543495_RoviLau_PartB_EOI by Rovi Lau

ARCHITECTURE DESIGN STUDIO: AIR ROVI LAU 543495 SEMESTER 2 2013

T able O f C ontents I ntroduction (pg1) Part A: C ase

for innovation 1. Architecture as a discourse (pg4) 2. Computational Architecture (pg13) 3. Parametric Modelling (pg23) 4. Appendix (pg29) 5. Conclusion (pg34) 6. Learning Outcomes (pg34)

Part B: D esign A pproach

1. Design Focus (pg37) 2. Case Study 1.0 (pg44) 3. Case Study 2.0 + Prototypes (pg51) 4. Technique: Development + Form Finding (pg63) 5. Technique: Prototype (pg68) 6. Technique Proposal (pg73) 7. Appendix (pg77) 8. Learning Outcomes (pg84)

I ntroduction A bout

My name is Rovi Dean Lau and I am currently a third year student studying at the University of Melbourne, majoring in Architecture. My passion for architecture came at a later stage of my life. When I was in high school, being an architect was not part of my â&#x20AC;&#x153;childhood ambitionsâ&#x20AC;? list. My childhood ambitions included becoming an engineer, doctor or musician. As none of my family members were architects, I had zero interest in becoming one until I graduated from Polytechnic with a Diploma in Electrical and Computer Engineering (ECE). That was the start of my passion of being an architect.

and fabrication software for the first time, however, the end product was indeed rewarding. Since then, having the skills and knowledge of Rhinoceros 3D modelling and fabrication has helped me tremendously throughout my course of study. Early this year, I had the opportunity to work with Consultants Incorporated Architects + Planners (CIAP) in Singapore during the summer break. For the first time, I got to feel and be part of what an architect does in the professional world. The experience of working with them has taught me the importance of working together as a team and communication is key. It also improved my AutoCAD and SketchUp skill sets.

My interests in the field of creativity and music have been with me since young. I love making things by hand, playing the piano and photography. It was during my ECE course which exposed me to my first computational software AutoCAD, which is widely used by engineers, architects and the likes. Although we only learnt the basics of AutoCAD, to me it was the start of creating something from virtual to reality. By graduation, the drive for being an architect grew. The idea of creating and designing ideas from oneâ&#x20AC;&#x2122;s mind and putting it out in the real world was simply amazing.

Other computational softwares that I was exposed to during my studies were Photoshop, InDesign and Illustrator. I am currently learning Grasshopper, a plug-in for Rhinoceros 3D which is parametric-based. With that skill set in my arsenal of computational softwares, creating and designing will be limitless. Learning does not stop there; to me, learning takes place every second. I aim to achieve a Masters in Architecture and hope to continue learning as I grow. The more we know, the better we become in shaping our environment and the world as Architects.

I entered the University of Melbourne in 2012. The exposure to computational softwares made me realised how much flexibility it has compared to pen and paper. My first encounter with Rhinoceros3D in Virtual Environments got me excited to share the ideas that I have in my mind. No doubt it was challenging operating a three dimensional modelling

P ast

work

(Fig. 1) Arup’s proposal for 2050 titled “It’s Alive!” Courtesy of Arup, Arup envisions the skyscrapers of 2050, 2013, rendered, <http://www.archdaily. com/333450/arup-envisions-the-skyscrapersof-2050/>

C ase

for innovation

A1:A rchitecture What is Architecture? I have posed this question many times to several friends whom are not majoring in Architecture and their response were often related to buildings. One would normally think of architecture as a structure but there are indeed many ways in which architecture ideas could be realised.

as a discourse was imagined, despite not being materialized, the idea still remains highly influential and it was realised by Arup who proposed a skyscraper of the future 2050, titled “It’s Alive!” (Fig. 1)[4]. As a result of such innovative future ideas, they are completely misguided as ideas tend to exaggerate problems concerning economic and social aspects [4]. Although the concept was exaggerated, Arup was not the first to propose such radical ideas [4]. The idea for the future way of living has been in the minds of many architects and its discourse. This certainly stimulates ideas of how the buildings of the world will be like in future.

I see Architecture as an idea that can withstand the test of time. In this context, time refers to the “indefinite continued progress of existence and events in the past, present, and future regarded as a whole” [1]. Architecture has come a long way since the days of the construction of Stonehenge, c.2900BC, which has become a famous monument through time [2]. When a building is constructed, it is not an object which can be thrown away immediately to buy something better nor is it an object which can be undressed and dressed differently everyday just like humans carrying different outfits daily. When a building is constructed, it will be there for the next few years, even decades or centuries due to the investment of time and money in each project.

Most successful masterpieces of architecture are believed to reproduce the fundamental design of an era such as gothic churches in the 12th century [5]. However, that may not always be the case as architects should always be on a constant lookout and should evaluate strengths and weaknesses of buildings built in the past in order to have a more successful design throughout time [5]. In this project, the focus will be the understanding of what makes Wyndham City a special place. In order to achieve that, computational iterations and material exploration will be utilized in designing a timeless piece of architecture as The Wyndham Gateway brief calls for an installation which intends to create a significant impact on the people, providing them a timeless experience. It also hopes to inspire and enrich the municipality of Wyndham City.

