Progress Journal

AR CHITEC TURE DESIGN STUDIO :AIR PROGRESS JOURNAL UNIVERSIT Y OF MELBOURNE - SHEENA BAGLEY 503744

CONTENTS PART ONE:

EXPRESSION OF INTEREST -CASE FOR INNOVATION -RESEARCH PROJECT -EOI DOCUMENT

PART TWO: PROJECT PROPOSAL: LACE PROJECT -PRECEDENTS -EXPLORATIONS -PROJECT PROPOSAL

PART THREE:

LEARNING OBJECTIVES AND OUTCOMES

Expression Of Interest

Advancing

Architectural Discourse

Week 1

ARCHITECTURAL DISCOURSE “The built architectural works that architecture releases into the wider social world lead a communicative double life: they speak to and intervene in communication systems outside the autopoiesis of architecture, while at the same time circulating within the architectural discourse as examples, evidence, points of critical reference etc.” (Patrik Schumacher, 2011, pp.3) “Completed buildings/spaces are but one set of reference points within the overall network of architectural communications. Buildings are photographed, published, written and talked about, but in the overall flow of architectural communications the completion of a new building is a rather rare occasion, and their immediate presence within the discourse - by being directly experienced during an architectural excursion - is so rare as to be negligible.” (Patrik Schumacher, 2011, pp.3-4)

Personal Project Headpiece The idea behind this design project is Bubbles. Inspired by the Water Cube, Beijing, I designed a voronoi structured headpiece. Soap bubbles are formed using voronoi designs (; in mathematics, a voronoi design is a special kind of decomposition of a metric space determinded by

distances to a specified discrete set of objects in space.)

This headpiece stands out due to its complex shapes of trusses and solids mixing together to form a whole. The trusses seem to per form by allowing more air flow and light to enter.

The inspiration of a truss system was derived

Federation Square, Melbourne Designed by LAB + Bates Smart [Lab architecture studio in association with Bates Smart Melbourne (Peter Davidson and Donald Bates)], “The Federation Square is a creation of new urban order that has never existed before”, LAB Architecture. The architects have employed non-classical geometries that govern surfaces and three-dimensional form at a variety of scales. These geometries, which are not all the same but are genetically alike, are based on concepts of fields of force and focus, he forms of Federation Square arise from a reiteration and accumulation of actions within the system set up by the architects.(Macarthur, John, 2003) This piece of architecture advances in digital technology. Federation Square forces people to think about its design, is it modern? unfamiliar? something we could relate to? or just an alien design, something from some other era? The architectural piece excells in its fabrication, popularising digital techniques for designing.

Federation Square is a contectualist building; it has a familiar scale, and interesting connections with its context. “It also seeks to imitate the experiential paramters of Meblourne’s ninteenth century structure of streets and lanes. The route up and across the square from Swanston Street crosses over the Atrium and is a clear and memorable primary structure, and the complex is fractured by lane-like openings. None of these spaces is like a street or a lane, but the hierarchy is familiar.” - JOHN MACARTHUR. (Macarthur, John, 2003) According to the article, ‘Federation Square: A Future About Shatters’, 1997, there were three decisions that were made during the competition of this project by the architects that were terribly wrong urbanistically; the masking of the cathedral from the Princes Bridge approach by the two thin slabs forming a triangular forecourt; the masking of Flinders Street Station corner by locating buildings hard up on flinders street for its extent and the blocking of the Russell Street vista by extending the site to the western alignment of that streets extension.’Elements of the design are similar to the work of Daniel Libeskind, the international juror, and therein may lie the explanation in part. As Oscar Wilde remarked, “Imitation is the sincerest form of flattery”, although quoting juror’s work in a competition often has the reverse effect.’

The project, Federation Square in Melbourne, had a variety of views over its form; disrespecting it, and loving it. The square has won many awards, for example, Victorian Architecture Medal— Federation Square, by Lab architecture studio in association with Bates Smart Melbourne 01.

(RadarAwards, 2003).

The Federation Square is an excellent example of mixing innovation with imitating existing architectural projects. The building overall performs by getting people together by the various spaces of the building; Such an approach for the Gateway Project in Werribee would be helpful. Imitating and extending the form with innovation of our own is an effective way of showing flattery and the architect’s skills. Optimising performance of the building in terms of structure in this case adds to the intricacy of the Federation Square.

http://academics.triton.edu/faculty/fheitzman/new%20buildings.html

National Aquatics Centre ( Water Cube), Beijing The Bejing Water Cube, or National Swimming Centre, China was designed by Peddle Thorp and Walker-PTW with Arup in 2004-08. The water cube advances in digital technology, it has contributed to a discourse regarding improvements in technology that has affected the designs in terms of material usage as well as use of computer software.

The geometry is a light-weight contruction, clad with ETFE (ethyl tetra fluoro ethylene) -which is a recyclable, ecofriendly and energy efficient material. ETFE lets more light in the centre and is more resistant to weathering effects of sunlight.To maximize energy efficiency, the Water Cube acts as a greenhouse. The ETFE cushions allow high levels of natural daylight into the building and harness the sun to passively heat the building and pool water. This sustainable concept reduces the energy consumption of the leisure pool hall by an estimated 30 percent.

The water cube is self-sufficient in the consumption of energy. The system generates an effective negative U value, a net energy gain to the building. Thermal mass heat storage (in both the swimming pool water and heavy surfaces surrounding the pool) ensures that solar heating during the day is offset by overnight cooling. Variation in shading of the facades ensures that fabric heat loads are minimized in summer but maximized in winter, when the solar heat gain is most beneficial.

This is achieved by patterning the various layers of the facade with translucent painted frit and by ventilating the heat out of the cavity in summer, and containing it in winter.

(Professor Tristram Carfrae, 2006) The Water Cube building optimises performance with the help of materiality.

The structure of the building is but a symbolic representation and generation of voronoi systems mixed with bubble inspiration, resulting in an optimised form of the structure which perfoms well with the function of the building--national swimming centre.

Expression Of Interest

Computational

Week 2

Design Techniques

Computation design is a process in which computation is used to solve design problems. A computer is used to perform millions of mathematic computations to create multiple outcomes. These could be anything : manipulations, reductions or form generations. The result of this technique can only be created with the help of a computer, these solutions could not be skethced by the designer/creater alone. Computation design techniques are much faster and have the possibility of creating the solutions to a much finer leve, using algorithmic code.

Computers can graphically illustrate solutions of a design problem. They do not tire or get bored, unlike human beings. The required reading, Architecture’s New Media : Principles, Theories, and Methods of Compuer-Aided Design illustrates the importance of computer’s in the field of designing. Architectural designing is constrained by a number of problems, it relies on the analytical and the create sides to produce a feasible solution. Computers are amazing analytical engines, which when programmed correctly, can achieve solutions to design problems much faster and to finer details. They lack the creativity needed, but computers can follow instructions well. Humans can programme the computers in ways which can tell them to manipulate electrical impulses. These manipulations can be representated in the most suitable form required for its comprehension. (Yehuda E. Kalay, 2004, pp5-25)

R ichard Buck minster Fuller ’s M anhattan D ome Richard Fuller was an Architect, Inventor, Designer and Theorist. Born in 1895 (-1983), Fuller workded on numerous projects as an architect, designer, philosopher, artist, engineer and more.

Fuller and Shoji Sadao designed a dome over Manhattan in 1968. He imagined cutting people off from all elements by doming the cities.

According to Fuller, doming the cities would have free climate control during winter and summer-never rain or snow, it would be much warmer inside than outside (New Yorker).

