Proposal II.1. Project Interpretation
MOE IS A LIGHT AND VIDEO AUGMENTED - MOE II spatial ‘The construction is based on a three-dimensional distortion of a plane which is defined through a multiplication of two different triangles. The elements are CNC cut out of sheets of polyethylene (PELD) with only 5% of material waste and subsequently thermoformed in a mould. The elements are connected into a plane which is then distorted into an irregular three-dimensional form which divides the space into several levels. ‘ When its final form is defined and constructed, several layers of video textures are applied to each panel. Composition of textures follows the physical structure and makes it dynamic with various animation technics like generative patterns design and real time sound response.’ We found this design very attractive because of tis visual impact. With projection we can be more creative with parametric designs due to its little restriction
STRU We us The u with t The h
CRITIC The s the im projec It is no an me and of The p as it r skills t individ effect Thus our de
D MODULAR CONSTRUCTION
UCTURE for the projection: sed the Wyndham City logo’s sailor shape as the surface panels. undulating surface is created by extruding poles in different heights the sailor panel attached at the end of the pole. heights were determined by attracting curve drawn.
CISM: sailor shape was too literal so as mage sampler + video camera ction. ot so much architecture but more edia design which is off the brief ff the course aim. projection is hard to manipulate requires more advanced technical to align the projection with each dual panel to achieve desired visual ts. the idea of having projection in esign is abandoned
II.1. Project Interpretation CASE STUDIES - DESIGN INTERACTIONS
CO2LED Solar-Powered Public Art Installation Also Installed on the traffic island between two streets, this environmental public art project promotes sustainability by installing 522 solar powered LED lights on rods each topped with a reused plastic bottle. This simple design creates an interesting illusion, both during the day and night. By studying the materials being used in this excellent example, especially for the rods, we can figure out what materials are suitable for our Gateway project proposal. Need to consider material costs, construction difficulty, lighting effects etc.
sINE CURVES
Inspired by the CO2LED Powered Art Installation we experimented with creating an undulating floating light installation that not only follows the contour but also create a theatrical experience. As it is going to be viewed for less than one minute by the driving - passes, taking advantage of the longitutinal direction of the site contour is important. There for we decided to use Sin graph to create the base geometry for the variation of the rod heights.
ONE ROLL
Achieving desired effects by shifting and layering multiple simple Sin graphs as seen on the left.
Variation of heights: FOUR ROLLS
The faviation of heights were determined by maximum and minimum average viewing angles from a a car - 1 to 5 metres above the ground
Layering the rolls of rods TEN ROLLS
One important aspect that we needed to take into consideration with layering the rods is the balance between rational the aesthetic effect of randomness being viewed from different angles. whilst still keep in rational orders - being able to see the undullating shape. Here, as shown in the pictures on the left, we explored the outcomes of layer one, four and ten rolls of rods; and how to shift the rolls to create a affect desired.
II.1. Project Interpretation CASE STUDIES -THE SITE AN THE VEHICLES
SEA O
At this stage we have come up with the design so discourse, reverse engineering studies, exploration matrix developments, some further case studies.
We gave our design proposal a romantic name: Se
The basic form is in the shape of Sin graph umultip max and min height of 5 and 1 metres.
There is small individual colour LED lights attached The color is determined by parametric data inputs Red: has the highest hierachy - it over writes all lig Blue: was mapped by people going in and out of loc Yellow: was mapped by the traffic condition of the
02. Project Proposal
II.2. Project Delivery SEA OF LIGHTS
OF LIGHTS
olutions based on the precedent studies of architecture as a of grasshopper definations and providing rational matrix and
ea of Lights due to its form and lighting effects at night.
plied formed into a long roll of ndulating wave like shape with
d at the end of each pole. Three colors: Red, Blue, Yellow with grasshopper definition computational mapping. ghts, mapped by the train’s arrival at the local train station. cal super market main local traffic conjunction
We are interested in creating a theatrical effect of surprise as one approaches. We took advantage of the site’s contour and long, curvy shape, and placed the rolls as close to the contour as possible. We placed one single roll of light rods as an introduction - Gives the audience an overall idea of what’s coming up ahead. As one driving along the site, due to the contour one cannot see what’s coming ahead - raises curiosity. Finally a Sea of 10 rolls undulating lights are revealed at the end of the site creating the - Wow effect.
1:500 contour model showing SEA OF LIGHTS and the site’s relation.
II.2. Project Delivery
CONCEPT - SEA OF LIGHTS
making of the s
SEQUENCE PHOTOS OF MODELING A senario of TRAIN arriving at the local train station ( RED OVERWRITEs all the lights)
modeling the effect of the lighting of Sea of Lights have encountered many modeling difficulties. One main problem is to One is how to represent the lighting effects in such a small scale and on hundreds of rods. We considered brightness contorls (by targeting the UV tourch onto the area wish to light up. After experimenting with options of putting mini painted balls and manually chaniging or painting each and lights straight onto the rods made of balsa sticks. The effect was better than we expected though it was
sticks
STOP MOTION PAINTING
d the options of UV paint, glow in the dark paint and we chose UV paint for its color options and fleximility of all of them for each photo taking, we realized that it wasn’t working for us. We decided to manually paint the UV still vast amount of work.