With reference to Ron Herron’s ‘The Walking City’ (Fig. 2) in Archigram (1964), the idea was to have an artificial intelligent robotic structures to freely roam the world, moving to places where resources were available [3]. This idea was predicted to be materialise in the future, hoping to change how people lived, lasting for centuries. Approximately fifty years after the idea of ‘The Walking City’

(Fig. 2) Ron Herron, Walking City, drawing, < http://www.archdaily.com/333450/arup-envisions-the-skyscrapers-of2050/51225946b3fc4b2f65000031_arup-envisions-the-skyscrapers-of-2050_4-jpg/> [1] D. Thompson, eds., The Concise Oxford Dictionary 9th ed. (United States: Oxford University Press Inc., 1998), pp1459. [2] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 1: The Beginnings of Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp9. [3] “Walking City, from Archigram,”The Seasteading Institute, viewed on 8th August 2013, < http://www.seasteading.org/2011/03/walking-city-archigram/> [4] “Arup Envisions the Skyscrapers of 2050,” Nicky Rackard, Archdaily, viewed on 8th August 2013, <http://www.archdaily.com/333450/arup-envisions-the-skyscrapersof-2050/>

P yramids

G iza

The Pyramids of Giza are one of the world’s most famous monumental tombs which were built circa 2550B.C. and they are still standing tall to this present day [6]. The giant tombs were erected for the Pharaohs of Egypt in line with the belief that they will become Gods in their afterlife. What makes these giant Giza tomb pyramids so timeless throughout the years was their ancient ways of engineering feat. In our present day, the construction of such structures like the pyramids will require the use of cranes, trucks and power tools. No such machines were available and yet the idea of erecting such timeless architecture without technology was indeed impressive [7]. Till this day, the pyramids are still well-known by people all around the world. The very fact that a simple idea of erecting a tomb for the Pharaohs lasted for centuries and it has made such a significant impact on the world as it is considered a tourist attraction at present. Although this piece of architecture is considered ancient, it has greatly contributed to the notion of architecture enduring the test of time.

[6] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 1: The Beginnings of Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp25. [7] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 1: The Beginnings of Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp26.

(Fig. 3) Satellite image of the Pyramids of Giza, 2002, satellite image, <http://zeshankhokher.wordpress.com/2011/12/06/pyramids-of-giza-2/>

(Fig. 4) Pyramids of Giza, photograph, <http://www.fanpop.com/clubs/egypt/images/1239953/title/pyramids-giza-wallpaper>

S. C arlo

alle

Q uattro F ontane

F rancesco B orromini

S. Carlo alle Quattro Fontane is an iconic piece of Baroque architecture due to its complex undulating curves of the exterior and interior structure during the 17th century [8]. The idea that Borromini had during the Baroque period was highly innovative as he managed to achieve the dynamism form through a series of geometry within a diminutive area [8]. Using only the shapes of circles and equilateral triangles, he managed to achieve the magnificent dynamic façade (Fig. 5) of concave and convex forms which also mirrored the internal space of the church [8]. With the undulating oval interior plan and long axis towards the altar, Borromini had invoked the spirit of a stretched Greek-cross plan [8]. The dome (Fig. 6) above had such intricate details that it was elaborately coffered with octagons, hexagons and Trinitarian crosses, diminishing towards the centre to project the dynamism of Baroque [8]. Presently, S. Carlo alle Quattro Fontane is one of the well-known examples of Baroque architecture due to the innovation of Borromini [9]. The fact that Borromini had accomplished such complex forms with basic geometry in the 17th century was incredible. This is yet another piece of architecture that had contributed to the notion of architecture enduring the test of time.

[8] Michael Fazio, Marian Moffet & Lawrence Wodehouse, “Chapter 12: Baroque Architecture,” in A World History of Architecture, ed. Liz Faber (London, United Kingdom: Laurence King Publishing Ltd., 2013), pp349-350. [9] “S. Carlo alle Quattro Fontane,“ Italian Architecture info, viewed on 17th August 2013, <http://www.italian-architecture.info/ROME/RO-020.htm>

(Fig. 5) Faรงade of S.Carlo alle Quattro Fontane, photograph, <http://www.italian-architecture.info/ROME/RO-020.htm>

(Fig. 6) Mark Warren, dome, 2010, photograph, <http://baroquedreams.blogspot.com.au/>

A2: C omputational A rchitecture Computational architecture has been employed and explored for more than 50 years [10]. It has redefined the practice of architecture as the advancement of Computeraided design (CAD) and Computer-aided manufacturing (CAM) emerged [11]. You may ask yourself what is so incredible about computational architecture that redefined architecture practice, but first, one has to understand what computation is all about.

an award-winning architecture firm based in Basle, integrates computation into their design process, indicating the success of the invention of computational architecture [13]. The firm works closely with the Digital Technology Group as it helps them develop design scripts for their architectural ideas [13]. This close relation gives them the opportunity to develop a new script for each project thus having no similar idea from the previous project as each project is meant to be unique in its own way [13].

In ‘Computation Works’ (2013) by Brady Peters, he referred to computation as a process where an algorithm can be expressed through the understanding of a model thus allowing designers to explore new ideas and the ability to help designers to solve complex problems [12]. He also referenced Sean Ahlquist and Achim Menges as both defined computation as an environment which provided a framework to generate complex order, form and structure [12]. It is not the notion of simply digitising a project, virtually drafting in CAD where it makes editing easier or a mode of precision drafting [12]. If that is the case, it is a mode of ‘computerisation’, and not ‘computation’ [12].

With the use of computation, it does not only allow architects to realise multiple ideas but also allow architects to perform predictions, simulations on building performance as well as create new spaces of experience [12]. Computational design takes thinking to a whole new level. Although one could suggest that it is a different medium altogether, the concept of designing is similar with a pen and paper [12]. As it is a digital platform, making changes and corrections will be more efficient and an algorithm becomes your conceptual sketch [12]. As architecture practice shifts from pen to algorithm sketching, the complexity of grasping the algorithmic concepts becomes challenging. Peters mentioned in ‘Computation Works’ (2013) that “[w]hen architects have a sufficient understanding of algorithmic concepts… then computation can become a true method of design for architecture.”. This may lead to question whether computation is being used by people or people being used by it. With the help of computational architecture, the possibilities of designing a piece of timeless architecture for Wyndham City will not be limited only to the mind of the designers.