Imagine Source : http://www.newyorker.com/online/2008/06/09/slideshow_080609_fuller?slide=7#slide=7

Ordos Museum Ordos Museum is located at a site which was nothing in the recent years in the Gobi Desert - the new city centre of Ordos, China. Inspired by the Manhattan Dome by Buckminster Fuller, the protective covering of this museum keeps it safe from the ‘city’, the museum was designed to be the new irregular nuclues for the new town which encourages history and culture of Ordos which would further extent into the futrue. The masterplan of the city is an urban grid which still exists only as a pattern due to its urban prematurity. (MAD Architects) MAD conceived of a futuristic shell to protect the cultural history of the region and refute the rational new city outside. Encapsulated by a sinuous facade, the museum sits upon sloping hills - a gesture to the recent desert past and now a favorite gathering place for local children and families.

The facade of the Ordos Museum performs by acting as a protective covering of the Musuem, keeping it safe from the ‘city’, it protects the history and culture of China which lies within it with the help of a modern shell.

The ides of having something unique in the middle of no where, or in other words, redefining a natural landscape, looking at it like an empty canvas and painting something out of the ordinary on it makes the Ordos Musuem beautiful.

Buckminster Fuller had an idea of covering a city with a dome to protect it from the outside weather and see the types of conditions arising inside the dome because of its existance. The simplicity of

this design integrated into the vast environment around, puts the Museum in contrast with the surrounding. The Museum in Ordos stands out and offers an environment within which people can experience their culture. A simple, tranquil, yet unique design which performs well with the surroundings and in itself, and optimises its structure is needed for the Gateway project and the Ordos Musuem can inspire great ideas.

B u s Te r m i n a l , S a n F r a n c i s c o The Bus Terminal is a new project near the Bay Bridge in San Francisco.

Developed by Bin Lu and Joongsik Yang at the Southern California Institute of Architecture, it is a design project that is based on parametric design, and sustainable technologies as design tools.

The Bus terminal is inspired by voronoi patterns that analyses the people coming to the bus station from different directions at different points in time. The result of this is a tree-like structure, opening to the sky, with a cellular pattern. It is

inspired by voronoi patterns, similar to the water cube in beijing. This architectural piece uses a simple idea and results in a complex pattern.

The Bus Terminal performs by directing people coming in to the station from different directions into the tree-like structure created.

The optimisation of structure can be clearly seen by the way the Bus Terminal is designed, focusing on voronoi, cellular patterns to come up with the design project. Such an approach to design the Gateway Project could be used.

Expression Of Interest

Week 3

Contemporary Scripting

THEVERYMAN,,ARTBASELMIAMI

S c r ip t in g i s t he pro cess u si n g mathem at ic s and comp uter s to c reate a de s ign , fo r ex a mpl e, P y th o n , R h i n osc r ip t, R hino p lug-ins like Grasshop p er.

S c r ip t in g m e an s co mpu ter pro gra mming at several levels. S c r ip t ing is t he c a p ab i l i t y t h ats o f fered by desi gn sof t wares t hat let s t he user c hange, ad ap t, o r re co n f i g u re so f t wa re a cco rdi n g to t heir mod es of wor k ing.

THEVERYMAN,ECHINOIDS

S c r ip t in g b as i ca l l y i nvov l es a deep en g ag e m e nt b et ween th e co mpu ter a n d t h e u s e r by a u to mati n g ro u ti n e a sp e c t s an d re peti ti ve a c ti v i ti es, gi vin g a m u ch greater ra n ge o f o utco m e s i n th e sa me a mo u nt o f

t ime.

I n comp ut ing, ‘sc r ip t ing language’ is of ten t he sam e as ‘p rogramming language’, via t his, t he user gives inst r uc t uc t ions to t he comp uter.

(Bur r y M ar k , 2011, p p 8-71)

Co n t e m p o r a r y S c r i p t i n g P r o j e c t : Fibulae Fibulae is a projec t by THE VERYMAN for the collec tion of Jewelr y by I rene Neuwrith exhibited d u r i n g t h e S p r i n g i n N YC . T h i s i s a d i g i t a l l y f a b r i c a t e d a r c h i t e c t u r a l p r o d u c t of high intricacy which acts as an embroidered symbolic brooch.

THEVERYMAN,IRENENEUWRITH

Jewelry has been treated as a form of luxury for ages, evolving by ways of varying techiques and treatment. Technology has played a vital role in its development as items of sophisticated modern luxury. The golden lattice of Fabulae represents the use of gold in jewelry and the fine, delicate, vibrant, multicoloured jewels are showcased in interlacing tubes finished with floral like openings for the exhibition.

Keeping the idea of Jewelry, THEVERYMAN uses Python and Rhinocommon for scripting. The use of interlacing tubes wih floral like openings to showcase the multicoloured jewelry collection of Irene Neuwrith, appears to have been inspired by the multicoloured flowers seen in the Spring. To give a royal look, the use of golden lattice has been undertaken which enhances the colours and sparkles of the jewelry. The design philosophy of this project enriches the collection by Irene Neuwrith and makes it stand out.

Scripting used mathematics and computers to produce a unique design. Use of

PLAN

scripting in this project illustrates the different patterns that can be achieved.

The structure performs well with the design context of Jewelry. Something different using scripting is seem in this design which compliments the jewelry being displaced. The performance of this structure is optimised by the design process; scripting and mathematics.

This unique approach to achieve the results required can make the Gateqay Project sophisticated and highten Werribee’s freeway.

TOP VIEW

Expression Of Interest

Research project: CUT/DEVELOP Cut Definitions

Week 4

Matrix Combinations

For Matrix combinations, a number of input/associative technique/output combinations were explored. According to Kalay’s reading, ‘Search’ is a process we engage in when the outcome of an action cannot be fully ascertained in advance. It consists of findings, or developing, candidate solutions, and evaluating them against the goals and constraints.

Seach processes involves two steps; the first being, producing candidate solutions for considering, and the second being, chooseing the ‘right’ solution for further consideration and development.

Refering back to the reading, there are three design methods of achieving a solution; ‘Depth-First’, ‘Breadth-First’ and ‘Best-First’. (Yehuda E. Kalay, 2004, pp. 17-19)

For this exercise, Breadth-First has been used. In this method, several alternative ways to develop a design are explored before taking any one into considertation and forming a logical conclusion. All possibilities are explored before coming back to the one which looks more promising than the other designs.

Variations of Three designs have been explored following the ‘Depth-First’ approach, in which a design solution is explored to its logical conclusion, before moving on to another design solution.

In this exercise, performance of the structure is explored; Performance involves different factors that could be optimised to each to a unique design, in this exercise, a way to optimise structure is being explored.

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For this variation, a dome shaped surface was used as an input, an image sampler as an associative technique and data driven rotation as the output.

The variations in this exploration were done by varying the slider value for the rotation which resulted in number 24, 25 and 27, and by changing the views of the rotated result, which resulted in number 26. Data driven shader was added to number 27 to add a pink colour to the end points of the ‘kinky curve’ used in this exploration. Number 27 sort of looks like a futuristic dress, the dome being the top, and the ‘feather-like’ lines being the skirt.

Details of each are shown.

Refering back to Kalay’s reading, for this exploration, a ‘Depth-First’ design method has been used. In this method, a promising candidate solution is explored to its logical conclusion, it either meets the goals, or it fails, before another candidate solution is examined. (Yehuda E. Kalay, 2004, pp. 19) These variations are done in order to try to optimise the structure, depth analysis is required to come to a logical conclusion for optimisation. Number 27 being an optimised structre of this form.

