MYKEL HAMER 501423
STUDIO: AIR JOURNAL
STUDIO: AIR JOURNAL TABLE OF CONTENTS JOURNAL PARAMETERS PART 1: EXPRESSION OF INTEREST
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1.1.0 // CASE FOR INNOVATION 1.1.1 // Architecture as a Discourse 1.1.2 // Computing in Architecture 1.1.3 // Parametric Modelling 1.1.4 // Case study Conclusion
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1.2.0 // RESEARCH PROJECT: CUT 1.2.1 // Observations & Design Drivers 1.2.2 // Scope of Possibilities 1.2.2.1 // Definition Matrix 1.2.2.2 // Reverse Engineered Case Study 1.2.2.3 // Material Effects 1.2.2.4 // Assembly Methods 1.2.3 // Research Conclusion
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1.3.0 // EOI CONCLUSION: COMPETITIVE ADVANTAGE
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1.4.0 // LEARNING OBJECTIVES AND OUTCOMES: INTERIM
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PART 2: PROJECT PROPOSAL 2.1 // Project Interpretation 2.2 // Project Delivery 2.3 // Project Presentation 2.4 // Project Proposal Conclusion
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PART 3: LEARNING OBJECTIVES & OUTCOMES 3.1 // Personal Background and Learning Objectives 3.2 // Learning Progress 3.3 // Learning Outcomes 3.4 // Future Work
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PART 4: REFERENCES
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PART ONE:
EXPRESSION OF INTEREST
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CASE FOR INNOVATION: ARCHITECTURE AS A DISCOURSE STUDY ONE: VIRTUAL ENVIRONMENTS // MORPHE MELBOURNE UNIVERSITY // MYKEL HAMER The Headspace Project, completed as part of the Virtual Environments subject at the University of Melbourne in 2010, required a re-thinking of what we consider as ‘Architecture’ in that the goal was not to design a conventional building, but was instead focussed on designing a structure well suited to a new kind of topography - the designer’s head. Models of the design were made out of clay, then covered in reference points - these were then used as reference in order to plot the form itself into 3D rendering software, providing a digitized version of the design. In a major departure from the norm, orthogonal drawings of the design were only produced -after- the finalization and completion of the three-dimensional digital model itself, and thus served only as references after the fact, rather than integral drawings that further inform the design process as they usually would. This unique approach of designing more or less from the top down and purely in three dimensions led to a variety of new and unforeseen challenges in the fabrication process, but also allowed unprecedented flexibility in regards to design alteration at the later stages of the design process. More importantly, this approach allowed context to play a constant and easily referenced part of designing the headpiece. The design was altered several times, but each revision was assessed by placing it on a three-dimensional model of a human head - in this case, the site and surrounding environment - and seeing how it performed and communicated in relation to this context. Following from this, a final design was achieved that not only made its own statement, but integrated smoothly and pleasantly with the site itself as intended. Initial inspection reveals that this kind of approach could be supremely beneficial for the Wyndham Gateway Project, as the proposed site of the design is an area both filled with an abundance of natural elements as well as bordering a large suburban development. Any projects built here should reference this contradictory environment - the wealth of flora and fauna is a source of pride to the local area as well as an important part of the overall regional ecosystem as a whole, but the needs and wants of the large urban hub also present should not be underestimated or forsaken. Such a holistic approach should serve to benefit all stakeholders as well as the local community, and consistent effort should be made to approach the design process with these factors in mind at all stages and revisions.
