Final Journal for Studio Air by Stephanie Choy

A IR

ARCHITECTURE DESIGN STUDIO

SEMESTER 1 2013 STEPHANIE CHOY // 540190 TUTORS: TOM AND FINN

contents 1.0 Case for Innovation 4 _1.1 Architecture as a Discourse 10 _1.2 Computational Architecture 16 _1.3 Parametric Modelling 22

2.0 Design Approach 32 _2.1 Design Focus 34 _2.2 Case Study 1.0 40 _2.3 Case Study 2.0 44 _2.4 Technique: Development 48 _2.5 Technique: Prototype 56 _2.6 Technique: Proposal 60 3.0 Project Proposal 66 _3.1 Design Concept 69 _3.2 Tectonic Elements 84 _3.3 Final Model 90 _3.4 Learning Objectives and Outcomes 100

My name is Stephanie Choy. I am a 3rd year Bachelor of Environments student, majoring in architecture. Born and raised in Melbourne, Iâ&#x20AC;&#x2122;ve always had a penchant for art and design. Asides from architecture, my interests include: graphic design, urban and street art, and travelling. My only experience with Rhino is in the 1st year subject, Virtual Environments. Whilst I found the software to be quite interesting in its capabilities, I was displeased with my final outcome. I am quite excited to learn Grasshopper in conjunction with Rhino as I believe it opens up a whole world of possibilities in terms of design. Bring it on. :)

about me

ARCHITECTURE AS A DISCOURSE

Studley Park Boathouse PERSONAL PROJECT

The brief for Design Studio: Water was to design a boathouse in accordance to Rem Koolhaas’ compositional rules. Regular rectilinear masses constitute the form of the boathouse, shifted accordingly in relation to the context. Furthermore, the boathouse design promotes a sense of instability - a theme that runs concurrent in Rem’s works. Tackling the brief from the master’s perspective, thereby being confined to follow form-making principles of Koolhaas, limited the scope of what I was able to produce as the design outcome. This project differs greatly, in that regard, to the Wyndham Gateway brief where there is such a capacity to develop complex geometries. Utilising computational design tools to generate a design is a different approach to that of previous studios - and something I am not so familiar with. My previous experience with using digital technologies primarily involve the presentation aspect of the project - merely a tool for which I communicate my design.

6 FIG 1. Studley Park Boathouse, 2012

ARCHITECTURE AS A DISCOURSE

Case for Innovation PART 1

â&#x20AC;&#x153;

Above all, architecture ought to be seen as a discourse.1

RICHARD WILLIAMS, 2005

Architecture as a Discourse

Architecture needs to be seen as a discourse, more than what its physical manifestation. Architecture is not only limited to buildings, but other built forms as well. Architecture was traditionally seen as a piece of art, with stylistic applications on the facade. There are inherent problems with this 2-dimensional view as it is a very superficial and aesthetic-based perspective, disregarding the social means and experience created by the piece of architecture. Secondly, architecture can be viewed as a sign a marker or signifier of something.3 For example, symbols of a church are representative of its function as a place of worship. Understand architecture as a sign is crucial in our understanding of how a building functions in the public sphere. Thirdly, architecture can be considered more abstractly as a spatial experience.4 The creation of a spatial experience gives architecture a much more broader definition, not strictly limited to buildings. It is of utmost importance to evaluate the proposal for the Wyndham Gateway Project through each of these aspects.

Richard Williams, â&#x20AC;&#x2DC;Architecture and Visual Cultureâ&#x20AC;&#x2122;, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 1-4

ARCHITECTURE AS A DISCOURSE

Extension to the Denver Art Museum

STUDIO DANIEL LIBESKIND

This extension designed by Daniel Libeskind has been added onto the existing museum, which was constructed in 1971. The two museums are treated as two different buildings, linked together by a steel bridge built on the extension.5

embodies the spirit of Denver. It can be considered as the most public of the arts.6 Additionally, it has a prominent position joining the city and civic centres and henceforth should be treated as part of a composition of public spaces and monuments.

The extension was designed with the intention of revitalising Denver’s cultural centre and ultimately, become an icon of the city, which is a shared objective of the Wyndham Gateway Project. In considering architecture as a discourse, this museum is not merely a building, but a piece of art - an icon that

Computational software is essential in creating the museum facade that emulates the mountainous surrounding landscape of the city. The angular structures are cladded in a choice of materials reflecting the connection between tradition and modernity.

“

The building is a clear example of the urban dialogue between architecture and the public.7 ALEX SANCHEZ VIDIELLA, 2007

Alex Sanchez Vidiella, “Extension to Denver Art Museum”, in The Sourcebook of Contemporary Architecture (New York: Collins Design, 2007), pp. 156-158 Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2 pp. 102 - 116 5,7

2005),

FIG 2. Extension to Denver Art Museum, Denver, 2006

ARCHITECTURE AS A DISCOURSE

Danish Pavilion BJARKE INGELS GROUP

The Danish Pavilion, designed by BIG for the Shanghai Expo 2010, gives the public an opportunity to experience different aspects of Danish city life. The pavilion is not merely an exhibition space, but rather embodies elements of Danish life. In accommodating the multitude of activities in the pavilion, an innovative multi-functional structure is designed in the form of a double loop. This provides a continuous path for visitors to bike around the pavilion, around a centrepiece bath holding the iconic Little Mermaid statue from the Netherlands. This innovative and progressive piece of architecture is enhanced through its external facade of perforated steel. During the night, the facade becomes a sequenced instrument of illuminating light.8 The living facade animates the Danish city skyline, lit up by a series of LED lights. Although it is not explicitly stated, the varying widths and densities of the perforations may intrinsicly relate to the mechanics of

14 8

the facade’s illumination. Conversely, the perforations could equally be seen as randomly generated with parametric exploration, with absolutely no relation to the external surroundings or internal functioning. As state-of-the-art, complex pieces of architecture, exhibition pavilions utilise digital technologies in order to realise and fabricate their designs. The external perforations is one example of how parametric tools may have aided the development of the pavilion. The building typology itself is not merely an enclosed exhibition space but revolves around bicycles as a key means of transportation, embodying the lifestyle of the Danes in the pavilion. The capacity to capture dynamism and movement within this contained pavilion space makes this project truly ground-breaking and innovative.