GRASSHOPPER DEFINITON

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THREE UsingSurfaceNormals/Image/ CircleOutputDataDrivenRotation_DataDrivenShader

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KEY 1. Pattern and Overlap_Image Sampler_Data Driven Rotation 2. Using Surface Normals_Image Sampler_Data Driven Rotation 3. Using Surface Grids_Image Sampler_Change in surface 4. Using Surface Normals_Attractor Point_Data Driven Rotation 5.PatternandOverlap_ImageSampler_SurfaceChange_DataDrivenShading 6. Using Surface Grids_Point Attractor_Data Driven Extrusion 7. Boolean Pattern_Point Attractor_Data Driven Extrusion 8. Using Surface Normals_Curve Attractor_Data Driven Rotation 9. Using Surface Normals_Attractor Point_Data Driven Rotation 10. Boolean Pattern_Stream Text_Data Driven Rotation 11. Using Surface Grids_Pointt Attractor_Data Driven Extrusion 12. Rotation Input_Stream Text_PolyArchs Rotation 13. Boolean Pattern_Image Sampler_Data Driven Rotation 14. Explicit Grids_Image Sampler_Data Driven Rotation 15.BoolenaPattern(doughtnutsurface)_UsingSets_DataDrivenRotation 16.CurveAttractor_DatadrivenRotation_DataDrivenShading_Make2D 17.BooleanPattern_PointAttractor_DataDrivenExtrusion_Make2D 18. Attractor Point_Point Attractor_Data Driven Shading 19. Lofted Surface_Using Math Function_Data Driven Shading_ 20. Lofted Surface_Using Math Function_Data Driven Shading_ 21. Using Sets_Rationalisation_Data Driven Shading 22. Boolean Pattern_Point Attractor_Data Driven Shading

Expression Of Interest

Research project: CUT/DEVELOP Week 5

Case Studies

G antenbein Vineyard Facade Stacking; Rotation; Image mapping AsmallwinerylocatedinSwitzerland,commissedtheconstructionofanewservicebuildingtocontainlarge a fermentation room for processing grapes, a wine barrel storage cell and a roof terrace for wine tasting and receptions.Asimpleconcretestructure,withthefacadedesignundertakenbytheZurich-baseddesginofficeof GramazioandKohlerwhoproposedastrategyformasonryinfillbetweentheconcreteskeletonwhichcouldserve both temperature buffer and sunlight filter for the fermentation room.

This project uses digitally-guided assembly according to specific pre-programmed parameters, such as orientation and spacing. Each brick was laided with an offset that permits indirect light to penetrate. As the surface of each brick reflects sunlight differently according to the angle reletive to the facade, the building surfaceappearsfromadistancetobeapixelatedcomposition-aconditionwhichthearchitectsharnessedintoa depictionofthevineyard’schiefresource:grapes.Thiscovergenceofthepictorial,whichspeakstothefunction ofthebuilding,withtheenvelop’smaterialorganizationbecomesmoreorlessapparentasanobservermoves around the building; shifting one’s appreception between representation and pure material sensation.

Andre De Gouveia Residence Perforation; Tiling; Repetition Located in Paris, and surrounded by historic buildings. In 2005 AAVP Architecture was commissioned to rehabilitatethe1960’seraresidencewithanewarchitecturalidentity.Inresponse,thearchitectsdevelopeda unique,gildedaluminumfacadecomprisedofpanels,eachmechanicallystampedwithtwodifferentsizesof slottedperforations.Thearrangementoftheseproducesanimagereminiscentofcalcadapatterns,atraditional Portuguesepavingpatternwhichalsocircumscribestheprojectsite.Thismotifisappliedtothenewfacaseasa kind of translucent wallpaper, generating a haze lighting effect through the perforated screens.

M c Co r m i c k Tr i b u n e Ca m p u s Ce n te r (O MA) Framing views; Image Mapping Thisbuildingcomprisesoftwoelements:concretetube,cladincorrugatedstainlesssteel,andthemainbuilding, aonestorystructurecontainingtheprogramspaces,iemeetingrooms,dining,auditoriumetcunderthetube.

Theinteriorplanofthebuildingisquitesimple,withcolourplayingamajorrole:orangeisprevalentonthewest facade,greenusedinthecentraldiningareaandredsaturatesanarrowrampofcomputerterminals.Unique materialsareusedintheinterior,forexample,wiremeshbetweenpanesofglassthatbendslight,wallcoverings thatcreatetheillusionofmovement,andtranslucentfiberglasswithahoneycombcoreforwallsandtabletops.

GraphicdesignerscreatedaconsistentgraphiclanguagefortheCampusCenterbasedontheinternationalsymbol forahuman,withlargescalegraphicsinsomeareasand,moststrikingly,portraitscomprisedoftheminiature symbols describing the different activities taking place in the building. (Archidose, 2003)

Dior Ginza (office of Kumiko Inui) Perforation; Image mapping; Layering OfficeofKumikoInuidrewinspirtationfromthecanagepatternofthesignature“LadyDior”handbag.Interpreted at the scale of the city, the plaid and disgonal pattern wraps the taught skin of the building, disguising the scaleandinternalorganizationoffloorlevelsandprogram.Thefacadewasdevelopedasadouble-layeredskin comprisedoftwoindependent,10mmthickaluminiumsurfaces:anouter,perforatedlayer,producedwithaCNCmilingmachine,separatedfromaninner,printedlayeranairspacewhichisfiber-opticallyilluminated.Whilethe perforationsandsilkscreenedprintbothdepicttheinstantlyrecognizablecannagepattern,thesilk-screened patternisscaleddown,whichcombinedwiththeliteraloffsetbetweenthetwolayersproducesahazyeffect.In counterpointtothetypicallyloud,electronicsignageoftheneighborhood,theDiorfacadepresentsitselflikean architecturalapparition;aghost-likevolumearticulatedsoleythroughtheluminouseffectsofitscare-fullyedited surfaces.

John Lewis Department Store Layering TheJohnLweisDepartmentStoreintendstochallengetheblankenvelopeswhichcharacterizeslarge-scaleretail, oftendesignedasopaqueenclosurestoallowretailerstheflexibilitytorearrageinteriorlayouts.Thearchitects, London-basedForgeignOfficeArchitects,focusedonthephysicalexperienceofshoppingasanincreasingly important consideraton to complenet the convienieces of online shopping.

Thestoreisenclosedwithadoubleglazedfacadesystem,conceievedofasanet-like‘curtain’whichprovides privacytotheinteriorwhileintroducingnaturallightandviewsofthecityfromthestore.Eachlayeristreated withafritpattern,thedesignofwhichcombinesatextilepatternselectefromtheJohnLewisarchieveswitha numberoflocalculturalreferences.Thispatternisdeployedonthefacadeasfourpanelsofvaryingdensitywhich meetseamlesslytoproduceatextile-likeexpressiontothebuilding’senvelope.Theinteriorglazingistreatedwith aceramicgritpatternwhilethemirroredfritoftheexteriorglazingreflectsthesurroundingcityinfragments,the perception of which shifts as the sun moves around the building.

Articulated Cloud (Ned Kahn) Kinetic; Making the invisible visible; Air; Dynamic Three story, steel and glass structure, which is surrounded by a kinetic screen of tens of thousands of 5 1/2inch trnaslucent white acrylic panels that flutter in the wind, creating a dynamic surface that responds to air movement.Thescreenisintendedtosuggestthatadigitizedcloudhasenvelopedthebuilding,itsappearance changingdramaticallywithvariationsinlightconditions,weather,andtimeoftheday.Whenwindpasses,the acrylicpanelsripplelikecloudsmoving.Theskinactsasaprotectiveouterlayertoreduceheatgainontheglass facade and is visible throughout the interior.