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STUDY TWO: NAGAKIN CAPSULE TOWER TOKYO, JAPAN // KISHO KUROKAWA Constructed in 1972, the Nagakin Capsule Tower is an example of truly progressive and innovative design - the tower is composed of a number of ‘capsules’ measuring 2.3m x 3.8m x 2.1m ‘plugged into’ a central concrete access shaft. These capsules were designed to comfortably accommodate single businessmen, are replaceable, and can be attached to the shaft with differing orientations in as per the resident’s desires. The capsules are also designed to be capable of being joined together to form larger living spaces (Ouroussoff, 2009). This design is perhaps the most famous example of ‘metabolist architecture’- a movement begun in Japan in the 1950s that aimed to harness cutting edge technology in order to create structures or cities that were flexible and/or expandable in application and scope (Ouroussoff, 2009) - and defies generally accepted ideas of buildings as an immutable, colossal ‘box’ that does not change - or even need to change - once constructed. The possibilities presented by this flexibility broaden the scope available to architects, and force one to rethink their preconceived ideas of what is possible when designing a built environment. This is a structure that is capable of being what the designer or tenants want it do be, evolving and changing over time - and this coupled with its modular nature is what makes it a worthy exploration in regards to the Wyndham Gateway Project. The architecture critic Nikolai Ourrossof referred to this building as “gorgeous architecture; like all great buildings, it is the crystallization of a far-reaching cultural ideal. Its existence also stands as a powerful reminder of paths not taken, of the possibility of worlds shaped by different sets of values”. (Ouroussoff, 2009). This best sums up the appeal of it’s design - the Wyndham Gateway Project could be the one to take these untrodden paths, and help shape future considerations of design as well as perception of the city itself. The malleability of the design is the key feature which was identified as being applicable to the Wyndham Gateway Project, though not in an entirely literal sense. The ability of users to directly manipulate and control the form of a structure much greater than the portion they had ownership of was an intriguing facet of the design that warranted further investigation. The inclusion of user participation was seen as an innovative and unique benefit that is often not considered in projects akin to the gateway project - these are often seen as purely monumental or decorative - and an approach which defied this convention could not only greatly benefit the strength of the design itself, but also ensure a strong link between users, locals and the Wyndham area itself. This aspiration fuelled the direction of further case study investigations, as will be seen in the following entries.
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STUDY THREE: THE DANCING HOUSE PRAGUE, CZECH REPUBLIC // FRANK GEHRY & VLADO MILUNIC The Dancing House - Commonly referred to as ‘Fred & Ginger’ as it was designed to evoke the image of Fred Astair and Ginger Rogers intertwined in dance - was a controversial design during it’s construction, as it contrasts starkly with the surrounding Neo-Renaissance, Gothic and baroque designs. The project received huge support from the then-president of the Czech Republic, Vaclav Havel, whose house was on the adjacent lot. Havel envisioned the final purpose of the structure as a grand ‘cultural centre’, as well as a statement declaring the changing nature of the republic itself as it broke free from communist rule and began to forge a new path. The generally conservative Czechs were at first uncomfortable with this intrusion, but have grown to accept it since it’s completion in 1996 (Muller, 2012). This design is an example of deconstructivist architecture, the most famous examples of which are generally also designed by Gehry himself. The odd, curved shape of the structure required 99 concrete panels, each with unique shape and dimensions, and the technical aspects of the design’s stability could not have been resolved without reliance on computer software. In this regard, the Dancing House pushes against the limits of what was formerly considered standard architectural discourse by taking a curved outer shell - traditionally a design feature that generated wasted space and resources - and integrating it so wholly into the design that it does not impede the function or use of the structure (Muller, 2012). This curved form creates a unique aesthetic, wherein the order of the stately buildings surrounding it is sharply broken, but at the same time the Dancing House reacts with and integrates between these forms and the surrounding area in order to become an unusual but coherent part of the streetscape. A result of this is an apparent fracture from the prevalent aesthetic of a standard Prague street when viewing the design from nearby, but a respectful continuation and celebration of it’s surroundings when viewed from a farther distance. The house itself becomes an active participant in the city, rather than a monolithic passive component, tying together the classical architecture with the lives and activities of the contemporary population as they go about their daily business. It is this integration and participation by the building that serves as one of its greatest strengths, highlighting the Dancing House as a forward-thinking and progressive approach to revitalizing an ageing and somewhat stale city street, and helping carry the historically rich Prague into the 21st century.