(top) (bottom)

FIG 3. Danish Pavilion, Shanghai, 2010 FIG 4. Interior, Danish Pavilion, Shanghai, 2010

Dezeen, “Danish Pavilion at Shanghai Expo 2010 by BIG”, (2010) < http://www.dezeen.com/2010/05/01/danish-pavilion-at-shanghai-expo-2010-by-big/> [Accessed 14 March

h 2013]

ARCHITECTURE AS A DISCOURSE

â&#x20AC;&#x153;

[Contemporary digital architectures] seem to prefigure an entirely new way of architectural thinking, one that ignores conventions of styles or aesthetics altogether in favour of continuous experimentation. 9 BRANKO KOLAREVIC, 2003

Computational Architecture

The use of computers in the architectural practice has had a profound change in the conception, realisation and fabrication of designs. First and foremost, they open up possibilities of producing very complex forms, that would otherwise be too difficult and expensive to design with traditional construction technologies.10 As architects explore non-Euclidean geometries, there is the growing emergence of curvilinear forms. Euclidean thought and platonic solids is replaced with the use of NURBS amongst other computational tools The impact of digital technologies on architectural design processes is substantial. Departing from the traditional method of sketching designs, digital-generated forms are calculated by computational methods.11 One of the most pronounced changes is that the emphasis shifts from ‘making of form’ to ‘finding the form’. Previously, digital technologies were utilised in the design practice as a tool to computerise the design. This refers to translating a traditionally-generated design to a digital medium, typically just for communication purposes. The shift to using computational tools to generate the design has many other advantages. By streamlining the design process, computational tools give greater creative control to the architects. Designers are able to manipulate and analyse data to produce innovative designs, opening up the possibilites in the realm of the design space.12

17 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20 , 2, pp. 63-82

9-11 12

COMPUTATIONAL ARCHITECTURE

FIG 5. visualisation, White Magnolia Tower, Shanghai

COMPUTATIONAL ARCHITECTURE

White Magnolia Tower SKIDMORE, OWINGS & MERRILL

“

Architects and structural engineers at SOM work together in a long-established spirit of research driven collaboration that has yielded many important designs in which the architectural and structural concepts evolve in synchronicity.13 ARCHITECTURAL DESIGN, MARCH 2013

Computation plays a key role in the firm Skidmore, Owings and Merrill (SOM) in which digital technologies have been embraced for 50 years.14 The manner in which architectural and engineering collaboration has been embraced in the firm has yielded many astounding results, including this office tower in Shanghai. Digital technologies is used primarily to analyse and assess the structural performance of a design using algorithms. These are then visually mapped in order for an architect to understand how the form of a building affects it structural nature.15 These computational tools have enabled the design team to evaluate a large number of designs in order to find the optimal solution. The White Magnolia Tower was designed using an algorithm that enables an optimum usage of materials. With computation being such a key aspect of the design process, SOM’s designs are not merely ‘computerised’ (ie. translated into a digital medium ), but rather, are driven by computational tools in order to find the optimum design. Creativity is still pertinent in these designs as it is not merely a work of engineering, but rather, it is a close collaboration between the two fields working in synchronicity. These algorithmic tools allow SOM to speculate their buildings’ structural performance to produce an optimum solution whilst still fulfilling its design intent.

13-15

Keith Besserud, Neil Katz & Alessandro Beghini, “Architecture and Design Collaboration at SOM”, Architectural Design, March 2013, pp.49-55

COMPUTATIONAL ARCHITECTURE

Shellstar Pavilion MATSYS

Shellstar Pavilion is a parametrically modelled pavilion designed for an art and design festival in Hong Kong. It was designed for the intent to be a spatial vortex, drawing festival attendees to the iconic pavilion gathering place.16 The design process can be broken down to 3 stages, all enabled by digital modelling technologies. Developed from form-finding techniques utilised by architects like Antoni Gaudi, catenary structures were developed using Grasshopper and the physics engine, Kangaroo.17 The translation of classic techniques onto a modern digitised medium allow for efficiency and precision in calculating minimal structural depths. Python was used for surface optimisation. Each cell is a slightly non-planar cell, bent to fit the curvature of the pavilion.18 This greatly simplifies fabrication by optimising the cell size.

Again using python, each of the cells were unfolded flat to prepare it for fabrication. Cell orientation was analysed and rotated to align the flutes of the material with the principal bending direction of the pavilion.19 Overall, the provision of parametric technologies has greatly simplified the design of an otherwise complex form. This project sees the entire design process, from form-finding to fabrication, unravel through the use of digital modelling technologies. Whilst some may see computing in architecture as encouraging ‘fake’ creativity, computational tools greatly increase the scope of what is able to be produced. In effect, it encourages a new form of creativity and a new direction in design in which iterations can be designed to optimise material usage and structural performance.

20 16-19

Erin, “Shellstar Pavilion by MATSYS”, Contemporist (March 4 2013) < http://www.contemporist.com/2013/03/04/shellstar-pavilion-by-matsys/> [Accessed 15 March 2013]

COMPUTATIONAL ARCHITECTURE

(top) (left)

FIG 6. Shellstar Pavilion, Hong Kong, 2012 FIG 7. Design process, Shellstar Pavilion

â&#x20AC;&#x153;

Design is change. Parametric modelling represents change. 20

ROBERT WOODBURY, 2010

Parametric Modelling

Parametric design refers to the manipulation of specified parametrics within algorithms and using these to generate forms. This discourse will primarily refer to parametricism as a process of design. Architect, Patrik Schumacher, proclaims in favour of parametricism as a style. However, there are inherent issues with this line of thought. Parametric design is a process, but in this case, Schumacher remarks about it propogating a new type of artistic expression through parametric technologies.21 Unlike other architectural styles, parametricism does not have broader social aims, nor are there rules or characteristics definitive of the ‘style’. Parametric design is most prominent in smaller, experiential projects and is not something many clients would pursue in their design for a standard house or office building. Parametric design has many advantages. The use of parameters dictacting form allows one to produce an many iterations of design solutions with minimal effort. As parametric design involves designing set of principles encoded as parametric algorithms rather than a specific form, it allows greater manipulation of how each element relate to the unified whole. Architects no longer add and erase, but instead, they add, erase, relate and repair.22 The limitation of utilising parametric technology is the cost associated with it. Not all architects are familiar with parametric design and it can also be quite complex in generating the parametric algorithm. In most cases, as mentioned earlier, parametric design is not applicable in all instances of architecture. However, in the case of the Wyndham Gateway Project, parametricism can definitely be utilised in the realisation of a truly stateof-the-art piece of highway art.

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Patrik Schumacher. (2010, May 6). “Patrik Schumacher on Parametricism - ‘Let the style wars begin’” posted to Architects Journal. < http://www.architectsjournal.co.uk/ the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> 20, 22 21

PARAMETRIC MODELLING

The Swarm Pavilion TECHNICAL UNIVERSITY, MUNICH

The Swarm is a free-stading sculptural pavilion that emulates a flying flock of birds.The separate 211 connecting modules are read together as one coherent swarm of birds, flying upwards in a curve.23 Parametric modelling is crucial to the realisation of The Swarm. There lies an important integration between engineering and design practices. Three sets of different bird modules were designed in order to counteract the forces affecting the sculpture and these include: one-way folded modules, modules with a folded Alucobond inlay and the base point modules with a steel inlay.24 These are possible due to innovative milling techniques that can produce the various forms and additionally, this method ensures an optimal distribution of forces. Once milling is complete, the fabrication process involves laser printing the shapes on Alucobond. These are then folded and screwed together to form The Swarm sculpture.