BANQ Restaurant (Office DA) Contouring Theceilingisencumberedbythemyridofmechanical,structural,andacousticlimitsinheritedfromthebuilding.

Theentire ceilingis coveredby awood-slattedsystem that encases and conceals the inherited system while offeringalargecanopyunderwhichtodine.Thewoodslatsaredesignedasalandscape.Thewinestorageinthe middleofthehallactsasapointofsupport,alongwiththecolumns(treetrunks)andactsasamonumentaltrunkappeartosuspendtheceiling.Certainareasoftheceiling“drip”and“slump”,acknowledgingthelocationofto place exit signs, lighting features and other details. (NADAA website)

D e Yo u n g M u s u e m Perforation; Layering; Weathering Spatialexperiencesinthismuseumareinterwovenwiththearchitectureandthenaturallandscape.Thisthree storybuildingwasdevelopedasthreeparallelstructureswhoseedgesareinfelectedtoproduceinternalfigures ofgardenspacebetweenthem.Thecopperfacadewasdesignedtosimulatetheeffectsofnaturallightfiltering throughthecanopyoftrees.Thearchitectsuseddigitalphotographsofthesite,andprojectedhigh-contrast, pixelated images of local tress onto each elevation of the deYoung and its four-sided tower.These pixelated feiledsweretranslatedintomorethan3milperforationsandcovexdebossings.Theuntreatedcopperfacade panels were intended to weather in reaction to the salf-laden winds of the near Pasific ocean.The result is a buildingskinwhichmimicstheeffectsofitsnaturalenvironmentinanattempttoharmonizethearchitecturewith the landscape.

Carabanchel Social Housing Cutting; Folding Thissiteisa100x45parallelogram,thearchitectsproposedacompactvolumewhichwouldprovideeastandwest exposuretoresidentialunits.Thishousinghas1.5mdeepterraceswhichflankeachlongfacadeofthebuilding ateachfloor.Theseterracesareenclosedwithbamboolouversmountedonfoldingframeswhichprovideshelter fromstrongeast-westsunexposureandallowforuseofthesemi-exteriorterraces.Therepetitionofthebamboo screen provides the building with a continuous and unique material expression.

Hills Place (Amanda Levete Architects) Slicing; Reflection Usinghighqualityshiphulltechnology,tocreateasculpturalfacadeforanewofficebuildinginLondon.Akey issuewaslackofdaylightinthenarrowstreet,AmandaLevetteArchitectsusealuminumskinwithlargeglazed aresorientatedtowardstheskytomaximiseandchannelnaturallightintotheoffice,inspiredbytheartworkof LucioFontanaAL_A.Thefacadeisfabricatedusingcurvedaluminimprofilesassembledon-site.Selftcleaning glassandhiddenguttersencuselowmaintenance.Thefinefacetingofthealuminiumstripscreatesbeutifuland complexreflectionsoftheskyandstreetmakingthebuildinghighlyvisible(Reflection).Atgroundlevelabespoke glass, mesh and dichromatic film sandwich is animated with fibre optics to create visual depth of field and a dynamic moiré pattern on an otherwise blank facade. (Amanda Levete Architects, 2009)

Spanish Pavillion, Expo 2005 Image mapping; Selective perforation DevelopedasareflectionuponSpain’suniqueculturaltradition.Thepavillionisorganizedaroundalargecentral spacewhichconnectsthesevenexhibitrooms,conceievedasvaulted,chapellikespaces.Spain’straditional ornategothicvaultsandislamicdomesarereinterprettedasmorefree-formstructurescontainingthePavillion’s differentthemes.Indevelopingtheexteriorenclosure,thearchitectslookedattraditionalSpanishandIslamic latticesandtraceriesfoundinlate-gothiccathedrals-thestripofwoodfoundatthethresholdbetweenawindow andtheinterioroftheroom(conceptofengawa).Theenclosureofthepavilliondevelopedasasimilarkindof thresholdintheformofalatticestructurecomprisedofhexagonal,glazed-ceramictiles.Thetilesarefabricated intwoversions-withandwithoutacentreaperture.Eachtileistintedinoneofthesixcolours;variationsofred, yellow,ofthespanishflagwhcihinvokemnayoftheculturalandgeologicaldistinctions.Eachsix-tilepanelis rotated and/or mirrored to create both continuity and a high degree of variation across the facade.

A i r s p a c e To k y a Layering; Voronoi Patterning Fourstorymixed-useresidentialandcommercialbuildingdesignedbyTokyoarchitectHajimeMasubuchiof StudioM.Lowertwolevelsprovidespaceforprofessionalfashionandproductphotoshootsandcommunityor compantmeetins,eventsetc.whiletheupperfloorsfeaturefourloft-styleprivateresidences,allofwhichface thestreettothenorthandtheenclosedgardentothesouth.Thepublicfacesofthebuildingweredevelopedby the San Francisco-based office, Faulders Studio.The facade of the building, reflecting upon the unique, preexistinglandscape,wasconceievedasaprotectiveairspace.Aseriesofdigitallygeneratedgeometricpatterns weredeveloped,whichwerethenoverlaidandprojectedasvoidswhichpuncturethetwolayersofthefacade.

Theresultinginterstitalcelluarfieldactsasavisuallydynamicthresholdbetweenpublicandprivate,framingand fragmentingviewsasonemovesaroundthebuilding.Thescreenfacadeactstobuffertheinhabitationsfromthe street and veils the disparate functions of the building behind an extensive and unifying enclosure system.

R e s t a u r a n t A o b a -Te i ( A I P ) Perforation; Abstraction from nature Thisprojectisdevelopedaroundtheworkingconceptof“softboundarysurface”.Thesurfacetakestheformofan organicmembranewhichrespondstothepressuresofadjacentspacesandisconstitutedasacontinuousinterior wrapper-acomplexlycurvedsteelarmaturewhichmovesinbothsectionandplantounitethetwolevelsofthe restaurantandmediatebetweentheexistingshellandtheinteriorspaces.Thesteelpanelsareperforatedwith aholepatternbasedonaphotographofatreecanopy.ProducedusingCNCrouter,theholepatternrendersthe originiallowresolutionimageasaseriesofback-lit,pointillizedfigureswhoseboundariesarethemselvessolft andorganic.Thinsteelplatesareusedtoformcomplexgeometriesusingthetechnologyoflocalshipbuilding industry.Thesteelsurfaceisassembledasasmoothandcontinuousmembrane.Thecurvatureofitinplanand sectionsuggeststheorganicshapeofthetrees,thearrangementoftheholepatternyieldsbththefigureofthe tree and the gradient lighting effects of its canopy.

A r t i c u l a t e d C l o u d, N e d K a h n Kinetic; Making the invisible visible; Air; Dynamic Surface Grids; Image Sampler; 3D Rotation

For Reverse Engineering of the Ned Kahn Building, the Articulated Cloud, the following definition was used:

Input_Surface Grids AssociativeTechnique_ImageSampler Output_3DRotation

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In this building, acrlyic panels are added to the facade which flutter in the wind, creating a dynamic surface responding to air movement. The skin changes dramatically with variations in weather, time of the day and light conditions. The articulated skin is supported by an aluminum space frame so it appears to float in front of the building.