Going back to the question on why computational architecture is widely used, it provides designers with many possibilities and opportunities in design, sometimes going beyond their expectations by generating designs they never thought they could [12]. It also opened up the possibility of constructing complex forms such as the curvilinear architecture of Guggenheim Museum in Bilbao (Fig. 7) by Frank Gehry which demonstrated the use of computational architecture [11]. With the help of digital revolution, complex curvilinear architecture may become the mainstream of architecture practice in due time [11 Herzog & de Meuron,

[10] Achim Menges, “Material Resourcefulness: Activating Material Information in Computational Design,” Architectural Design, 82, no. 2 (2013): pp34-43. DOI: 10.1002/ ad.1377. [11] Branko Kolarevic, Architecture in the Digital Age – Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-28. [12] Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design, 83, no. 2 (2013): pp8-15, DOI: 10.1002/ad.1545. [13] Brady Peters, “Realising the Architectural Idea: Computational Design at Herzog & De Meuron,” Architectural Design, 83, no. 2 (2013): pp57-61, DOI: 10.1002/ad.1554.

(Fig. 7) Guggenheim Museum Bilbao, photograph, <http://www.telegraph.co.uk/travel/ultratravel/10036857/Guggenheim-Museum-Bilbao-guide-Director-favourites.html>

R affles C ity H angzhou UNS tudio

The development of the mixed used Raffles City in Hangzhou in China (Fig. 8), a project done by a Dutch architecture firm called UNStudio, which incorporated retail spaces, offices, housing and a hotel, has integrated the use of computational architecture into the design process [14]. Ben van Berkel explained that the idea was to have a mixed use urban space with “a twist by focusing on where the urban context meets the landscape of the city” [15]. In order for UNStudio to achieve its concept idea, they turned to the use of computational programs such as Grasshopper, RhinoScript and Gehry Technologies’ Digital Project [14]. This precedent not only demonstrated that computational architecture can achieve curvilinear forms, it also indicates that computation can assist designers in generating more efficient and simpler design solutions through scripting and algorithms [14]. In this case, computation had assisted UNStudio in simplifying the costs and demands of fabrication and sustainability simulations (Fig. 9), as well as generating the geometry of the floor area, heights and the envelope of the building [14]. The result of the process had led the team to an avant-garde architecture design. Without the use of computational programs, the design process may not turn out as accurate. It is an interesting project that illustrates how much computation has been part of the design process.

[14] Ben Van Berkel, “Navigating the Computational Turn,” Architectural Design, 83, no. 2 (2013): pp82-87. DOI: 10.1002/ad.1559. [15] “Raffles City Hangzhou by UNStudio,” Rose Etherington, Dezeen magazine viewed on 14 August 2013, <http://www.dezeen.com/2009/07/17/raffles-city-hangzhou-byunstudio/>

(Fig. 8) Image courtesy UNStudio, Raffles City, Hangzhou, China by UNStudio, 2009, image, <http://www.designboom.com/architecture/unstudio-raffles-city-hangzhou-china/>

(Fig. 9) Image courtesy UNStudio, Circulation of Raffles City, 2009, image, <http://www.designboom.com/architecture/unstudio-raffles-city-hangzhou-china/>

S oumaya M useum

F ernando R omero E nterpris E (FREE) Soumaya Museum (Fig. 11) is an iconic structure located in Mexico City as its mission was to “reshape an old industrial area of Mexico City” and “to host one of the largest private art collections in the world.” [16]. For FREE to achieve such monolithic structure of importance, computational programs such as Gehry Technologies and Digital Project 3-D modelling tool were used to solve issues during the design process [16]. It was used to solve the structural issues as well as patterning the façade with hexagonal aluminium panels (Fig. 10) [16]. As the design process was in the construction phase, a 3-dimensional model of the building also assisted in the communication of information where each individual could understand the stages of the project [16]. As building complexity rose, the traditional use of 2-dimensional drawings of plans and elevations through the design process would not be possible [16]. The importance of understanding the complexity is through communicating with computation [16]. With the use of computational architecture, Soumaya Museum is not only an iconic structure but also “an initiator in the transformation of the urban perception” [17]. In relation to the Gateway project, the use of patterning could be of interest in reflecting the culture of Wyndham City and creating a memorial and iconic piece of architecture.

[16] Fernando Romero and Armando Ramos, “Bridging a Culture: The Design of Museo Soumaya,” Architectural Design, 83, no. 2 (2013): pp 66-69. DOI: 10.1002/ad.1556. [17] “Museo Soumaya by FREE Fernando Romero EnterprisE,” Amy Frearson, Dezeen magazine, viewed on 14 August 2013, <http://www.dezeen.com/2011/04/28/museosoumaya-by-free-fernando-romero-enterprise/>

(Fig. 10) Adam Wiseman, The shell of the building, 2011, photograph, <http://www.dezeen.com/2011/04/28/museo-soumaya-by-free-fernando-romeroenterprise/>

(Fig. 11) FREE, Soumaya Museum by FREE, photograph, <http://fr-ee.org/projects/soumaya-museum-mexico-city-mexico/>

A3: P arametric M odelling According to the mathematician, Eric Weisstein, he defined ‘parametric’ as “a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as “parameters”” [18]. He defined it as a mathematical expression where “a set of equations” referred to a set of numbers through “explicit functions” [19]. However, ‘parametric’ as defined by Patrik Schumacher is an architecture style called ‘Parametricism’ [20].

interdependent and activities are communicated with one another [21]. Those who critique the idea of parametric design by Schumacher believed that ‘style’ should not be used to refer to as parametric design [19]. Daniel David (2010) expressed that Schumacher used the word ‘parametricism’ incompetently [19]. Parametric is a vocabulary in digital architecture, similar to the word algorithms or swarming, where each have a different meaning [19]. In Elements of Parametric Design (2010) by Robert Woodbury, he mentioned that parametric design is a form of relationship with the design which required explicit thinking such as “is this point on the line, or near to it”, and thus, parametric is a designer’s tool which helps to create design solutions [22]. The idea is to help designers establish a relationship with the design by manipulating connecting parts and editing the relationships from the final product [22]. This allows designers to have the ability to explore more ideas by reducing the tediousness of starting the project from scratch [22].