(left) (right)

FIG 8. The Swarm Pavilion, Munich, 2012 FIG 9. Construction of The Swarm, Munich, 2012

PARAMETRIC MODELLING

FIG 10. The Swarm Pavilion, Munich, 2012

PARAMETRIC MODELLING

The repetition of the forms and maintaining consistency amongst them is essential to the design intent. Here, the different bird modules are repeated and relate to each other in a coordinated way. This is not impossible without the means of parametricism but much more straightfoward and efficient with these technologies. The labourious ‘cut and paste’ aspect of the design process is cut out. This is similar to the algorithmic challenge of week 1, in which spheres where modelled to follow curves. As this was parametrically modelled, it not only makes repetition simple and efficient, but also maintains a greater sense of control and consis-

tency over the whole unified model. Because of the use of explicit history, a slight change in, say, the curve of the swarm will be coordinated with the birds’ location. This is much more time effective than manually shifting each module. The relatedness of the modules and the control of this extent is another crucial advantage of parametric modelling. The birds are not placed in arbitrary locations but rather, repeated in a controlled manner and in relation to the other parameters (ie. curve). Parametricism is fundamental to the realisation of an otherwise complex sculpture. It is unlikely that a model of this complexity would be developed and fabricated prior to the advent of parametric modelling technologies.

27 23-24

Wieland Schmidt. (2012, April 12). “THE SWARM” posted to Grasshopper 3d blog. <http://www.grasshopper3d.com/profiles/blogs/the-swarm>

Algorithmic Explorations

_WEEK 1 Using a polar arrayed curve as basis for a set of spherical forms, getting larger closer to the centre.

_WEEK 2 Intersecting planes with a lofted form in order to produce pipes.

_WEEK 3 Dividing curves and offsetting points. These points were used to create planar surfaces, emulating origami.

Architecture needs to be considered as a discourse - not merely as buildings. The study of precedents reinforce the broad role of architecture in society. Architecture as art, a sign and as a spatial experience are all applicable to the Wyndham Project. A successful design would integrate each of these aspects into the project. The Gateway is inteded to be progressive and innovative - just like our digital age. Parametric modelling is undoubtedly the future of architecture. The capabilities of these technologies are to be embraced in the design of the Wyndham Gateway. The precedents weigh up the advantages, fabrication methods and successes of past parametric projects and are immensely useful in developing the Wyndham Gateway. In reflecting on the previous weeks’ work, my understanding of architecture as a discourse has really broadened. Previously, I was quite perplexed as to why the brief this semester was not a building but upon further discussion and consideration, this studio’s project is as relevant than any other typical ‘architectural’ brief. It is perhaps even more applicable in this Digital Information Age where parametric modelling is increasingly used by firms to inform their designs.. Weighing up the advantages of computational design, in particular parametric modelling, there is no surprise why it is so prevalent nowadays. Others may be of belief that parametric design reduces the creativity expressed by traditional design processes; however, I strongly believe that parametric technologies open up a world of possibilites and maintains a crucial role in the development of truly revolutionary and state-of-the-art projects.

conclusion 30

References _IMAGES FIG 2. Extenstion to Denver Art Museum, Denver, 2006, <http://www.arch2o.com/wp-content/uploads/2013/03/ Arch2o-Denver-Art-Museum-Daniel-Libeskind-4.jpg> FIG 3. Danish Pavilion, Shanghai, 2010, <http://www.contemporist.com/wp-content/uploads/2010/05/ big_070510_01-630x418.jpg> FIG 4. Interior of Danish Pavilion, Shanghai, 2010, <http://vedasri.files.wordpress.com/2011/01/ denmarkpavilion8_900x600_c_kingkay-architectural-photography-ashx.jpeg> FIG 5. Visualisation, White Magnolia Tower, Shanghia, <http://ww1.sinaimg.cn/large/97c69fe2gw1dqekon2mncj.jpg> FIG 6. Shellstar Pavilion, Hong Kong, 2010, <http://www.contemporist.com/wp-content/uploads/2013/03/ ss_040313_05-630x420.jpg> FIG 7. Design Process, Shellstar Pavilion, <http://www.contemporist.com/wp-content/uploads/2013/03/ ss_040313_10-940x589.jpg> FIG 8. The Swarm, Munich, 2010, <http://www.hangar-7.com/typo3temp/pics/f13dd8a1d0.jpg> FIG 9. Construction of The Swarm, Munich, 2010, <http://www.evolo.us/wp-content/uploads/2012/05/parametricdesign-4.jpg> FIG 10. The Swarm, Munich, 2010, <http://api.ning.com/files/wo-qYaLlYh9od3oQKSxw4YeptjVCh8gG9JZb7lHoWKRg3yAAvTtjzb0cWFPxtLeiBgga1SvSqBiQc1F2HezdUA__/THESWARM1.jpg>

_REFERENCES Alex Sanchez Vidiella, “Extension to Denver Art Museum”, in The Sourcebook of Contemporary Architecture (New York: Collins Design, 2007), pp. 156-158

Dezeen, “Danish Pavilion at Shanghai Expo 2010 by BIG”, (2010) < http://www.dezeen.com/2010/05/01/ danish-pavilion-at-shanghai-expo-2010-by-big/> [Accessed 14 March 2013]

Erin, “Shellstar Pavilion by MATSYS”, Contemporist (March 4 2013) < http://www.contemporist. com/2013/03/04/shellstar-pavilion-by-matsys/> [Accessed 15 March 2013]

Keith Besserud, Neil Katz & Alessandro Beghini, “Architecture and Design Collaboration at SOM”, Architectural Design, March 2013, pp.49-55

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 Patrik Schumacher. (2010, May 6). “Patrik Schumacher on Parametricism - ‘Let the style wars begin’” posted to Architects Journal. < http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-thestyle-wars-begin/5217211.article> Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 Wieland Schmidt. (2012, April 12). “THE SWARM” posted to Grasshopper 3d blog. <http://www.grasshopper3d.com/profiles/blogs/the-swarm> Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20 , 2, pp. 63-82

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48

Design Approach PART 2

DESIGN FOCUS

Tessellation

Tessellation is evident in naturally-occurring forms, including, the corn on a cob or the honeycomb. The image on the right, Sky and Water I, is by the artist, M.C. Escher, who commonly experimented with drawings of illusions and tessellated forms. Though the whole drawing itself is not definitive of tesellation in the strictest sense, the converging of the two animal shapes tessellate towards the centre. The integration of the two â&#x20AC;&#x2DC;oppositesâ&#x20AC;&#x2122; illustrates the coming together of the city and the suburbs in the Wyndham Gateway Project. This theme can be further explored, with the use of tessellation, later on in the design process. Tessellation is commonly used in architecture, as surface made especially easy with the capabilities of parametric modelling tools. The tessellation is seen in the surface expression, through panelling and repetitive elements. Because of the curved forms usually created by parametric modelling,

tessellation does not merely involve the use of polygonal forms on a 2d plane - and neither does it entail no overlapping or gaps. As mentioned earlier in the discussion of the Shellstar Pavilion, by packing the curve with non-planar cells, tessellation enables material optimisation. Additionally, by breaking up a large form into smaller repeating elements, the design is easier fabricated. Another aspect of tessellation designs yet to be explored is the manner in which these panels or cells connect to each other. The use of tessellation as surface expression can create pavilion-like spans. Placed over the freeway, tessellation can be used to create interesting shadowing effects, exploring the contrasting positive and negative spaces it creates.