The views of this building, change with the angle it is viewed from, creating different effect in the building from the corresponding sides, optimising perception. This will be the main focus of the Gateway Project.

G antenbein Vineyard Facade Stacking; Rotation; Image mapping

The facade of the winery is a masonry infill between the concrete skeleton which serves both, as a tempertature buffer and sunlight filter for the fermentation room. Using digital technology, this project was made in such a way that each brick is offsetted in a way that it permits indirect light to penetrate. Since the surface of each brick reflects sunlight differently, from a distance, the building appears to be pixelated. Whereas, as one moves closer to the building, the image used in the designing of the facade becomes more and from some angels, less apparent.

The Gantenbein Vineyard Facade is a good example of exploring different views from different angels of the building. The structure of this facade is optimised by the use of context and image mapping, providing it with a perception change from different views.

For Reverse Engineering, the following definition was used:

Input_Surface AssociativeTechnique_Image Sampler Output_Rotate Plane

BANQ Restaurant Contouring

Grasshopper Contouring

B A N Q R E S TA U R A N T D E S I G N BANQ Restaurant designed by NADAA is built in a historical setting where the ceiling hovers away from all interior walls and instead the suspension supports the ceiling structure. Each rib of the ceiling is made from different pieces of plywood adhered together in a puzzle-like form. Nader Tehrani says, the inspiration that reconciled the topography of the ceiling with the desire to create something transcendent was simple, it was the intersection of the extraordinary with the totally conventional. The terminal buildings in the Netherlands Schiphol Airport have a series of ribs through which the mechanical stuff is visible if a person looks straight above, but in a perspective view, light filters through the fins. This application was reapplied to the Banq Restaurant’s ceiling, with curving ribs of the wood which are suspended from steel rods.

This ceiling ‘Performs’ by creating a unique topography as well as hiding the mechanical stuff from different angles. Seeing the ceiling in perspective, the composition appears to sway and undulate as a single unit. Whereas, looking up straight through the ribs, one can see the mechanical stuff.

The design of the ceiling forms a swaying topography which, with the light effects, looks different from different perspective views. This unique topography whose views are different at different angles, and optimisation of the structure will be the design focus in the journal, and will form the basis of the Gateway Design Project.

Exploration One: For the first exploration of forming contours, the surface of the input_ surfacegrids was used, which was then connected to the Brep/Plane Section. With the help of bounding box, explode, and list items, prep frames were formed which were then connected to the other input of Brep/Plane section giving us the contours.

REVERSE ENGINEERING PROCESS

Exploration One: The contours from the Brep/Plane section were baked, giving us the image on the left.

Exploration Two: The surface was explored in this experimentation. Using PointsOn, individual points on the surface were extruded in different directions to achieve something that looks like the BANQ Restaurant form.

Exploration Three: With the failure of the surface in the second experimentaion, a new surface was formed, with less extrusions in the third experimentation.

Exploration Four: Following the third experimentation, the surface was modified and was then connected to the Brep/Plane Section. With the help of bounding box, explode, and list items, prep frames were formed which were then connected to the other input of Brep/Plane section giving us the contours. The Brep/ Plane section was then extruded twice, to give depth and thickness in the contours.

FinalModel Front View

FinalModel Perspective View

FINAL MODEL: Following Exploration four, the Brep/Plane section was connected to Projection which was then connected to End and Line to form End lines, connected to Edge surface and then extruded on x-axis.

In order to achieve the intended effect of the case study, the BANQ Restaurant, various experimentations were taken into consideration for getting closer to the ceiling contours of the Restaurant. The ceiling toplogy focuses on the look as well as the performance of the building by hiding away the mechanical system. The main focus of the Gateway Project as well as the model will be the Performance of it.

In free space, the contours of the model act as a static structure which can be integrated with movement to further explore.

GRASSHOPPER DEFINITION

Research project: CUT/DEVELOP BANQ RESTAURANT Physical Model

Week 6

Expression Of Interest

Refering to Kalay’s reading, ‘Breadtht-first’ design method was followed. The BANQ Restaurant was chosen from the various case studies and further explored in the form of a detail model.

NESTING For the fabrication of the chosen case study, BANQ Restaurant, the final digital parametric model was simplifed a little and the following nesting definition was used which included tools such as Orient, which remaps the geometry from one axis to another.

The contours were divided into sections which were then separated and ‘end’ lines were made to close the contour sections. Slits were added on each section and the base was created before sending the file to FabLab where the plywood used was laser cut.

sheet 1

sheet 2

LIGHT

DARKNESS

SHADOWS

B A N Q R E S TA U R A N T A S A N ‘ O R N A M E N T ’

“Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth. it is through ornament that material transmits affects. ornament is therefore necessary and inseparable from the object.”

Moussavi, Farshid, and Daniel Lopez (2009). The function of Form (Barcelona: actar;new york), p. 8 (Accessed via University of Melbourne LMS, Lecture Notes)

Ornamentation has now become more of an aesthetic of the building, with the help of parametics becoming more easily available.

In the BANQ Restuarant, the ceiling typology not only acts as an Ornament but also performs. The wood ceiling encases and hides the mechanical, structural and acoustic systems whice offering a large canopy to dine under.

The ceiling typology not only adds to the aestheics of the restaurant but also conceals the various systems thus redefining the space. When one looks straight up through the ribs of the ceiling, the mechanical systems can be seen.

The wine storage in within the contours which drip down to form a ‘tree trunk’, which also acts as a point of support. Lighting features and exit signs are recognized by the ‘dripping’ and ‘slumping’ of the ceiling contours.

E X P E R I M E N TAT I O N W I T H I N F LU E N C E O F A I R Considering the BANQ Restaurant contours are static, to experiment the influence of Air on the model, the contours were simplified and fabricated again. Mixing the form with movement gave a dynamic structure which responds to influence of air and helped in identifying the main focus for the EOI for the Wynham Gateway Project.

EXPRESSION OF INTEREST DOCUMENT WESTERN GATEWAY DESIGN PROJEC T

ARCHITECTURE ~Architecture arouses sentiments in man. The Architect’s task therefore, is to make those sentiments more precise.

Adolf Loos ~Architecture should speak of its time and place, but yearn for timelessness Frank Gehry

HOW CAN ARCHITECTURE CONTRIBUTE In the designing and fabrication of the Gateway Project, Architectural insight would be used. As the gateway brief specifies, “the installation should provide an experience. The installation should create a focal point of iconic scale and presence and encourage a sense of pride”.

Using computational designs(technology), architecture can reach a level of futuristic designs which could create a “new discourse” for the Western Gateway with new, inspiring ideas.

Evidence of such innovative designs formed on the basis of unique Architecture will be illustrated in this Expression of Interest Document.

PRECEDENTS Technology driven pavilions Designed by Heatherwick Studio’s, the Seed cathedral is a technology driven pavilion which uses Performance Driven architecture and digital fabarication, providing a unique pavilion which exhibits seeds.

“The design process evolved to produce two interlinked and experiential elements: an architecturally iconic Seed Cathedral, and a multi-layered landscape treatment of the 6,000m2 site.”

(Sebastian J, Arch Daily, 2010)

U.K. PAV I L I O N “SEED CATHEDRAL” 2010

The Seed Cathedral acts as an important precedent in the design process of the Gateway project due to its use of digital technology as well as performance driven architecture.

The Cathedral uses optical fibres which responds to light conditions, which shows the unseen movements from the shadows and light to illuminate the pavilion. During the day, the optic fibres illuminate the interior and ad night light sources inside each rod allows the whole structure to glow.