In Architects Journal (AJ) (2010) written by Schumacher, he mentioned that ‘parametricism’ will be a unified style of architecture for the 21st century and the style after modernism [21]. He strongly believes that ‘parametricism’ will be the “credible, sustainable answer to the crisis of modernism that resulted in 25 years of stylistic searching” and that it is ready for mainstream [21]. Parametricism brings forth the shift from classical and modern architectural elements to entities of animated geometry [21]. It is a ‘style’ which involved many geometry entities such as splines, nurbs, blobs and metaballs instead of rigid geometry such as rectangles and cubes [21]. These forms of geometry entities function via scripts where they react to attractors and resonate with each other [21]. With this ‘style’, its goal is to enhance an architectural design where internal and external frameworks are interdependent and continue within the complex, urban context [21].

For the design of the gateway, there should be a relationship between the form and Wyndham City itself. Parametric modelling gives us the opportunities to create such complex form as well as creating design solutions, this in turn could demonstrate the construction feat of our time. As the project of Wyndham City wishes not only for an eye catching but innovative and prominent gateway, the potential of what parametric modelling is only limited to the designers’ creative capacity.

As amazing as it seems, there are sets of principles to adhere to in order to deliver a parametric design. Rigid forms, segregative functional zoning and simple repetitions are to be avoided in parametricism [21]. For an accepted form, the form itself must be soft, systems must be differentiated and

[18] “Parametric Equations,” Eric Weisstein, WolframMathWorld , viewed on 15 August 2013, <http://mathworld.wolfram.com/ParametricEquations.html> [19] Daniel Davis, “Patrik Schumacher – Parametricism,” Daniel Davis, September 25 2010, <http://www.danieldavis.com/a-history-of-parametric/> [20] “Parametricism as Style – Parametricist Manifesto,” Patrik Schumacher, Patrik Schumacher, viewed on 16 August 2013, <http://www.patrikschumacher.com/Texts/ Parametricism%20as%20Style.htm> [21] “Patrik Schumacher on parametricism – ‘Let the style wars begin’,” Patrik Schumacher, Architects Journal, viewed on 16 August 2013, <http://www.architectsjournal. co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> [22] Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010), pp 7-48.

(Fig. 12) Zaha Hadid Architects, Zaha Hadidâ&#x20AC;&#x2122;s Flinders St. Station features sweeping strata, 2013, rendered image, <http://www.designboom.com/architecture/zaha-hadidsflinders-st-station-features-sweeping-strata/>

S hellstar P avilion M atsys

The Shellstar (Fig. 14) is a temporary lightweight pavilion that demonstrates the good use of parametric modelling [23]. The project was designed for the Detour 2012 event in Hong Kong and the task was to design an iconic gathering place for the festival attendees [23]. The idea behind the design was a creation of a spatial vortex which aims to draw people into the festival while maximising spatial performance and minimizing the use of structure and materials [23]. For Matsys to achieve such a design, the use of parametric modelling techniques assisted them through the design process [23]. The final form was achieved through a form-finding process with the use of Grasshopper and physics engine, Kangaroo. Matsys managed to design a catenarylike thrust surface with minimal structural depths [23]. The process of surface optimization technique through Python scripting allowed Matsys to smoothen interior seams, making it as planar as possible, making fabrication easier [23]. Without this process, fabrication may pose as a challenge, leading to higher costs and longer time. The last modelling process was planning the fabrication as each cell was labelled automatically, analysed and aligned correctly [23]. With parametric modelling, it demonstrates that it is not just about the overall aesthetic form but the intricate detailing that it offers for designers. With detailing, it could be a form of demonstrating an engineering feat of our time.

23] â&#x20AC;&#x153;Shellstar Pavilion,â&#x20AC;? Andrew Kudless, Matsys, viewed on 17 August 2013, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/ >

(Fig. 13) Dennis Lo, Shellstar Pavilion, 2012, photograph, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/>

(Fig. 14) Dennis Lo, Shellstar Pavilion, 2012, photograph, <http://matsysdesign.com/2013/02/27/ 26shellstar-pavilion/>

D ermoid I

S patial I nformation A rchitecture L aboratory (SIAL) C entre for I nformation T echnology and A rchitecture (CITA) The Dermoid I project started out by the interest of the exploration of material behaviour through computation [24]. The question that headed the project was “how can a doubly curved pavilion be fashioned from a wooden reciprocal frame” [25]. As the project was being carried out, a problem the team faced was distributing elements on an uneven curved surface [26]. The natural way of achieving it would be through wrapping the three-dimensional surface with a two-dimensional surface [26]. However, that led to distortion of the design and elements being either too short or too long. Daniel Davis who was part of the Dermoid team, managed to find the solution through developing a parametric scripting of the swarming algorithm and applying it onto the surface [26]. With the creation of random points on the surface and pushing the points away to their desired distance, Davis was able to achieve the possibility of creating the surface from elements of the same size [26]. Davis had demonstrated the use of parametric modelling in helping one solve a complex problem which reinforces the desired outcome of the project. This project shows the engineering feat of what parametric modelling could achieve. In relation to the gateway project, detailing would represent the engineering feat of our time and thus design a piece of architecture which could be remembered.

[24] “Dermoid Workshops,” CITA: Center for Informations Teknologi og Arkitektur, viewed on 17 August 2013, <http://cita.karch.dk/Menu/Courses/2010-11+Dermoid+Workshops> [25] “Dermoid,” Daniel Davis, Daniel Davis, viewed on 17 August 2013 <http://www.danieldavis.com/dermoid/> [26] “Swarming/& dynamic relaxation on a surface,” Daniel Davis, Daniel Davis, viewed on 17 August 2013, < http://www.danieldavis.com/swarming-dynamic-relaxation-on-a-surface/>

(Fig. 15) Anders Ingvartsen, Dermoid I, 2010, <http://www.danieldavis.com/dermoid/>

A4: A ppendix W eek 1: T ypes

of iterations using

V oronoi

W eek 2: B uilding D ismentling A lgorithms By using the ‘Divide Curve’ component input into the ‘interpolate’ component before lofting, it changes the lofted surface depending on the number of points divided.