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CASE FOR INNOVATION: COMPUTING IN ARCHITECTURE INNOVATION ONE: QUEEN ELIZABETH II GREAT COURTWEIMAR, GERMANY // LONDON, UNITED KINGDOM // FOSTER & PARTNERS The Queen Elizabeth II Great court occupies a space in the center of the British Museum in London, a space that contained the British Library until it’s relocation in 1997 (Stonehouse, 2007). Due to the presence of an external body within the courtyard, this area was more or less ‘lost space’ to the museum, and the possibility of reclaiming and using it was approached with great enthusiasm (British Museum, 2012). The brief for redesigning this area and integrating it into the overall museum demanded three key features: revealing hidden spaces, revising old spaces, and creating new spaces (British Museum, 2012) These ambition were realized by Foster & Partners in their winning design, which most importantly integrated the courtyard into the overall museum as an interstitial space between different areas and exhibitions - this in itself opened or revealed a space that had previously been hidden from the public as well as providing access to new exhibition spaces that had previously been inaccessible. The revision of old spaces was realized through the installation of several new educational facilities in addition to the courtyard itself - the element of most interest in this case study for a variety of reasons (British Museum, 2012). The courtyard is an enormous open space, used primarily for transition between different exhibitions, and the design ensures that this movement is not a sterile or dull experience by enclosing the area below a colossal dome-like sky light, comprised of over one and a half thousand uniquely shaped pairs of window panes. This ceiling transforms an enclosed area in a massive stone building into a well lit space wherein one feels extreme freedom due to the amount of open space and exposure to natural daylight. The scale of the ceiling also transforms the courtyard into an interactive space, where one can watch the changing weather above, or move through a space of constantly changing light amounts and quality as it does so. As in prior case studies, this design exhibits the hallmarks of an interactive and participatory experience which not only happens before users but also includes them. This distinction takes what could have been a very sterile or oppressive space, and re-imagines it as a constantly moving phenomenon that the user is very much a part of and can connect with. Such an effect would be extremely beneficial to the proposed gateway project - not only by generating a more intriguing design, but also by including users in it’s composition, strengthening the bonds they feel with it.
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INNOVATION TWO: DRAGON SKIN PAVILION TAMPERE, FINLAND // TAMPERE UNIVERSITY OF TECHNOLOGY The Dragon Skin Pavilion was designed and created by students of three different universities in Finland, who were working under sponsorship of the producers of ‘post-formable plywood’ - a relatively new form of plywood that can be heated and moulded after being produced and cut. The pieces that the pavilion is composed of are flat plywood squares of identical dimensions, which then have slots cut into them at points dictated by the overall design reached using algorithmic input together with computer software. These pieces are then pressed into a curved mould to create their dome-like shape, and slotted together to from the pavilion itself (EDGE, 2011). This pavilion serves as a very strong example of how relatively simple elements - panels of plywood - can be used to create incredibly complex and intricate forms through the use of algorithmic input and three-dimensional design software. A further lesson to be learned is the potential of modular construction - as with the Queen Elizabeth II Great Court, the calculative power of algorithm-based design software allows such complex designs to be divided easily into modular components, ready for construction. The modular nature of the pieces that the design is composed of allows for far cheaper and simpler logistic arrangements during the construction process and the use of modules combined with the precision of the design software used ensures less waste and a far more sustainable outcome (EDGE, 2011). The most marked innovation of this design, however, is it’s flexibility in application - the abundance of suitable modules in conjunction with the in-situ shaping process of these allows an unprecedented variety of outcomes using the same base components. The overall shape of the pavilion itself can be altered in its digital form with a minimum of labour, and then the physical pieces it is comprised of can be shaped to suit the new design according to this data. As a result of this, the pavilion can be built to complement or suit any environment in which it is placed, becoming a cohesive part of the site rather than an externally designed structure placed upon it - and at a negligible of cost to the designer or any stakeholders. Again, this ‘cohesiveness’ of the design was seen as a great boon, and a feature that could be used to great effect in designing a gateway project for Wyndham City.