34 FIG 11. Sky and Water I, M,C Escher

ARCHITECTURE AS A DISCOURSE

DESIGN FOCUS

Voussoir Cloud

IWAMOTOSCOTT

Voussoir Cloud is an interesting project that uses tessellation as surface expression in a 3d structure. Gaps between the petals is integral for the sensorial effects - it creates a stunning shadowing effect and lightness to the form. Consisting of 3d petals, Voussoir Cloud is a landscape of vaults and columns. Each petal has a slightly different geometry and curvature and were developed by scripting. Delaunay tessellation was used to develop these petal forms, which make up the catenary structures. Delaunay tessellation specifies the compacting of smaller cells towards the base of the columns, forming strengthened ribs. The petals at the top of the columns loosen.25 Coupled with Gaudi’s technique of hanging chain models to find pure catenary structures, delaunay tessellation is useful in capitalising the structural logic. These techniques can be used together in the development of a Gateway.

36 25

Triangulation Blog (2011, June 6). “Voussoir Cloud” posted to Triangulation Blog. <http://www.triangulationblog.com/2011/06/voussoir-cloud.html>

â&#x20AC;&#x153;

Voussoir Cloud explores the structural paradigm of pure compression coupled with an ultra-light material system.1

FIG 12. Voussoir Cloud, Los Angeles, 2008

IWAMOTOSCOTT

DESIGN FOCUS

POLYP.lux SOFTLAB

Polyp.lux is an installation hung at an entrance of St Patrick’s Catholic school in New York City. Similar to the Voussoir Cloud, light plays an important role in the creation of its spatial experience. Each of the mylar panels, that constitute the form of the installation, is lit up by battery-powered LEDs.26 Another aspect of the Polyp.lux installation that interests us is the geometry of the panels that change in accordance to the structure. The structure was created by modeling gravitational forces and this is reflected in the tessellation of the surface. Again, this bears resemblance to the Voussoir Cloud in the way that the panels at the bottom of the vault are larger in area than the panels that act in tension. The mylar construction gives the model flexibility in following a curved surface. Our team envisioned to achieve how the positive and negative spaces of a tessellation can add dynamism through its changing shapes and also how the qualities of light add to the spatial experience of the motorists. FIG 13. POLYP.lux, New York, 2012

39 26

Design Playgrounds, “POLYP.lux by SOFTLAB”, <http://designplaygrounds.com/deviants/polyp-lux-by-softlab/>

CASE STUDY 1.0

TECHNIQUES _NUMBER OF POINTS OF INSERTION

_RADIUS OF OCULUS

_ATTRACTOR POINTS (CONES)

ITERATIONS

number=6

v min=0.0

bottom right

number=13

v min=0.2

off-centre

number=20

v min=0.4

number=28

v min=0.7

number=35

v min=0.9

top left, bottom right

top left, bottom right, centre

left

CASE STUDY 1.0

Matrix Exploration | VoltaDom SKYLAR TIBBITS

_POLYGONS

_ATTRACTOR POINTS (OCULUS)

_ATTRACTOR POINTS (DENSITY)

squares

top left

centre

pentagons

middle top

left

nonagons

top left

right

hexagons

bottom right

left

hexagons & squares

bottom right

centre

CASE STUDY 1.0

NUMBER OF POINTS OF INSERTION

RADIUS OF OCULUS

The VoltaDom originally consisted of cones packed tightly on a plane with an oculus cut out from each. The first parameter adjusted was the number of points of insertion. 20 points ensured coverage of the entire base plane with no gaps, as well as maintaining the conical forms.

The second parameter was the ratio of the oculus in relation to the radius of the cone. The larger the oculi, the less the form appears conical. Instead, they appear as random overlapping circles. The ratio was kept at 0.2.

ATTRACTOR POINTS (CONES)

A regular grid replaced the voronoi placement of cones with an attractor point(s) specifying the radius of the cones. Using one attractor point from the corner creates a clearly defined gradient of increasing cones.

CASE STUDY 1.0

Matrix Exploration | VoltaDom SKYLAR TIBBITS

POLYGONS

Polygons were used rather than cones. Whilst this produced some interesting tessellating effects, this does not produce the same fluidity as the cones. Using attractor points to manipulate the sizes of the polygons on top of one another led to the next step, which involves changing the size of the oculi using attractor points.

ATTRACTOR POINTS (OCULUS)

Using an attractor point in the top left of the grid (opposite to that of the previous iterations), the oculi of the cones were manipulated in order for larger cones to have smaller oculi. The reversal of this cones-oculus ratius relationship is quite interesting as it illustrates opposites converging at a point - one theme that our group is interested in exploring.

ATTRACTOR POINTS (DENSITY)

Attractors were used in conjunction with mathematical expressions in order to pack the cones closer at certain points. This technique produces an organic-like quality; however, as the previous iterations were most expressive of our area of interest, we reverted back to those.

HEIGHT OF CONES

Finally, the model was considered as a 3-dimensional entity. Height parameters of the cones were adjusted again using an attractor point. In this iteration, the cones get taller as they reduce in radius.

CASE STUDY 2.0

Reverse Engineering | Tesselion SJET

FIG 14. Tesselion, Philadelphia, 2008

Tesselion is an explorative project into the capabilities of parametric technologies, by demonstrating how complex surface curvature can be constructed by breaking up the surface into flat panel tessellation. Its ease of constructability, strutural simplicity, programmatic adaptation and lighting qualities are all facilitated by this method of panelling. Reverse engineering the Tesselion was not too complex. Whilst most of the key elements of Tesselion were achieved, there were still some differences between the outcome and the precedent.

CASE STUDY 2.0

SURFACE

PANELS

FENESTRATIONS

CULL

CASE STUDY 2.0

Curves are lofted to form a surface

The surface was divided into quadrilateral panels using the â&#x20AC;&#x2DC;Quadâ&#x20AC;&#x2122; component from the Lunchbox plugin. This can also be achieved with the Panelling Tools plugin.

Various attempts were made to reproduce the fenestration on Tesselion, including, using the Lunchbox command to split quads, subdividing the surface into grids and joing the vertices to create polylines; however, the most successful attempt came from mapping various sized rectangles to the panelled surface at the corners.

The patttern of fenestration was then culled using repulsor points, in order to emulate Tesselion.

CASE STUDY 2.0

SIMILARITIES

• • •

Quadrilateral panels follow curvature Panels are planar and developable Fenestration applied successfully

DIFFERENCES

• •

•

Edges are filleted in the Tesselion Fenestration was abritrarily culled in our model. Whilst it was not explicitly stated, there could be some overriding rule governing the pattern of the fenestration More variation in sizes of the fenestration in the Tesselion. This could have been produced using attractor points.