Using ‘Divide Surface’ component allows you to create points on the surface and divide into equal length parameter space. This allows you to dismantle into more curves if you wish using “Interpolate” component.

The ‘Contour’ component allows you to contour the surface of your object. The ‘Move’ component allows you to move the contour curves to desired vector. Thus, allowing you to loft into a new surface.

W eek 2: B uilding D ismentling A lgorithms This algorithm allows you to dismantle the lofted surface onto planar surface for further laser cutting and such. The ‘Square Grid’ component allows you to create a grid layout for your planar surfaces and ‘Orient’ component allows you to orient your surfaces onto the grid.

This algorithm allows you to dismantle a surface and rebuilding it through the use of a point vector and a ‘Scale UN’ component.

W eek 3: C ontrolling

the

A lgorithms

W eek 3: C ontrolling

the

A lgorithms

A5: C onclusion Through the case of innovation in relation to the Wyndham Gateway project, the proposed design should consider not just the aesthetic appeal but also, its purpose and meaning with regards to the site and Wyndham City. As the brief wishes to establish innovative, inspiring and brave ideas, the use of parametric modelling will assist us through the design process and produce a meaningful piece of architecture which will contribute greatly to Wyndham City. A design with without purpose and meaning to it is a design not worth contributing to the city. The proposed project aims to reflect what Wyndham City is all about through its culture, history and its people as well asinspire and enrich the municipality for years to come.

A6: L earning O utcomes Since the start of this project, I never thought that computational design played such a huge role in the discourse of architecture and its practice. Be it a big project such as the Soumaya Museum by FREE or a small project such as the Shellstar Pavilion by Matsys, computation has played an important role in their design processes. From the outcomes of these cases of innovation, I have come to understand that architecture is not just about the overall built form, but also the intricate details which lead to the final outcome. It was also interesting to learn about the different perspectives on parametric modelling by Schumacher, Woodbury and Davis. Considering a type of style called ‘parametricism’, a form of relationship with the design or an architecture vocabulary, one could only speculate what the future of computational architecture holds. Similar to the idea of Herron’s ‘The Walking City’, the thought of it at that period of time seemed appropriate for the future, however, it has not been built. I would like to think that speculating what lies ahead takes risk, however, on the flip side; it pushes one to its limit in terms of creativity and allows one to explore new ideas. An example would be a chef predicting customers’ preferences when creating a new dish. In the context of architecture, it would not be dishes but the outcome of the final design. Learning the language of Grasshopper was indeed challenging at the beginning but it in the long run, I believe it will be of great assistance to me during my design process of this project and thereafter. This studio has provided me with many valuable insights into the world of architecture and there will be more to learn in the weeks ahead. I truly believe that this project is a start of something amazing which will change my design process for the future.

P art B: E xpression O f I nterest II

B1: D esign F ocus

W erribee R iver

Following the research on precedents with great engineering feat to create a timeless piece of architecture, our design team aims to research into the significance of Wyndham City. Wyndham City is a residential and rural municipality and it is centred on the residential areas around Werribee. Over the years, Wyndham has experienced the largest and fastest growing population within Victoria and the third fastest growing city in Australia [27]. It is still growing strong for the future. There are factors that led to the rise in population, but one in particular was the Werribee River. The Werribee River has been significant to the traditional owners of Wyndham and it is also the borders between the Wathaurong and Wurundjeri tribes [28]. The river gives the sense of detachment from urban life for the residents and an unforgettable experience as Councillor Peter Maynard said “whether you have lived in Wyndham for five days or 50 years, everybody has an experience or a memory of the Werribee River.”[28]. Wyndham has been working to improve the health of the river as well as extensive replantation programs of native plants and animal species so that everyone could enjoy the experience of the river for many years to come. To propose a gateway which is timeless and has significance to Wyndham, our design team aims to celebrate the qualities of solitude that is much desired by the locals when they interact with the Werribee River. We belief the river represents a sense of identity and a strong historical culture towards the people and the traditional owners of Wyndham City. In hoping to achieve the desired outcome, we plan to create a sense of detachment and contrast against the busy freeway.

[27] “Demographics and Population of Wyndham,” Wyndham City Council, viewed on 5 September 2013, <http://www.wyndham.vic.gov.au/aboutwyndham/wyndhamcity/demographics> [28] “Share Your Werribee River Stories,” Wyndham City Council, viewed on 5 September 2013, <http://www.wyndham.vic.gov.au/aboutwyndham/pubmedia/media/2013/july/werribee_river_stories>

(Fig. 16) Werribee River from Western Bluff, 2012, <http://www.hikingfiasco.com/2012/12/falcons 38-lookout-werribee-gorge-victoria.html>

Form Finding

Pattern Development

D esign S trategy

From the algorithms sketches of Part A, our team carried on further exploration with more algorithm techniques which could assist us in designing our desired outcome for the gateway of Wyndham. In hoping to achieve our goal, our design strategy was divided into two parts, pattern iterations and form finding. This was done in order to have myriad design concepts to choose from. We started developing our pattern through the exploration of geodesic. However, with further exploration, considering the works that has already been done, we found it challenging to further develop the current works. Thus it led us to rethink our approach. Instead of finding a technique first, we thought of what we wanted to achieve for the final project before focusing on a technique. The focus was to design a piece of architecture that recreates the experience of the Werribee River where users could experience the qualities of solitude and serenity as well as the culture of Wyndham City. With the available amount of natural light on site, we had the idea of creating openings on the surface to manipulate light into the space to create the qualities we want to achieve. This led our design team in search of techniques on lattice and tessellation to aid us in designing an innovative piece of architecture. Prototyping would assist us in refining and developing on the pattern and form. With form finding process, our design team aims to focus on further representing our overarching idea of Wyndham City through its form. With the assistance of computational modelling, we could generate a myriad of outcomes and select the most meaningful form and integrate the pattern to achieve our final outcome.