This structure creates a “dynamic” effect as the wind passes by causing the optic fibres to move along with it. The Seed Cathedral also uses the ‘Moire Effect’ which is quite interesting.

Making the “un-conventional”, “conventional” Thomas Heatherwick, articulating his vision for the pavilion, said: “The Expo in Shanghai will be an amazing event. Our task is to make the UK pavilion stand out. We decided to do this by making one extraordinary object; not recognisable in conventional terms, set in a calm open site. Each visitor will be able to explore both in their own way. Rather than making a straightforward advert for the UK, we want our pavilion to give each person a more profound understanding of the richness of contemporary UK culture.”

(Dezeen Magazine, 2009)

Technology driven façades Designed by Studio Gang Architects, the Aqua Tower uses a series of contours which define the outdoor terraces, extending away from the face of the tower structure to provide views between neighbouring buildings. These outdoor terraces differ in shape from different floors. The terraces are based on criteria’s such as the view, sun shading, and size and type of dwelling. When viewed together, these terraces make the building appear to undulate, which presents a highly sculptured appearance that is rooted in function, giving it a dynamic form.

“Aqua Tower is one of few high-rises in the world that creates a community on its façade. With a hotel, apartments, condominiums, parking, offices, and one of Chicago’s largest green roofs, this multiuse tower demonstrates both architectural and technical achievements.”

(Studio Gang Architects)

AQUA TOWER, 2010

Technology driven interiors Designed by Greek Architects, Mal-Vi, the ORL Clinic creates an illusion of an acoustic wave traveling through the surface of the partition created. The wooden slats wrap around the reception area, forming a desk using contour lines which is left untreated, to allow the simplicity of material being contrasted with the intricasy of the shape it creates.

The change in perspective acts as a strong point in the designing of this partition wall. The illusion of an acoustic wave performs in way, that it creates a swaying effect when one changes their perspective.

(Victoria King, Arch Daily, 2011)

ORL CLINIC, 2011

Technology driven buildings “The form of the building was inspired by the vaults of Seville’s expansive cathedral- I wanted to create a ‘cathedral without walls’ that would be ‘dramatic’- and also by the handsome trees already in the square” (J J Mayer contains elements of art and sculpture in his architecture. He notices art and architecture as similar, both about the interrelation of human and space. His buildings are complex- sculpture like forms, with non repeating elements which can be achieved by digital designs.

This project is a redevelopment of Plaza de la Encarnacion in Sevilla, which is designed by J Mayer H Architects. This project has become an icon and articulates Sevilla’s role as one of Spain’s most fascinating cultural destinations. The parasols provide shade, and light and grab the attention through the design. When viewed from different angles, the design has a creative, inventive sculpture like plan which makes the contours sway with ones movement.

“Metropol Parasols” mix-used character initiates a dynamic development for culture.

METROPOL PA R A S O L 2011

Technology driven parks “Rather than replacing the existing landscape with a new circus building – we propose to turn the natural topography into a circus landscape.”

“We propose a new form of architecture native to the natural features of the Bayu region, harmoniously integrated in the natural topography of the steep slopes of the river banks.

An artificial landscape rather than a manmade object. We propose an architecture that combines a rigorous functional layout with a poetic natural aesthetic. On the outside a sensuous landscape of terraces, caves and canopies for the public visitors. A symbiosis of visual and practical aesthetics.”

(BIG Architects) This design of turning the Chongqing circus city into a public park is designed by BIG Architects group. The contours of this design form a landscape of terraces, caves, and canopies for the public visitors.

The way the building is planned performs in its functions with spaces integrated with it.

The caves and canopies add to the elegancy of the design. The use of digital technology to create this effect is amazing.

CHONGQING CIRCUS CIT Y 2009/2010

The Research focus of this document is: Technology/Digital/Parametric Designs/ which change in perspective.

The Design focus for the Western Gateway Project is: Per formance/Perspective/ Innovation

CUT/DEVELOP

MATRIX COMBINATIONS

matrix definitions--form/perception

27

30

From the 90 definitions produced for the matrix per group, a few were selected which according to us created a unique form and changed with change in perspective.

The group of definiton results shown fit this criteria which is futher explored in order to achieve an EOI.

Case Study Precedent

“BANQ Restaurant capatilizes on the spatial and functional peculiarities of the space as a ground for speculation and invention, requiring maximum flexibity on the ground for the re-organization of seating arrangements, in contrast the ceiling is encumbered by the myriad of mechanical, structural, and acoustic limits inherited from the building. Thus, the entire ceiling is covered by a wood-slatted system that encases and conceals the inhertited systems. The wood slates are designed as a landscape, undulating in relation to the very equipment that conceal over-head, while encasing the columns in the main hall.�

(Office dA)

The architect of the BANQ Restaurant, NADER TEHRANI used the weakness of the building, to convert it into its strength. According to the architect, the weakness of the restaurant lies in the ceiling which showed the mechanical stuff and columns which the architect intended to hide away, thus using contours to enhance the form of the ceiling, giving it topography.

The BANQ Restaurant makes the unconventional conventional, it enhances the form by making the contour lines visible.

The most interesting thing in this case study is the contours formed which imitate a topography on the ceiling. This inspired us to create a detail physical model of them same and further explore.

B A N Q RESTAURANT, 2008

BANQ--computation ‘ S TAT I C ’ C O N T O U R S

BANQ--fabrication ‘ S TAT I C ’ C O N T O U R S

TESTING MOVEMENT ‘DYNAMIC’ CONTOURS

E X P L O R AT I O N

MODEL ONE The use of contours as topography in a design, such as the ceieling of the BANQ Restaurant, acts differently from different perspectives. During the fabrication of the model, our group saw a “swaying and undulating” effect created by the contours when the camera was moved across from birdseye view. Another effect was noticed, while moving the camera across the model, the part being focused on disappeared. This effect was different and needed further exploration.

MODEL TWO Seeing the contours as static, we decided to add a “movement” to the contours and made our second model, which dealt with the same.

This created Dynamic Contours wihich moved with the affect of force.

However, this model did not work for us as we wanted to use “natural” methods or affects of air to cause the change; or use the already provided change in perspective to enhance the model (the site is on a highway, which automatically causes change in perception)

Further explorations were done for model one, the effects that contours created were stunning, although, it was not affective enough. We needed something more along with the undulating effect of contours to make our design different. Along with the swaying effect, the idea of seeing structural parts of the BANQ Restruarnt through the contour ceiling topography when looking straight up, was meant to be integrated.

The lines made by the contours is something we would like to use further, however, what is behind that is what interests us more. The idea of Double Layering would be the theme of the final design for the Gateway Project.

Where, the lines are in front, and there would be something behind it-something behind which would create an “Optical Illusion”

E X P L O R AT I O N 1 --Optical

Illusion

Layer 1

Layer 2

DETAIL

GRASSHOPPER DEFINITION

1

ROUGH SITE PLAN LAYOUT EXPLAINING WHERE WHICH LAYER WOULD BE PUT

2

Layer 1

2

La ye r

1

er Lay

3

To create an optical illusion by layering, we came across Moire Effect, which is a visual perception that occurs when viewing a set of lines or dots that are either superimposed on another set of lines or dots, or where the sets differ in relative size, angle or spacing. These contours create somewhat an optical illusion we are trying to achieve.

The idea behind having an optical illusion is that, when cars would be passing by the three roads on site, they would get a different view from each road. On passing from roads 1 and 3, the whole change in perception effect would be seen, whereas, when passing by road 2, only the different layers would be visible, without the optical illusion.