TECHNIQUE DEVELOPMENT

Morphing Tessellation

ALGORITHMIC EXPLORATION

Following our groupâ&#x20AC;&#x2122;s interest in Escherâ&#x20AC;&#x2122;s drawings and morphing tessellation, our group were assigned the algorithmic challenge of simulating tessellation that morphs in shape. This has the capacity of producing something much more complex than the standard quadrilateral tessellation of the Tesselion project. The matrix exploration using the VoltaDom case study informed us of many approaches of how one can tackle this design challenge. The technique of replacing the cones with polygons already started to bear resemblance to what we wanted to achieve. The major discerning difference, though, was how to reduce the overlapping of each shape and to make the tessellation seamless. Once again, a grid was used to ensure the regularity of the shapes. Instead of using these gridded points as a base for the polygons, these points were off-

set from the corners - thereby making it a seamless tessellation. The second issue that this definition needed to resolve was how the geometry would change shape. In the matrix exploration, the size of the polygons were controlled by attractor points. However, as it was our aim to change the shape of the geometry and in order to do this, we looked at how to manipulate the polylines connecting the gridded points. The graphmapper gave us greater flexibility of adjustments instead of utilising an attractor point. Different graphs were used on the images on the right to produce different iterations - each illustrating changes from circles to stars. Now, the most pertinent issue is how to translate the planar defintion onto a curved surface.

TECHNIQUE DEVELOPMENT

GRAPH MAPPER

TECHNIQUE DEVELOPMENT

Instinctively, it seemed that the easiest way in order to translate the pattern to the surface was by using the component â&#x20AC;&#x2DC;map to surfaceâ&#x20AC;&#x2122;. However, the big issue that arose from the outcome was how to make each individual panel developable, rather than just projecting the pattern upon the surface. Making each cell planar would make fabrication easier as well as ensuring that the physical model resembles the Rhino model. Fabricating curved cells create inconsistencies in the model by possibly causing unintentional overlap and/or gaps. Another interesting aspect of the surface mapping was how the curved surface distorted the pattern, creating shapes of various sizes.

TECHNIQUE DEVELOPMENT

CURVES DISTORTION OF SHAPES

LOFT

MAP TO SURFACE

TECHNIQUE DEVELOPMENT

_1ST APPROACH

_2ND APPROACH

SQUARE GRID

DIVIDE INTO SUBSURFACES

PATTERN

MAKE PLANAR GRID

MAP TO SURFACE

PROJECT PATTERN

FABRICATE

TECHNIQUE DEVELOPMENT

PATTERN

Creating planar cells from the pattern that was mapped to a surface proved to be a very difficult task. Initial attempts were made to find the normals at each of the polygonsâ&#x20AC;&#x2122; centroid, then using this in order to create tangential planes. The pattern would then be mapped onto these planes, which ideally would have produced planar cells. The issues with this approach was how to find the tangent of a surface at a point and also how to ensure that all of the panels touched as our group wished to maintain the integrity of the tessellation.

TECHNIQUE DEVELOPMENT TECHNIQUES _NUMBER OF PANELS ITERATIONS

_GRAPH MAPPER

_RIB STRUCTURE

TECHNIQUE DEVELOPMENT _NOTCHES

Matrix Exploration

This matrix exploration was produced in order to refine the technique. The first two parameters adjusted was the pattern of the changing geometry itself, using both the graph mapper and changing the scale of it. When the scale was of a larger number, the shapes turn more diamond-like, but the star shapes from before were unable to be reproduced. Any attempt at enlarging the scale (which in theory would produce stars) led to crazy lines that destroyed the overall integrity of the tessellation. The following three parameters adjusted were all concerned with methods of fabrication. The method of fabrication not only needed to be related to the aesthetics of the structure, but also the materiality and ease of construction. The first attempt produced a ribbed structure and these were developed to produce pipes and fins of changing heights. The next series of iterations saw the exploration of an underlying rib structure that does not follow the tessellating geometry. Whilst this is essentially the easiest method of fabrication, our group considered this to be quite unsightly and also unrelated to the tessellation. A final attempt was made at producing notches between the panels; however, the decision was made to revert back to the ribs as this emphasised the changing geometry more. The major downfall of this approach was how it limited the materiality in fabricating a prototype as it requires a thinner, more flexible material.

TECHNIQUE PROTOTYPE

Fabrication

From the previous matrix explorations, it was concluded that creating a rib structure underneath the panels would be easily fabricated but also add to the aesthetics of the overall structure. The articulation of the ribs emphasise the changing geometry and connectedness of the panels. Fabricating the model consists of breaking up the model into smaller elements, ie. the panels and the rib structure underneath. The entire rib structure was then broken down into strips that could be unrolled using Rhino. These were then connected by cleats., which could potentially be made out of steel in the actual setting. The rib structure was connected to the panels using tabs. This method of fabrication informed the prototype materialisation. Card would be an ideal material to fabricate the prototype as it is thin enough to score and fold. As the fabrication method and materialisation are so closely intertwined, it is important to consider how the actual materiality can be achieved through this fabrication method.

TECHNIQUE PROTOTYPE

57 FABRICATION PROCESS

TECHNIQUE PROTOTYPE

Fabrication

The model was fabricated quite successfully on this first attempt and the whole model appeared to be quite sturdy. One significant different between the Rhino model and the physical prototype was how the physical model appears to be flattened as its curvature was not as defined as the digitised model. Applying slight pressure on either ends of the prototype makes this curvature more pronounced. This is something that needs to be resolved later on in the design process in considering how the structure is erected and stabilised.

TECHNIQUE PROTOTYPE

The qualities of light in creating an interesting spatial experience for motorists was one of the key driving principles behind our proposal. These images on the left show the changing shadows that differ accordingly with changes in light intensity and location. During the day when the sun shines directly on the structure, shadows appear crisper and the negative spaces of the stars appear more pronounced. The juxtaposition of the positive spaces of the structure and the negative spaces of the shadows are integral to the creation of a spatial experience. Though only a fleeting experience, this immersion in shadows would bring about an enchanting change in an otherwise monotonous commute to and from the city.

TECHNIQUE PROPOSAL

Project Proposal

“

The Western Gateway should propose new, inspiring and brave ideas, to generate a new discourse.

“

Breaking up a large surface into smaller elements and then adding this unexpected element of gradation and change within the tessellation can create a dramatic and inspiring outcome. Depending on how the installation is approached, the completedness of the structure will diminish to smaller fragments and vice versa. Tessellation is a favourable approach as it considers the careful junction of panels and how it fits in with the entire structure, creating intriguing positive and negative spaces.

The installation should create a focal point of iconic scale and presence and encourage a sense of pride within the local community.

“

The installation is to be iconic and representative of the growth of Melbourne’s western suburbs. The morphing tessellation would be used to embody the rapid growth of the West, expressing the movement and growth of the population within the given site. This is a theme that would be explored more deeply following an analysis of Wyndham and the Western interchange site.

It will have longevity in its appeal, encouraging ongoing interest in the Western interchange by encouraging further reflection about the installation beyond a first glance. The appeal of our project proposal lies in the way it is experienced. The spatial experience is created through the filtering of sunlight, casting a pattern of shadows below. As the shadows vary according to the time of day, the Gateway installation is more than it appears at first glance. It is an experience that aims to create a lasting impression on the motorists.