(Fig. 17) Mattinbgn, Werribee River at Ballan, Victoria, Photograph, <http://en.wikipedia.org/wiki/F1ile:Ballan_Werribee_River_001.JPG>

(Fig. 18) Parametric wood, 2011, Photograph, <http://parametricwood2011.wordpress.com/2011/02/10/580/> 36 1

B2. C ase S tudy 1.0 G ridding and L attices through P arametric M odelling As there was an absence of algorithms on â&#x20AC;&#x153;grids and latticesâ&#x20AC;?, our team decided to generate our own algorithm technique through the exploration of generative geometry plug-in called LunchBox and computation modelling software called Grasshopper. This algorithm will form our basis of our pattern development and could be of use in the future for further development in understanding the limitations and advantages of the algorithm.

44 1

C ase S tudy 1.0 M atrix 1

grid patterns

G rid

patterns on surface

3. G raph

4. A ttractor

points

5. C harge & decay

C ulling

pattern

This matrix illustrates how each component can assist in exploring the form and pattern of the grid. It also demonstrates the form finding process as well as understanding the technical aspects of how the grid reacts to the change. 1st row: The divisions of grids on a 2D plane 2nd row: Grid applied on a surface 3rd row: Shape of surface influenced by graph changes 4th row: Use of attractor points to manipulate the form 5th row: Altering the values of Charge and Decay value to manipulate the form 6th row: Manipulating hexagon pattern through culling method Through the exploration of forms with the same algorithm, the outcome of each form has potential to develop further. However, the outcome which was favourable to our team was column D as the number of divisions of hexagon cells felt reasonable comparing to column A (too spacious) and column E (too clustered). Although most outcomes were unfavourable, the results were interesting and made us understood the effects of each adjustment. We believe that further algorithm exploration could greatly assist us in our knowledge and technique to achieve our desired pattern.

C ase S tudy 1.0 M atrix 2 Exploration of Culling Patterning component in relation to the grid.

A. O riginal

hexagon cell arrangment

1. F alse T rue

2. F alse T rue T rue

3. F alse F alse T rue

4. T rue T rue F alse

5. T rue T rue F alse T rue

6. T rue T rue F alse F alse

47 1

B. A lternate

hexagon cell arrangment

The outcome of explorations illustrates how culling pattern could generate multiple instances of grid patterning. In column A, the outcome demonstrated openings within the hexagon cells. With further exploration and understanding of this cull pattern algorithm, we believe that it could be a technique which could assist us in creating openings to allow light to enter our desired structure, thus, this being the favorable choice. In column B, it demonstrated an alternate cull pattern which similarly created openings. However, the outcome showed a bunch of broken hexagon cells instead of proper hexagon cells, this in turn made it undesirable to our aim. Although column B was undesirable, it was interesting to understand the effects of using culling pattern with the different data input of ‘true’ and ‘false’.

48 1

C ase S tudy 1.0 M atrix 3 A A ttractor

A ttractor

points arrangement

points arrangement with point charge

C harge : 0.70 D ecay : 0.36

C harge : 0.40 D ecay : 0.36

C harge : 0.40 D ecay : 0.50

C harge : 0.12 D ecay : 0.05

C harge : 0.12 D ecay : 0.70

C harge : 0.80 D ecay : 0.60

This matrix illustrates the combination of attractor points and point charge component to further explore how it could help the team in form finding process for the grid. In column A, it demonstrates the outcomes of the form by moving the attractor points manually. In column B, it was a further exploration with the use of charge and decay input. All outcomes were interesting and unexpected as it ranged from subtle (B2) to an extreme (B4) grid form. With the understanding of outcomes through point attractors and the use of charge and decay, it could have potential in creating a unique and innovative form for the gateway project. Although all forms have potential, our team found A2 to be most favorable as it could be used to explore potential openings or roof for our installation.

B3: C ase S tudy 2.0 H exiglioo P avilion , R omania (R everse E ngineered ) After looking at Case Study 1.0 on gridding and lattices, our design team decided to push further and incorporate the use of tessellations and patterning. As our team progressed, we discussed that part of our focus for the final design would be an exploration of light. In order for our team to explore such designs, we have chosen the Hexigloo Pavilion (Fig. 19) to reverse engineer. This pavilion was designed by a group of students during a workshop in Burcharest, Romania. It was based on the honeycomb structure which was mapped on to an igloo surface typology, thus giving it the name Hexigloo [29]. The focus of this pavilion was the interior space and how the cone shaped funnels allowed the penetration of light [29].

M ethod

As our focus was to achieve the hexagonal shapes and the cone shaped funnels, our design team acknowledged that the form was not as important because the shape could be mapped onto any surface form we desire. With the understanding of how this pavilion was constructed, this will assist our design team in acquiring a technique to achieve part of the design and our team focus.

The method started with the creation of 2-Dimensional hexagonal cells. Starting on a flat surface allowed us to manipulate the size and shape of the hexagon cells. We achieved the inner hexagon holes through the use of scaling and offsetting the principle hexagon inwards. With the main hexagon geometry prepared, the cells were mapped onto the surface. To achieve the cone shaped funnels, the hexagons on the surface were extruded inwards. Finally lofting and creating the final outcome (Fig. 20). With the final outcome, our team used it as a basic form and started exploring and manipulating the pattern further.