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CASE FOR INNOVATION: PARAMETRIC DESIGN EMBRACING LIMITATION: POLYMORPHIC NEW YORK, USA // COLUMBIA UNIVERSITY Polymorphic is an interactive bench designed by ten architecture students at the University of Columbia; the goal of this design was an intention to push the limits and illustrate the potential of computational design in regards not only to architecture, but design itself as an overall concept. Composed of a single continuous form or body, the design defies conventional perception of what a bench is or should be capable of; intended to recall the kinetic motion of a seesaw and the reverberating motion of a slinky, it can be shaped our moulded to suit the needs of the user - be it to improve comfort, better utilise or fit within a designated space, or create a more pleasant aesthetic (Able et al., 2012). Parametric design was used to both subvert and embrace the conditions of the design brief for the project in several ways; used in conjunction with the design philosophy of it’s creators, this highlights Polymorphic as a very strong example of the advantages and future possibilities of scripted design methods (Able et al., 2012). The division of the overall form into 928 individual pieces that together realized to the design intent was handled solely by the Grasshopper software, as was the labelling of these pieces as well as the production of the joints that connect them - the superior calculative power computers have over human minds helped to quickly reduce a mortifying number of variables and potential results into a single set that allowed production to commence much faster than would historically have been possible for such an intricate design. In addition, the brief specified a limit of $1000 for expenses related to production - in order to comply to this, scripting software was used to dictate the arrangement of the pieces to be cut from the plywood sheets used for the design. The calculative power and holistic consideration of the software allowed optimal arrangement of these pieces, allowing the final product to be cut form only 28 plywood sheets which were used at over 90% efficiency. While these are undoubtedly notable advantages of the adopted design process, the more unconventional and surprising advantages are found in the more obtuse features of the design. The flexibility of the overall form and shape that comprises the design allows it to adhere to the size specifications of the brief, while still being capable of stretching and compressing to take up a larger areas - this exhibits how computers can be used not only to efficiently adhere to brief specifications, but also to extend our perceptions of how these restrictions can affect or indeed be affected by a design. In addition to this, the design subverts the standard view that a bench is simply a level surface for sitting on by being capable of being moulded to the desired shape; this flexibility was only made possible through the increased time frame for experimentation enabled by parametric design coupled with the ability to test and adjust designs instantly in a virtual environment rather than needing to construct iterative prototypes for this purpose (Able et al., 2012). Overall, scripting was used even more heavily in the production of the design than in the designing itself - this is a factor often overlooked when one envisions parametric or computational design as a process, however it is also a predominant factor in the efficient use of resources and potentially massive reductions in production costs. Polymorphic illustrates that the application of these design techniques themselves is as flexible as the goals or incentives that drive the design itself, and very firmly grounds parametric design as a method of achieving efficient and effective intricate designs in a measurable and interactive sense as well as a purely aesthetic one. In studying this project, one cannot help but feel enthusiastic about the possibilities that parametric design presents - the flexibility and ability to adjust a design immediately in real-time cuts back greatly on production time, allowing more time than ever for design and experimentation in pursuit of the best possible outcome. The additional ability to use scripting to maximise production efficiency and reduce errors means that designs can be produced with far less risk and potentially greater rewards than ever before.