TECHNIQUE PROPOSAL

The feedback received from the panel was encouraging and was generally expected in terms of where our group wished to take this design further. The main concern that was raised was how our design would be of a competitive advantage. As it was definitely lacking in our verbal presentation, it ought to be covered thoroughly in our journals. It is important to note that this should be addressed as an expression of interest, not merely placing a structure arbritarily on the roadside for no purpose at all. Another issue raised by the panel was how the complecity and intricacy of the Islamic star pattern was reduced to a pattern that was more boring and oversimplified. Although this was primarily due to ease of construction and time constraints, this is definitely one aspect that our group would push further in the design process - to create a pattern that is site specific and in accordance to an overall concept. Developing a strong concept is one thing that aspect that needs to be addressed moving forward in order to strengthen the entire project proposal. I felt that the reverse engineering task and the matrix explorations was incredibly beneficial in understanding how many components work, as well as expanding my understanding of what Grasshopper can produce. As a design tool, the matrix was great to explore a range of parameters, narrowing down successful iterations from many experimentations. Sometimes, these iterations produce outcomes that are unexpected and interesting. Conversely, there are often times when I have struggled to achieve what was intended through Grasshopper, henceforth limiting design possibilities. In saying that, there is plenty of room for improvement!

Learning Objectives 62

References

_IMAGES FIG 11. Sky and Water I, M.C. Escher, 1938 FIG 12. Voussoir Cloud, Los Angeles, 2008, < http://static.plataformaarquitectura.cl/wp-content/ uploads/2011/06/1307120294-isar-vc-3248jt.jpg> FIG 13. POLYP.lux, New York, 2012, < http://cdn.archinect.net/images/1200x/jr/jrdbf2dmof7h9ppj.jpg> FIG 14. Tesselion, Philadelphia, 2008, < http://tesselion.files.wordpress.com/2008/05/d_-017-copysmall.jpg>

_REFERENCES

Triangulation Blog (2011, June 6). “Voussoir Cloud” posted to Triangulation Blog. <http://www.triangulationblog.com/2011/06/ voussoir-cloud.html> [Accessed 5 April 2013]

Design Playgrounds, “POLYP.lux by SOFTLAB”, <http://designplaygrounds.com/deviants/polyp-lux-by-softlab/> [Accessed 2 May

2013]

Project Proposal PART 3

DESIGN CONCEPT

A major concern raised in the interim critique was how a technique that reads so simplisticly can be of a competitive advantage and how a layer of complexity can be added in order to strengthen its appeal as a Gateway proposal. The panel was disappointed to see the complexity of the Islamic star definition simplified to our interim model, which was an attempt to make fabrication simpler. Moving forward, our objective is to exert greater control over this tessellating definition, to come up with something that is complex yet can be realistically fabricated. No attempts were made to relate the project to the site nor the brief in the interim critique, simply because we had not thought that far ahead yet. Now, the technique proposal of morphing tessellation should be applied to a practical Gateway design on the site in order to structure a coherent and convincing argument. The site and the brief are to be analysed in order to construct a strong design concept.

foreword

DESIGN CONCEPT

Design Intent Through its dynamic form, the iconic gateway will act as a sign, providing the first indication of arrival into metropolitan Melbourne. It is also envisioned as a landmark for the Wyndham municipality - a focal point of the site. The gateway will also express the rapidly growing populous of the Wyndham municipality, which is the fastest growing in Victoria and the third fastest in the whole of Austtralia. The gradations in both the shapes of the panel and the overall form will encapsulate the expanding urban fringe of suburban Melbourne.

fastest

GROWING MUNICIPALITY IN VICTORIA

8000 - 10 000 NEW RESIDENTS PER YEAR

DESIGN CONCEPT

Morphing Tessellation Tessellation is the technique chosen to encapsulate this design intent. The morphing panels reinforce gradual change and growth. The pattern of the panels over the entire installation embody a linear transition from rounded to deformed shapes, illustrating the ever-expanding radial growth of suburban Melbourne.

GROWTH

LANDMARK DYNAMISM DYNAMIC FORM

MORPHING TESSELLATION

DESIGN CONCEPT

Site Plan

“ “

[The Western Gateway should] provide the first indication of arrival into metropolitan Melbourne. The Western Gateway installation should provide an entry statement and arrival experience.

As specified in the design brief, the Gateway is to be the first indication of arrival into metropolitan Melbourne, which is substantiated in our placement of the sculpture in along the citybound side of Princes Freeway. Targeting citybound motorists, it is integral for the form of the Gateway installation to suggest a sense of welcoming, monumentalising the transition from the countryside to the city.

The convergence of the roads at the southern boundary of Site A allows maximum visibility of the sculpture, therefore it does not limit exposure just to citybound motorists. The Gateway intervenes the split of the freeway, signposting the motorists’ divergence from the southbound side of the Freeway of motorists as they travel towards Melbourne.

DESIGN CONCEPT

Form Finding

? Tessellation is most expressive as a single panelised surface. It is essential for the form of our design proposal to express these slight gradations in panel shapes. Initial ideas revolved around the creation of a tunnel, but we were explicitly told to deviate from this form in the interim critique as it was generic and overdone. So where to go from here? It was time to revisit our design concept and make the form an integral part of this design intent.

DESIGN CONCEPT

The Gateway expresses a sense of dynamism and motion by following the direction of the citybound traffic. The form of the proposed Gateway design would sit naturally within the site boundaries.

Control points of the two lofted lines were manipulated in order to create an undulating ribbon-like structure. This further reinforces a sense of dynamism and motion.

This image on the left is an abstrated graph showing Wyndhamâ&#x20AC;&#x2122;s population growth The height variance can be translated onto the form of the structure, which gradually grows just like Wyndham.

The final form expresses growth, dynamism and direction.

DESIGN CONCEPT

_GRAPH MAPPER 10 X 4 PANELS

LINEAR

BEZIER

SINE

SINC A graph mapper component was used to manipulate the pattern of the tessellation across the entire surface. Although there appears to be only slight variations from the above iterations, this graph mapper component is integral in how the overall surface articulation is read, how explicit the transitions are and the manner in which they morph.

Though the linear graph mapper is very simple in terms of the complexity of what can be produced using this tool, simple can often be a good thing. Firstly, the linear transition from one end to the other compliments the dynamism and direction suggested by the form. Secondly, the transition is subtle yet at the same time, still clear. The sine and sinc iterations, on the other hand, produced results with contrasting tessellating forms, without the same degree of gradation and transition as the linear gradient produced.

DESIGN CONCEPT

Morphing Tessellation GRAPH MAPPER ITERATIONS

20 X 6 PANELS

The number of u and v divisions of the grid were toggled to change the number of panels across the surface. The more panels there were, issues arose with the tessellating definition and planar shapes were not achieved. If the panels are too large, this would not be practical in the sense that they would be very large when assembled on site. Furthermore, the morphing tessellation is not as explicit and clear. For these reasons, 20 x 6 panels were deemed viable.