[29] â&#x20AC;&#x153;Hexigloo Pavilion / Tudor Cosmatu, Irina Bogdan, Andrei Raducanu,â&#x20AC;? Archdaily, viewed on 29th August 2013, <http://www.archdaily.com/146764/hexigloo-paviliontudor-cosmatu-irina-bogdan-andrei-radacanu/>

(Fig. 19) Courtesy of Bence Pap, Hexigloo Pavilion, 2011, <http://www.archdaily.com/146764/hexigloo-pavilion-tudor-cosmatu-irina-bogdan-andrei-radacanu/>

(Fig. 20) Reversed Engineered Hexigloo Pavilion

C ase S tudy 2.0 M atrix 1 - O penings A

of hexagons

L inear P attern (A ttractor

D omain R ange 1. M in : 0.1 M ax : 0.9

2. M in : 0.1 M ax : 0.6

3. M in : 0.1 M ax : 0.4

4. M in : 0.1 M ax : 0.2

point on side )

R adial P attern (A ttractor

point centre )

The sizes of the openings of hexagons were manipulated through a domain of numbers and the distance between the centre of the hexagon and a controlled point. This allowed us to create and control variations of different sizes of openings. This in turn allowed our team to control how much light could penetrate through. Althought all outcomes have potential of form, none of the outcomes were favourable as it does not justify our design idea of having the static pattern with big and small openings rather than a gradual change in openings.

C ase S tudy 2.0 M atrix 2 - F unnel D istance D omain R ange

F ront

S ide

1. M in : -0.5 M ax : -0.1

2. M in : -1.0 M ax : -0.5

3. M in : -5.0 M ax : -1.0

4. M in : -10.0 M ax : -1.0

5. M in : -15.0 M ax : -1.0

The funnel distance was manipulated through a domain of numbers which allowed us to control the extrusion distance. With the adjustment of the funnel distance, this will allow our team to control the intensity of light penetration as well as to achieve the desired outcome with precise control. If the funnels are shallow, light penetrating through would be spares. Whereas if the funnels are too deep, light may not penetrate through and thus, the play of light may not be achieved and the experience of it is lost. The successful outcomes, 1 and 2, may be feasible for achieving the focus of play of light comparing with outcomes 3, 4 and 5. At this stage of exploration, it is only the beginning of what the final design for Wyndham Gateway would become. More exploration and prototyping of form to test its structural integrity has yet to come. Our team looks forward in further exploration of form and pattern to design a timeless piece of architecture to bring forth for the people and city of Wyndham.

B3.1: P rototyping C ase S tudy 2.0 After reverse engineering the Hexagloo Pavilion algorithm, our team decided to further explore and understand its form by prototyping the funnels. For the purpose of this prototype, we used black card. The aim of the prototyping was to gain a perspective of how the pattern would form from the funnels when light penetrates through. Our team produced two prototypes and the outcomes were successful in helping us to understand what could progress forward with our design. For the first prototype (Fig. A), we managed to achieve a structurally sound hexagon funnels as well as gradual light patterns on the ground. However, we found an interesting fact that the light patterns were caused by the offset funnels instead of the hexagon openings on the top, thus, leading us to do a second prototype with the changes. For the second prototype (Fig. B), we successfully achieved the similar outcome, however, it was not as structurally sound. With the understanding from prototyping, our team decided to focus more on achieving a static light pattern using a contrast of big and small openings instead of a gradual effect as to achieve our desired outcome of solitude and serenity on the site.

(Fig. A) First prototype, image: Authorâ&#x20AC;&#x2122;s own

(Fig. B) Second prototype, image: Authorâ&#x20AC;&#x2122;s own

(Fig. C) Second prototype, image: Authorâ&#x20AC;&#x2122;s

(Fig. D) Second prototype, image: Authorâ&#x20AC;&#x2122;s

B4: T echnique D evelopment P attern I terations

Pattern A

Following the prototyping of hexagon funnels and techniques, our team was determined to create our own tessellated patterns to achieve our aim for the project. The criterion was to have a pattern which has the potential to allow light to enter through the funnels. This matrix illustrates the different patterns that our team created with the assistance of panelling tools component within Grasshopper. All outcomes have the potential of allowing light to enter. However, we decided on pattern F as it was a unique mix of pentagons and octagons. When panelled, the octagons can be used as funnels for light to enter and the pentagons can be elements which composed the overall structural form of the design.

Pattern B

Pattern C

Pattern D

Pattern E Pattern F 63

(Fig. 1) Curve surface with pattern

Figure 1 illustrates how the pattern would appear on a surface with funnels and openings. As we planned to unroll the surface, we found out that it was not possible due to the surface being nonplanar, thus causing complications for our fabrication. We resolved this by changing the geometry of the pentagons into triangulated shapes (Fig. 2) in order to maintain the curvature of the surface.

(Fig. 2) Triangulated pentagons

S ymbol

C irculation

W yndham C ity W ards

T he K ulin N ation

B4.1: F orm F inding In our initial exploration of form, our team wanted to represent the significance of identities such as the Werribee River through the use of symbolism. We found this particular symbol which signified the notion of something that is sacred and holds a sense of reverence to the community. As we further explored the composition of Wyndham City, we began to understand the common divisions between Wyndham City and the traditional owners of the land around the Werribee River. This led to us representing our design by having three pavilions which reflects the scales and the divisions of the city. With further development of our design, we explored the potential circulation within the site. Instead of having visitors moving around the site, we wanted them to settle into the space. We want them to enjoy the atmosphere and experience of the space, enabling them to take part in the stillness that is present within the structure. This was done in hope to recreate the serenity and stillness of the Werribee River.

D esign O utcome

This outcome was the integration of pattern and form. With further development, we decided to close the openings of the funnels on the base and sides, leaving the top open. This was done to isolate the views of the users from the highway to create a focus within the space as well as to potentially reduce noise coming from the highway.