An innovative and creative design which meets the requirements of the competition brief (iconic, innovative design) would be futher developed following this idea for the design. This design will enhance the phycial enviornment with the introduction of a different, yet unique piece of art incorportation an illusion which will encourage an interest beyong first glance.

E X P L O R AT I O N 2 --Lace Our second exploration was based on creating a “Lace� structure/surface that would cover the site creating an Ornamental expression for the Gateway Installation.

This lace structure would be tested on different types of materials which would test its fragility.

This lace pattern was created using grasshopper and rhino, forming an intricate and delicate set of artwork digitally which would be further explored,

The “lace� pattern would be further explored to create a more dynamic effect for the Gateway Installation, playing with different materials and testing the fragility of materials.

With this design, we would further test the fabrication process for materials such as, wax, plastic and metal.

GRASSHOPPER DEFINITION

Since the site has an existing location with a flat and wide landscape, the lacing effect in the installation would fit perfectly and increase the unique-ness of Werribee. Such effects have not been previously used in building facade designs, whereas, using it on an installtion for a Gateway Project would be the first, making it different and stunning in its appeal.

The people passing by would love to see such intricate peice of work which ornaments the landscape of the freeway. An ongoing interest in the Western suburbs of Melbourne would be maintained via this design proposal.

Keeping in mind the surrounding landscape, the design installtion will act as a contrast. With the landscape being wide and flat, the design will be complex, creating a relation with textile materials with the delicate lace effect, thus creating an Iconic feature for the Western Gateway.

The Selection Panel for the Western Gateway Design Project should choose our team as the Architects of the Art Installation as the design ideas we have are unique and different and offer something other Architects may not. We offer an Iconic design installation which keeps in mind the high speed cars and bikes who will be the audience of our masterpiece, the surrounding landsacpe and the fact that our design would put Werribee and Western Gateway on the map and create a new discourse.

The use of such ornamentation in the form of “lace� has never been done before on a gateway installtion, and our work would prove to be creative and inspire other architects. We have great ideas and creative minds which would produce anything the client dreams of.

We can change your dreams into reality.

EOI: LEARNING OBJEC TIVES AND OUTCOMES

Computation designs, Paramteric techniques, Scripting cultures; all of these are computer based designs which take the help of computers for prototyping and use the creativity of the individual. Architectural designing is constrained by a number of problems, it relies on the analytical and the create sides to produce a feasible solution.

Computers are amazing analytical engines, and can achieve solutions to design problems much faster and to finer details. Such methods provide rapid prototying through which an optimised form can be achieved. Humans can programme the computers in ways which can tell them to manipulate electrical impulses. These manipulations can be representated in the most suitable form required for its comprehension. (Yehuda E. Kalay, 2004, pp5-25)Computers can graphically illustrate solutions of a design problem.

Scripting on the other hand uses mathematics and computers to create designs. Scripting engines include Rhino, Grasshopper etc. The use of Grasshopper has been very helpful and the use of such design tools provides a much easier and more effective way to produce designs faster.

In computing, ‘scripting language’ is often the same as ‘programming language’, via which, the user gives instructions to the computer. (Burry Mark, 2011, pp8-71) A shift to digital technology is seen these days, mainly because such design engines allow mass production of designs, using minimal amount of time, and therefore allowing us to achieve much more than what we could without the help of digital technology. These design tools are easy to use as they are constrainted by certain parameters which can be changed according to the designs. These design softwares can create optimised form quicker than humans.

The learning of such a tool like Grasshopper as a plugin in Rhino has been very helpful in being able to design using digital technology and has taught me how to use 3-D modelling softwares which include parametric modelling and scripting. Such design tools will be very helpful in future studies and career as an Architect.

PROJEC T PROPOSAL .LACE PROJEC T.

~ L ACE PRECEDENTS Concrete Lace Architecture A highly inspiring structure, “Concrete Lace� is designed by Doreen Westphal, who is an automonous designer. The Lace structure is made from ultra high performance concrete and different suspension materials such as ribbon or 1mm steel cable. This design used digital technology to be fabricated and suspended. Concrete tiles are cut for fabrication of this unique, and elegant design. (Doreen Westphal Website) This Concrete Lace forms the basis of our further exploration in order to create a lace installation over the Gateway Project. This design is revelant as it uses digital technology and creates something ornate with it. An iconic design will feature the Western Gateway Project.

Lace Fence Design The Lace fence is a design created by a Dutch Design House, Demakersvan. This installation creates a delicate link between hostility and kindness, industrial and craft. The lace fence translates the building idea to combine the sensitive and the small with the powerful, large and industrial. It is a patch of embroided wire which continues to form an industrial fence (LaceFence website).

This unique idea of combining industrial with craft is beautifully set out and works well with our design idea for the installation. Creating a delicate design to be incorporated between the busy roads and the industrial side of Melbourne, the West.

Lace Necklace

This lace necklace is cast in sterling silver and created by Brigitte Adolph.

A jewel made in the shape of lace, blends the rediscovery of ancient traditions, such as handmade lace, to the most noble of materials such as silver and gold. This particular piece is inspired by the Venetian lace which has been set in silver, this jewelry transforms the material properties from a hard material into a delicate lace work (LoveLace).

Such is the idea that the final model for the Gateway Brief would follow; transforming different material properties and experimenting with various materials to create an intricate lace which would act as an “ornament� of Werribee.

Miscellaneous Lace Lacing is such an intricate piece of design that it can be used in numerous amount of ways.

The above images show the delicate use of lace in metallic leather, gold, and cotton and silk tulle.

Image 2: Briohny Luhrmann, LoveLace

Image 3: Dalya Israeli, LoveLace

Image 1: The lace is formed in hand-cut metallic leather creating a sense of delicate detail in a solid material.

Image 2: Needle lace using eco-dyed cotton and silk tulle, this image shows how intricare lace work can become.

Image 1: Kristina McCaffrey,

Image 3: The use of lace in jewellry is seen in this image. Such intricate work done in 18k gold shows fine details and creates a sense of ornamentation.

~ L ACE D E SIG N E XP LOR ATI ON Based on the feedback given in class, our group decided to further explore the possibilities of a lace design and push it to its limits. The following designs were created during this exploration.

1.

This lace design is tested on ivorycard to test the limits of the materiality of paper.. Since cutting this design was not possible becase of the detailing work, the intricate design had to be ‘etched’.

2.

The lace pattern was created with grasshopper and further simplified and rationalised in order to optimise the form.

Step 1

3.

A combination of this circular design pattern for the lace was added to the second to create a more dynamic effect.

Step 2

Step 3

4.

On combining two forms, we ended up with something like this.

This shape was finalised as it tesselates and fits the form we are trying to create for the final model.

For the final Gateway Project design, we are experimenting with creating a panel of such design patterns which would be stiched together to form a lace pattern. This design choice has been made as it would be more effective than having a while structure made entirely of lace, since it would be harder to manufacture off-site because of it’s fragility and delicateness. Whereas, the panels are easier to manufacture as well as transport to the site from place of manufacture. These panels would rotate to a slight angle that would create a partial view of the lace for the people crossing the site, where as, from looking above (bird’s eye view), the whole design would be visible creating an ornamental structure covering the site at the freeway giving an elegant effect to Werribee.

5.

Further exploration was done by adding different lace patterns to the form of the panel created, experimenting with design of lace, and line weights.

TESTING LACE ON MATERIALITY Using digital technologies, material properties were transformed by using a lace pattern.

Different materials were tested on, such as Plastic (polyprex), Wax, Metal Panels and Soldering. On fabricating the materials, lace was seen to react differently to different materials and different thickness of materials.