40 X 10 PANELS

DESIGN CONCEPT

EXTRUDE ALONG Y VECTOR

CAP EXTRUSIONS TO FORM FACES

CULL ALTERNATE FACES

DESIGN CONCEPT

POLYLINE

EXTRUDE

CAP

EXPLODE

CULL

As the rib structure appeared to be quite successful in the interim model, it was once again used in the fabrication of this model in creating seamless panel-to-panel connections. Furthermore, the continuity of the rib structure add to the aesthetics of the model, lending to the structure’s appearance as thin, lightweight and almost delicate. The rib structure was once again capped in order to from the faces. In developing the design, the panels appeared to be an opportunity for further development. The capping method; however, made this rather difficult as it joined the faces and extrusions together. To separate the faces from the joinery, the caps were exploded into 17 faces with a ‘true, false x16’ pattern. Whilst this method certainly did separate the faces, it was intriguing to note that these faces alternated on either sides of the model. The result achieves a sense of depth to the structure’s entirety, showcasing the intricacy of the ribbed joinery. At the same time, the Gateway can be read with a multi-faceted approach from both sides of Princes Freeway.

DESIGN CONCEPT

FIG 15. EXOtique, Muncie, 2011

DESIGN CONCEPT

EXOtique PROJECTiONE

The integration of patterning with panelisation is quite prevalent in architecture as it adds a dimension of depth and intricacy to simple panelisation. Our group looked at perforations in further developing our design concept and were particularly interested in the creation of light and shadow effects through the apertures. This drop-ceiling installation was influential in our design development. The hexagonal tessellating panels are perforated with circular apertures of different sizes. The most intriguing aspect of this installation is the overall pattern that the perforations create across the entirety of the structure, which appears to be a hexagonal arrangement of perforations overlay on the actual panels.

FIG 16. EXOtique, Muncie, 2011

DESIGN CONCEPT

Panel Perforations ITERATION 1

RADIAL GRID

ATTRACTOR POINT

CULL PATTERN

The techniques utilised in creating perforations in the Case Study 2.0 Project, Tessellion, were once again replicated in order to create an effect similar to the EXOtique installation. Experimentation that involved mapping various patterns of perforations onto the panels concluded that a radial pattern of circular apertures best suit the panel shape. Furthermore, they distort according to the distortion of the panels, which was an aspect that the group found to be quite interesting. Individual apertures were sporadically culled from the radial perforation, which in turn made the perforations appear more natural losing the defined edges of the perforations. Then, an attractor point was used to create variance within the aperture sizes, gradually getting larger as they move outwards. Manipulating the totality of the pattern of perforations across the entire structure was difficult as the same set of perforations were mapped on each and every surface. The next logical progression in the development of panel perforations was to alternate the panels that were perforated. Our intention was to create a overall pattern out of the perforated and non-perforated panels; however, we struggled in achieving this using Grasshopper. Instead, the culling of the perforations were controlled parametrically using a command â&#x20AC;&#x2DC;random reduceâ&#x20AC;&#x2122;.

DESIGN CONCEPT

Panel Perforations ITERATION 2

POINT ATTRACTOR

CURVE ATTRACTOR

IMAGE MAP

The perforations are an opportunity to further develop our design after the review, as we wished to exert greater control over seemingly random elements. Creating a grid of circular perforations over the whole structure enabled manipulation of a pattern over the structureâ&#x20AC;&#x2122;s entirety. This, in turn, leads to greater cohesion within the design proposal. Point attractors, curve attractors and image map-

ping were all used to change the radii of the apertures, creating an overall pattern of transition across the panels, further emphasising the stipulated design concept. The point attractor was deemed a viable option for further development. We were interested in how the apertures decrease in radii where the panels are of the smallest area, creating a pinching effect and following the curvature of the form.

DESIGN CONCEPT

CURVE PLANE LOFT

SUBSURFACE

INTERSECTION

PLANAR GRID

EXPLODED SEGMENTS

DIVIDE

SHIFT

TANGENTIAL LINE

CREATING A PLANAR GRID

MORPHING TESSELLATION

DESIGN CONCEPT

Final Definition

WEAVE GRAPH MAPPER

OFFSET

POLYLINE

RADIAL GRID

EXTRUDE

CAP

POINT ATTRACTOR

CIRCLE

CULL

MAP TO SURFACE REDUCE

SURFACE SPLIT

PERFORATIONS This is an abstracted diagram of our Grasshopper workflow.

DESIGN CONCEPT

Orthogonal Drawings ‘FINAL’ DESIGN PROPOSAL

DESIGN CONCEPT

Materiality FIBREGLASS

FIG 17. Carlos Miele Flagship Store, Asymptote Architecture, Paris, 2003

Plastic would be an ideal material for this design proposal due to its plasticity, durability and inexpensiveness. The many precedents that have the same finish as what we envisioned for our design were constructed out of fibreglass. Made out of a plastic matrix, this polymer material is reinforced with fine fibres of glass. Fibreglass is lightweight, very strong and durable.

FIG 18. Ellipsoidal Freeway Sculpture, James Angus, Melbourne, 2008

Its light weight and strong tensile and compressive strengths renders it a weather resistant material, ideal for a motorway installation. Fibreglass is also quite flexible in terms of its surface finishes.

TECTONIC ELEMENTS

Construction Details PANEL-TO-PANEL CONNECTIONS

The fabrication of our model and how it would be assembled on site using its true material are very similar, though there are inherent differences between the material properties and connections. The structure is proposed to be constructed using plastic, which is cheap, durable and ultimately, flexible in terms of what can be achieved spatially. Firstly, the rib structure would be assembled first, broken down into strips longitudinally down the model to render it easily transportable and optimise the material usage. These would be welded together at their vertices. As this jointing technique cannot be replicated in our model, we have created brackets at the vertices, which act in a similar manner to welded plastic. Finally, the panels would be placed on top of the rib structure and welded once again where they meet. The utilisation of the one, uniform material adds to the seemingly simplistic expression of the Gateway sculpture. It also allows the structure to be read holistically â&#x20AC;&#x201C; as a configuration of integrated, repeated elements.

TECTONIC ELEMENTS

Fabrication Process CONSTRUCTION PROTOTYPES

Polypropylene was selected as it was the only type of plastic that the fablab stocks that is able to be bent. The clear material was chosen to emphasise the joinery. This prototype was an experimentation in how to integrate the tabs with how the model reads. Previously, tabs were automatically created using a Grasshopper definition; however, the manner in which the tabs overlap under the panels appear quite messy. The intent of this model was to show how tabs can meet at a point in the centre of the panels, thereby making the connections more seamless. These tabs were created by finding the centre point of the polygons and drawing lines from this point to the vertices. Exploding the segments was the easy part. The next part was tedious since we were unable to figure out how to (or if it is even possible) to use Grasshopper to connect each unique tab to their corresponding location on the unrolled strips. Iterations were made by offsetting the panel shapes internally. The top iteration, which has the thinnest tab thickness, is the most ideal if these panels are to be perforated. To conclude, making the edges of the tabs meet internally does make the overall structure read more nicely; however, due to time constraints, it is simply not possible to implement for the entire final model.