(Fig. A) Timber prototype with h-clip joint

B5: T echnique P rototype T ectonic

exploration

Following the outcome of our form, we decided to use timber as our choice of material, specifically the use of Spotted Gum. This material has been a native to Victoria and it is highly durable with a life span of more than forty years, hoping to withstand the test of time [29]. It also has a vibrant colour pallet which gives an aesthetic appeal to our piece of architecture. In our focus of using timber, we aimed to emphasize the contrast of using materials of nature against the fast pace highway of machines. It also reflects our aim on creating a sense of significance and identity with the Werribee River. With the decision of timber, our team moved forward with prototyping the funnel and joints using plywood as illustrated in Figure A. The outcome was successful in understanding the materiality as well as the effects of the joints. However, it was an undesired outcome in terms of functionality. With the use of the h-clip joint, it caused the panels to create an opening which we deemed undesirable as light would leak from the gaps (Fig. B); this in turn may disturb the experience of solitude within the space.

(Fig. B) Close up of h-clip joint and gap [29] â&#x20AC;&#x153;Spotted Gum Corymbia maculate,â&#x20AC;? Wood Solutions Design and Build, viewed on 19 September 2013, <http://www.woodsolutions.com.au/Wood-Species/spotted-gum>

(Fig. C) Close up of interior of funnel

(Fig. D) Second prototype made of card with bracket joints

Having the understanding of how the joints may affect the panels, we did a second prototype with card material to demonstrate the steal brackets for the joints (Fig. D). The aim of this prototype was to have an understanding of the effects of brackets as well as how the brackets could be placed. Figure E is a detailed illustration of bracket connection with bolts. As our team moved forward, we hope to achieve an innovative way of connection detail which could be an aesthetic potential in our aims of designing a significant piece of architecture.

(Fig. E) Detailed illustration of bracket joints

B6: T echnique P roposal Our research in tessellated patterns combined with parametric modelling techniques has demonstrated that it is a design approach that should be strongly considered for the design of the Wyndham Gateway Project. Not only has the technique of funnelling geometries been proven to be achievable, tessellated patterns and its form has the potential of providing Wyndham City with a unique and innovative gateway design. We believe this project would serve as an icon of Wyndhamâ&#x20AC;&#x2122;s connection to Werribee River that holds great significance to the communities and culture around it and presents a lasting memory of qualities valued by the traditional owners of the land. Furthermore, it is a place where people can experience the sense of solitude and serenity when one interacts with the Werribee River. The proposed design technique for further development would be heading towards how our design would be implemented on the site. The structure and funnels would be orientated towards the sun to maximise the use of light to create the serene effect in the space. Likewise, we would look into developing an innovative detail joint which could have aesthetic potential as well as structural integrity. Alongside with orientating towards the sun, we would look into how our design could achieve the similar experience at night.

(Fig. 1) Perspective view of the entraces of the gateway project

(Fig. 2) Perspective view of the interior of the gateway project

B7: A ppendix

A lgorithm S ketches

This algorithm sketch uses the Expression components to create a spiral of point for the Voronoi. The patterns were controlled using a Cull component. It culls the data (true or false) to generate voronoi patterns.

This algorithm sketch explores the components from Kangaroo, plug-in for Grasshopper. The spring physics component allows you to manipulate the lines to act like springs. The rest length and stiffness of the spring could be controlled by the user. The gravity component allows you to manipulate the strength of gravity. All these components will be connected into the kangaroo physics component.

Once the simulation is running, another way to manipulate the form is through the use of moving anchor points. Form A was the result of gravity strength set to 10 with all anchor points on the planar surface.

Form B was the result of no gravity but with increased rest length. Form C was the result of Form B but anchor points were moved.

This algorithm sketch consists of both Kangaroo components and Cull component to achieve pattern iterations. The output geometry of Kangaroo component was connected to the Cull component to create patterns from the list of data given. From there, I wanted to create a thickness to the surface, thus connecting Weaverbirdâ&#x20AC;&#x2122;s Thicken surface component. I could control the depth of thickness as well through the use of a number slider.

Used the RelativeItem to find an object and offset to the specific coorinates. Input polyline component to draw lines through the offset coordinates. From there, a surface it constructed through the use of the boundary surface component. Using the panels to control the offset: First number offsets the row, second number offsets the column. Outcome: Different surface boundaries are formed each time the offset coordinates are changed. From the use of the polylines, a brace structure could be formed if input it through a pipe component. Outcome: Trusses and ribs which could possibly be used for the structural support.

From creating a surface, further exploration of extruding all the faces evenly to have material depth.

After exploring the depth of the surface, the next idea was to offset and scale the surface to a desired size. The aim was to find the average point on each surface to create an offset evenly on each surface.

With the offset surface, combined the algorithms to extrude the surfaces evenly.

B8: L earning O utcomes & O bjectives Since the start of Part B, the learning curve for this Studio has been steeper compared to the previous part. Throughout Part B, the challenging task was to understand what each Grasshopper component can do and the purpose of its application. Additionally, creating our own algorithm for a desired pattern was another challenging task throughout the course. From this process, I understood that computational design tool will limit you if one lacks the understanding of the software language. Thus, the limit of oneâ&#x20AC;&#x2122;s design reflects the limit of oneâ&#x20AC;&#x2122;s knowledge of the software. Although it was challenging, this part of the course has proven its usefulness in assisting my group in creating geometry which were unexpected and abstract. Besides gaining knowledge about the software, obtaining skills such as the ability to make an argument for our proposal and critically analysing our group work helped us to pursue a design concept which was strong and interesting. It helped us to realise our flaws in our concept and design. In years to come, this skillset could assist me in future projects. During our technique development, prototyping played a crucial role in our design process. Every prototype our group made was beneficial for us in understanding how we wanted our design to be realised. With regards to the feedback of our interim presentation, our presentation and concept idea was good. However, we still have to work on our detail joints, our structure integrity of the project as well as panels on a curved surface. We will continue to develop our details as well as an on-going research on the structural support. In Part C, our group will be looking into how our design will be placed on site.