II.2. Project Delivery
BEHIND THE SCENE - MODEL MAKING PROCESS
MATERIAL EXPER
PLASTIC BOTTLE
COLOR PASTIC
PAPER TUBE
RIENMENTATION
PATTERNS From experimenting with different materials we achieive different effects. We should be considering a coloured plastic that is more on the translucent side- if you can see through at all in normal light it is too transparent. Look at the materials tested photo- the purple tube with the paper round it was successful the blue bottle was not. • White/forsted doesn’t produces as interesting light. The light is more evenly distributed and so they look kinda like a standard florescent tube. • Printed patterns could enhance the light • I produced the coloured light by shining the torch through the coloured strips on a sports girl bag. Some colour (e.g. red) seem to be inherently more dominant.
II.2. Project Delivery
MATERIAL EXPERIMENTATION
Blue ROD Model Step Step Step Step Step Step Step Step Step Step
1: creating patterns on Rhinoceros 2: cut out the pattern and trace over ont 3: cut the pattern out of blue translucent 4: make the structure frame out of balsa 5: lay out the skin and the frams on the 6: lay out the plus & minus wires for eac 7 : solder them onto each LED light,and t 8: assemble the frames, LED lights and th 9 : make the base for the poles to help th 10: Turn on the light!
Design approach: Refer to previous section on precedent of parametric design of Flux art installation exhibition (see picture above) We used rhino definition to make the patterns on the blue poles. The patters gets more lose as higher above on the poles so that it allows more light come out - creates an illuminating light effect.
Difficulties: Making Process
to blue translucent sheet t sheet a wood sticks and assmble them floor tape them down. ch light. the battery he skins together hem stand straight and still.
During the making of this 1:50 detail model we faced numerous problems. We weren’t able to successfully glue the blue translucent sheet with the balsa wood frames. However, it does not reflect that there will be difficulties in assembling the project on site since the joining methods will be very different.
II.2. Project Delivery
BEHIND THE SCENE - MODEL MAKING PROCESS
TRANSLATION OF INFORMATION MAP MOVEMENT IN WYNDHAM: , ,
TRAIN
CAR
PEOPLE
LAYERING OF INFORMATION: PLAN
Stop motion video is a great way to present the design to the clients and the audiences. It how it is data mapped from the local communities. We used coloured papers to cut out the outline of desired models: 1x train 10X car (2 or 3 different types) 2x traffic lights 1x train sign for station 4X trees 20 x people (15 adults, 5 kids)
PPING
t helps to understand
STOPMOTION - MAKING OF
Recorded with an SLR camera. Used windows movie maker to edit them into a short video.. We did the same for the model., refer to previous. section about Sea of Lights model making Links: Wyndham City: http://youtu.be/_nJ836mJ60U Art Installation: http://youtu.be/OMfSIkqWfoQ
II.2. Project Delivery
STOP-MOTION _ MAKING OF: behind the scenes
02. Project Proposal II.3. Project Presentation
DRIVER’S PERSPECTIVE CLOSE LOOK OF SEA OF LIGHTS
passenger’s perspective CLOSE LOOK OF SEA OF LIGHTS
sequence of seA OF LIGHTS AS DRIVING PASS
II.3. Project Presentation
• Since our main aim is to extend the desi
branding.
• • In a more commercial sense, the distinct
dham City Council to as promotional mat • The Sea of lights has multiple levels of in tion of communities – It is highly suited f with Wyndham City and also with the br •
ign beyond the site, we explored the idea of visual
t imagery of the Sea of Light can be used by the Wynterial. nteractions. And since it appeals to a broad cross secfor commercial interests. It encourages engagements roach sense of architecture design discourse.
II.3. Project Presentation Visual Branding
POSTER &
& FLYERS • Here is the an example of a Wyndham City Gateway Project promotional Poster and
a flyer we made to demonstrate to you how well the abstract imagery of Sea of Lights can be integrated into various contexts.
• • In the poster, each light beam represents an aspect of Wyndham City, such as edu-
cation, art, sports, entertainments, health etc., and they dissolve into one big idea of Wyndham community.
• • The flyer we made for promoting creative art studies organized by Wyndham City
council has the iconic floating like illuminating lights that Sea of Lights appear to be at night on the bottom as a symbol of the flow of art and inspiration.
II.3. Project Presentation Visual Branding
WEB
• Most importantly, the website, reinforced our aim of creating a visual branding and while driving pass on Princess Hwy, if one is curious about the art installation and online. The website can be easily found and accessed by putting different key word City’; ‘Princess highway art’ etc. • • The website not just explains the design with it’s straight forward, entertaining sto Sea of Lights , and also reinforces the visual branding by the GIF logo on top that audiences to know more about Wyndham City by having the webpages of short d • The website also have the ‘contact us’ to further providing a platform of interactio •
BSITE
d a platform of interactions for the audience – Afterseeing the Sea of Lights d is interested in knowing more about it, one can find out simply by Google it rds in the online searching engine, such as ‘Highway installation’; ‘Wyndham
op motion videos that shows the relation of Wyndham City community and the models and illustrates the appearance of the Sea of Lights. It also invites the descriptions. ons.
II.3. Project Presentation Visual Branding
GIF ANIM
MATION
II.3. Project Presentation Visual Branding
03. Learning Objectives and O
Outcomes: Final
> “interrogate a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies. > develop “an ability to generate a variety of design possibilities for a given situation” by introducing parametric modelling with its intrinsic capacities for versioning. > develope “skills in various three-dimensional media” and specifically in dynamic 3D modelling, digital fabrication, dynamic diagramming and so on. > develop “an understanding of relationships between architecture and air” through interrogation of design proposals as physical models. > develop “the ability to make a case for proposals” by engaging students in the controversies and contradiction on digital architecture. > begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. > develop the foundational understanding of computational principles behind digital geometry, data structures and programming > develop capabilites for conceptual, technical and design analysis capable of positioning students’ creative work in comparison with the flagship professional projects