TECTONIC ELEMENTS

Assembly on Site

The tectonic elements connecting the structure to the ground must ensure the structureâ&#x20AC;&#x2122;s stability. The panels are to be assembled on site as longitudinal rows, broken up into lengths that are practical to be transported by trucks. The bottommost panel would be secured with the use of L-bolt steel anchors, which connect the steel angle bracket to the concrete footing system as per the engineersâ&#x20AC;&#x2122; specifications. The image on the right shows the speculative cable suspension system that would be used to support the structure. As the structure is quite slender and extends upwards of a height of 4m, it faces lateral wind loads. Tensile steel cables are proposed to brace the structure from such loads by supporting the structure at its tip. Areas of the greatest vertical curvature require support from the steel cables, which would pull them back in the opposite direction.

TECTONIC ELEMENTS

Detail Model

A 1:10 detail of a small section of the model was fabricated because it is not viable to show the refinements in perforations and joinery in the 1:20 final model. This model was fabricated using white polypropylene. As this plastic is thicker than card, folding was made easier by using Grasshopper to define a dash pattern of cuts and etches. This was easier to fold than lines that were just etched. Slits were also made where the panels meet at the vertices so the additional tabs can slide through the rib structure. This is not only a more secure connection but reduces the number of tabs required dramatically.

TECTONIC ELEMENTS

FINAL MODEL

Fabrication Process

The final model is constructed at a 1:20 scale. The unrolled template consisted of 40 strips, 120 faces and approximately 400 interlocking tabs, which are used to connect the panels together. Our group reverted to using card for fabrication as the many folds in the rib structure would not be feasible when using polypropylene at this scale. Additionally, gluing polypropylene took much longer.

The longitudinal strips were joined together at their tips then folded along the etches in an undulating pattern. The most tedious part of this model was orientating each panel onto the rib structure, as each side of the panel needs to be perfectly aligned with the rib structure. Then each of these sides would be individually glued to its corresponding tabs, a process that took more than 2 whole days of solid work.

Upon completion of the longitudinal strips, tabs were cut out. These are used to secure the panels to each other horizontally and are also required to sharpen and secure the connection of the rib structure within the strips themselves at the vertices of the panels.

FINAL MODEL

The tabs are essentially rectangular pieces with their width less than the thickness of the rib structure. These are etched in order to be folded in half. The resultant angle is similar to steel angle brackets, but instead of being bolted down to the structure, these are glued.

Using the tabs, the vertices of the panels were secured horizontally, strip by strip from one end of the model to the other.

DESIGN PROPOSAL

Final Model

DESIGN PROPOSAL

Location on Site

3 2

L EE

As mentioned earlier, the Gateway structure is to be situated on the southern part of Site A. The creation of a unique spatial experience is of utmost importance in this brief. Keeping in mind that motorists would be travelling at high speeds of approximately 100km/h, the length of the structure is not long enough for them to really experience the Gateway. A structure that is approximately 20m in length would be passed within one second.

In essence, this design proposal is based moreso on the idea of anticipation, as a solidarity landmark signifying the entrance into metropolitan Melbourne.

DESIGN PROPOSAL

The Experience

MOTORISTS’ VIEW FROM DIFFERENT POINTS ALONG PRINCES FREEWAY

ARCHITECTURE AS A DISCOURSE

Studley Park Boathouse PERSONAL PROJECT

ARCHITECTURE AS A DISCOURSE

As the fastest growing municipality in Victoria, our design proposal for the Wyndham Gateway project sought to embody notions of transition, development and growth. The intricacies of the morphing panels express this design intent, whilst the form expresses a sense of dynamism. The proposal is conceived to be iconic - both a landmark of Wyndham and a signpost for the arrival into metropolitan Melbourne.

FURTHER DEVELOPMENT

Further Development

_FORM Using Grasshopper to control the curvature of the original surface rather than arbitrarily doing this on Rhino. Initial research on patterns of population density can be further appropriated into a concept, abstracted into a pointcloud that can act as anchor points for surface curvature.

_PERFORATIONS As mentioned earlier, a different perforation pattern has been established which allows greater control on how the perforations read across the whole structure.

References

_IMAGES FIG 15. EXOtique, Muncie, 2011, < http://s3files.core77.com/blog/images/2011/03/exotique_2.jpg> FIG 16. EXOtique, Muncie, 2011, < http://ad009cdnb.archdaily.net/wp-content/uploads/2011/04/1302145983exotique-003-1000x664.jpg> FIG 17. Carlos Miele Flagship Store, Paris, 2003, < http://www.2d3d.co.uk/media/bestfit/fibreglass/Carlos_Miele_-_ Sculpture_2.jpg> FIG 18. Ellipsoidal Freeway Sculpture, Melbourne, 2008, < http://www.roslynoxley9.com.au/images/galleries/ANGUS_ EllipsoidalFreewaySculpture_08/003.jpg>

Regrettably we were unable to fabricate the model in time for the final presentation due to its complexity. Unable to visualise the slight gradations in tessellation, this really detracted from our argument. Another criticism raised revolved around the simplicity of the design proposal. Whilst the design certainly does appear ‘simple’, it is by no means just a panelled NURBS surface. This critique stemmed from our inability to communicate the design process in the final presentation. Hopefully, this journal does express the complexity of the definition and ultimately does this project justice. An expected criticism was the arbitary nature of some of the elements, including the supposed ‘randomness’ of the perforations and the form itself, which does not seem to bear much relation to either the site nor a strong concept. The form finding itself was part of the process that we struggled with - developing a concept and relating this to the form. Because tessellation is primarily surface ornamentation, we found ourselves limited in the forms that our definition could fit. Attempts to overcome these criticisms have been made in the journal. Overall, there are many aspects of this design proposal that could be resolved. Nevertheless, we were quite ambitious in what we set out to achieve and I am most definitely proud of our progress.

reflection

100

Learning Objectives and Outcomes This semester has been incredibly tough with the expectation that we learn and use a new program, Grasshopper, to conceive a design proposal for the Wyndham Gateway Project. Furthermore, working within a group dynamic was challenging as it involves delegating tasks according to our groupâ&#x20AC;&#x2122;s diverse range of skills. Having a project driven by a technique rather than a concept was difficult to grasp. Developing such an interesting technique was let down by the weak concept, which was applied as more of an afterthought. Learning Grasshopper and working within the tight timeframe that we were allocated proved to be very frustrating. This was my first experience in parametric design. Although I appreciate how powerful it is in design, I found it very hard not to dislike Grasshopper purely on the basis that I was not fluent in the software. Within a short timeframe, I feel like I have learnt a substantial amount and feel that with more time, we could really push ourselves in creating a strong design proposal. Beyond the scope of this course, I would like to further develop my Grasshopper skills as I believe it is a great asset for creating unique and innovative designs.

101

Thank you to my group members, Sue and John, for all your hardwork and determination and my tutors, Tom and Finn, for all your help and support.