PANEL

When experimenting with metal panels as the chosen design for the final Gateway Project, it was noticed that due to the thickness of the metal, the design was hard to distort, change the geometry, and did not bend. During the fabrication process, due to the small scale of the metal panel, the details in the lace pattern were hard to fabricate hence a compromise was made on the intricacy of the design.

However, this design failed due to the loss of the “lace� effect once fabricated. Attaching various metal panels were seen to lose the effect of the lace idea and led to becoming monotonous.

PLASTIC

On experimenting with plastic, it was found to be a flexible material which showed effects that could further be achieved in the model by stretching the design. This two-dimentional model was stretched to its limits to see the bending effects that take place then creating a three-dimentional effect. Such a design with a dramatic effect was desired to be more stable as the plastic material did not hold its shape. Therefore, a decision to test the lace pattern on thin metal was made, which would create such a dramatic effect by bending and maintain its shape.

SOLDERING

A model was made by melting metal in a pan and pouring it into a mould created for the model. The metal however was too thin. Although, this resulted in helping us experience the properties of metal such as malleability. The metal model could bend as it was thin and malleable.

~THE LACE PROJECT

P R O V I D I N G A N O R N A M E N TA L E X P R E S S I O N W I T H L A C E .

The final model for the Western Gateway Design Project is a result of Lace fabricated in Aluminium sheet of thickness 0.6mm. This model is a result of bending the metal model and creating a three-dimentional form from a two-dimentional sheet (images above).

By bending the structure, the model explores the effect of detailed patterns as well as materiality and change with force.

This design is focused on transforming material properties via digital technology through patterning instead of change of material. A unique design which fulfills the project brief and stands out. This innovative design creates a unique effect using parametric designing tools advancing an architectural discourse.

The model creates a dramatic effect with the use of lace by creating different viewpoints from different angles due to the bending and stretching, giving a hierarchy to the roads onsite. On one side of the road, the design explores complexity whereas to contrast this, the other side sees a more delicate and simple design.

An interesting effect was noticed; more connections in the lace pattern resulted in a less malleable structure however, longer strands were easy to transform.

The detail of this design was tested on wax.

WAX

An interesting attempt to make a detail for the main model. However due to wax being brittle and was easy to melt, the model did not survive.

The choice of metal was made as it mirrors the colours of the sky and also deals well with atmosphere. In real life, the model would be made by steel which rusts over time due to moisture and hence the dramatic effect of the design would be maintined by the change in colour, and properties of the metal which would cause some parts of the design to break.

The effects of light were explored with the model; because of the lace pattern, an intricade shadow is casted due to the light. During different times of the day, there would be different lighting effects due to intricate details of the lace. Hence when cars pass by, they would experience a world of performance through the lace model.

SITE PLAN

The design of lace is held down by the use of thread which gives a contrast to the metal design placed on an abstract black site layout.

However, the use of fisherman string is also been explored which acts as a clear string holding the model down on the site plan.

The use of this fisherman string is done so that it integrates well with the model as well as the site layout and acts at an appropriate scale in the physical model.

PHOTOGRAPHY

LIGHT

BEND

CURVES

WATER

LEARNING OBJEC TIVES AND OUTCOMES Parametric design has enabled us to create a variety of innovative patterns and designs in a short amount of time. With parametric designing tools, intricate and detail structures are not possible to construct. An approach to parametric designs symbolises the rist of changing normality to something much more complex, challenging and as a result, more interesting.

Through the subject Architecture Design Studio Air, the teachings of Rhino with plugin Grasshopper has resulted in the beginning of architectural knowledge of three-dimentional modelling.

In the intial state at the beginning of the course, I had no knowledge of any three-dimentional modelling software except, Google Sketchup or even Adobe Illustrator. Whereas, over the weeks, no matter how hard the tasks got, every exercise we were asked to do has paid off and was equally relevent in understanding and working with Grasshopper.

The ex-lab exercises were highly useful and this forced us to explore the various possibilities of the definitions provided.

In Week 4, the matrix combinations we were asked to do helped us in achievning a final design idea with the help of paramteric modelling in rhino. The 90 definitions per group made us explore the different combinations in order to select a few which were relevent to our idea.

In Week 5, the research project allowed us to explore the various outcomes of parametric designs and trying to mimic them was hard, yet very important. During this week, I struggled in duplicating the three chosen research projects, however successed with the help of the definitions already provided to us.

Week 6 helped in the fabrication process and how to nest the digital model into a physical one. Although there were slight differences in the outcome of the physical model.

The weeks after became a lot easier with the increased knowledge and understanding of the softwares and helpful advice from Gwyll and Andy. The tutors played a major role in helping me through the subject from the initial beginning towards the end.

The explorations of the final design as well as the final model (lace project) shows the imporvement and learnings through the semester.

The intricate designs achieved by the use of parametric tools such

as grasshopper and rhino are shown in the project proposal. These delicate designs are a result of the softwares taught during this subject.

For future learning, the softwares Rhino with plugin Grasshopper will be further explored and studied in order to gain full control over it. The acquired knowledge in the softwares and design tool such as Adobe Illustrator would be pushed to its limit in desgning more models and using paramteric tools. This subject has also taught us to open our minds and think out of the box in architectural designing. For example, creating an ornamental lace overlay for the site of the Western Freeway Installation is a great idea which is achieved via digital tools.

Using such tools, an interesting design which combines the intricate and delicate with the industrial side of Melbourne was achieved.

SOURCES Amanda Levete Architects, Accessed on April, 3, 2012 Retrieved from: http://www.amandalevetearchitects.com/news/ hills-place-complete/ Archidose, Accessed on April, 3, 2012 Retrieved from :http://archidose.org/wp/2003/10/12/mccormicktribune-campus-center/ Ben Pell, ‘Gantenbein Vineyard Facade’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 178 - 183 Ben Pell, ‘Andre de Gouveia Residence’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 68 - 73 Ben Pell, ‘De Young Muesum’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 74 - 79 Ben Pell, ‘Dior Ginza’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 104 - 109 Ben Pell, ‘Carabanchel Social Housing’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 166 - 169 Ben Pell, ‘John Lewis Department Store’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 96 – 99 Ben Pell, ‘Spanish Pavilion, Expo 2005’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 162 - 165

SOURCES Ben Pell, ‘Restaurant Aoba-Tei’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp.

54 – 59 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 Christine Killory, and René Davids, ‘Children’s Museum of Pittsburgh’, in Detail in Process. 1st edn, Asbuilt (New York: Princeton Architectural Press, 2008), pp. 112 - 117 Dezeen Magazine, 2009, Retrieved from: http://www.dezeen.com/2009/06/30/uk-pavilion-atshanghai-expo-2010-by-thomas-heatherwick/ Doreen Westphal, Designer Accessed on May 15, 2012, Retrieved from: http://www.doreenwestphal.com/projects/ concrete-lace-2/# Federation Square: A Future About Shatters, 1997 Retrieved from: http://www.architecturemedia.com/aa/ aaissue.php?issueid=199711&article=23&typeon=3&highligh t=federation+square (Accessed on April 8, 2012) J Mayer H Architects, Retrieved from: http://www.jmayerh. de/19-0-Metropol-Parasol.html Kalay E. Yehuda, 2004, pp5-25) Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25)

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SOURCES Schumacher Patrik, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 3-4 Victoria King, Arch Daily, 2011, Retrieved from: http://www.archdaily.com/187595/orl-clinic-mal-vi-architects/ Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 17-19