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CASE STUDY CONCLUSION: WHAT IT ALL MEANS THE WYNDHAM GATEWAY PROJECT WYNDHAM, AUSTRALIA // FORGING A NEW PATH The case studies examined thus far have all shared one key strength, regardless of their form, environment or application - this is their participatory nature in reaction to their surroundings or users. Each of them has not only imposed itself upon its surroundings, but has also become an active part of them, either by incorporating the surrounding environment or by encouraging active use by people in the area. This capability of the designs would be of enormous benefit to the Wyndham Gateway Project - the site for this design is a busy stretch of freeway situated on the border between suburbia and open grassland, and utilizing these features of the site in order to emphasize the transition between them as well as reference these assets of the Wyndham area would result in a stronger design that satisfied all stakeholders and users of the project. Furthermore, the participatory nature of the prior designs was again seen as an important feature that could be incorporated into the Gateway Project - users will be passing the site at high speed, and as a result of this the time in which they can examine any installations present will be fleeting. If the design can be converted from a monument to a literal experience, something the user need not focus on or examine to benefit from, it will result in a much stronger outcome that satisfies all aspects of the brief while leaving a marked impression on those who experience it. With these observations and desired outcomes in mind, the design process was undertaken to realize them. The importance of these goals was retained as a major component or driver for the design at every step of its development, and they were constantly referred to in order to ensure their presence during this process, as detailed on the following pages. This constant reference to and linking with the brief objectives is what gives the final design its contextual strength, making it an ideal solution for the Gateway Project’s realization.
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RESEARCH PROJECT: CUT OBSERVATIONS & DESIGN DRIVERS WYNDHAM CITY AND SITE VISIT: WHAT NEEDS TO BE SAID, AND WHO NEEDS TO HEAR IT A site visit and independent research led to the discovery of a variety of design features that were considered an essential part of any final design for this project. In reference to the brief and its statement that “The Gateway Design concept should consider the scale and impact of the proposed installation within a very flat and wide open landscape. Also of consideration is the high speed movement of traffic along the Princes Freeway and the large and imposing serve centre and signage”, it was decided that the design must be of sufficient scale to create an experience for the user, rather than being a stationary monumental object. Furthermore, after assessing the proximity and integration of the site and Wyndham as a whole with the natural environment it was decided that any installation should integrate to become a part of the site, rather than an imposition placed upon it. In pursuit of this, inspiration was found in the camouflage techniques employed by the local wildlife - including those at the nearby Werribee Open Range Zoo. Another key aim of the brief was the statement that “It should aim to be accessible to a wide public and should explore place-making aspects and qualities”. In order to adhere to this, some local residents were interviewed and asked what made them think of Wyndham. The overwhelmingly most popular replies to this question were: Home, Nature, Urban Sprawl, and the local bird life and wetlands. These concepts will be kept in mind during the design process and integrated into the final form in order to best communicate with the local populace - the people who will spend the most time with and around this installation. In summary, the key features of importance were deemed to be: - The design must be an experience, not an object. - The design must communicate it’s purpose in a fashion understandable to the populace - The design must account for rapid movement through or past it These drivers will be retained and referred to throughout the design process, to ensure the design’s message and it’s strong link to Wyndham is not lost.
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RESEARCH PROJECT: CUT SCOPE OF POSSIBILITIES DEFINITION MATRIX: GRASSHOPPER // EXPERIMENTATION The matrix on the following pages is a sample selection of initial forays into experimenting with Grasshopper in order to realize a variety of design outcomes. Initial experimentation with an image sampler quickly illustrated the notable yet flexible effect the application of a reference image can have on a patterned design, and so focus was placed on other approaches in order to achieve the maximum potential outcomes in the timeframe given. Particular attention was given to the use of an attractor point in conjunction with a variety of effects, as illustrated. This associative technique is capable of having markedly different effects on the applied geometry, from the modification of pattern density, to the transformation of said geometry or even the apparent ‘curling’ of the entire underlying form as illustrated below in conjunction with a data driven rotation component. While these experiments were largely ‘blind trials’ performed by an as-yet largely uninformed approach, At this stage, the design process was more similar to Kalay’s ‘puzzle-making’ that true ‘problem-solving’, as he stated ‘the overall design process necessarily oscillates between these two’ (Kalay, 2004) - the fruits of these studies were plentiful and very useful in developing a further refined and focussed design for the Herzog and De Meuron re-engineering study and development of a final design for the Wyndham Gateway Project, as detailed in the following pages of this journal. It was during this portion of investigation and experimentation that a method more akin to ‘problem solving’ was employed. Experiment Breakdown: The image sampler component provides the fates and most legible aesthetic results - all one needs to do is adjust the size and density of the units in order to make the underlying image clearer, or more vague and implied. This input also allows for finer control of the appearance of the design through modification of the source image in a program such as Photoshop, leaving it a definite possibility for future use. The Jitter Function takes an applied pattern and randomly shifts the units - while this may be useful in reducing the rigidity or starkness of a design, it has no apparent immediate use out of context. Much the same can be said for the displacement ability of the Maths Functions - without a solid end goal in mind, this is a very difficult tool to successfully experiment with or achieve useful result with. In future designs these may prove useful, however most likely only under strictly defined and incidentally relevant circumstances. Attractor points formed the runt of experimentation, as stated - these allow the manipulation of a pattern’s density or form centred on a user defined point. This is a brilliant technique for emphasizing or exaggerating an effect at a certain point, and could most likely be applied to abroad range of designs to a remarkable and intriguing effect. The examples given show the relative flexibility of this function, and how it can be used in a variety of situations.
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SOURCE IMAGE: GEOMETRY: DENSITY:
GIRAFFE FUR RECTANGLE U: 33 V: 33
Jitter
SOURCE IMAGE: DENSITY: DENSITY:
GIRAFFE FUR RECTANGLE U: 60 V: 60
SOURCE IMAGE: GEOMETRY: ALTERATION:
GIRAFFE FUR CIRCLE UNITS APPLIED TO HEX GRID
SOURCE IMAGE: GEOMETRY: BOOLEAN:
GIRAFFE FUR CIRCLE TTFT
CIRCLE 4.0
GEOMETRY: ROTATION FACTOR:
RECTANGLE 10.0
DEFINITION APPLIED TO SURFACE NORMAL
Attractor, Surface Normal & Data Driven Rotation
UNITS ARE MORE VAGUELY APPLIED TO GRID FROM PRIOR DEFINITIONS
GEOMETRY: ROTATION FACTOR:
CIRCLE 0.0
GEOMETRY: ROTATION FACTOR:
GEOMETRY: ROTATION FACTOR:
RANDOM 30.0
FORM GRADUALLY ‘CURLS’ UPON ITSELF
Maths Function
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APPLIED TO SURFACE NORMAL
Attractor Point
GEOMETRY: DENSITY:
FORMULA: DENSITY:
SIN(X)*Y U: 33 V: 33
Scaled Components
CIRCLE U: 33 V: 33
GEOMETRY: SCALE:
FORMULA: DENSITY:
SIN(X)*T U: 60 V: 60
GEOMETRY: DENSITY:
SIN(X)*Y TTFT
Alternative Geometry
Increased Density
CIRCLE 25% MAX
FORMULA: BOOLEAN:
CIRCLE U: 60 V: 60
GEOMETRY: DENSITY: UNIT SIZE:
FORMULA: SIN(X)*Y CURVE AFFECTS SCALING OF UNITS
Randomized Geometry
RECTANGLE U: 33 V: 33 2x2
GEOMETRY:
RANDOM
NO. OF SIDES CORRELATES WITH ATTRACTOR
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DEFINITION MATRIX: GRASSHOPPER // EXPERIMENTATION The use of Boolean Patterns allows the manual adjustment or activation / deactivation of individual units in a patter this would be useful in achieving a more specific or more perhaps vague iteration of a prior design, or could also be carefully used to create a design-within-a design using the resultant white space. Again, this component is difficult to use to its full potential without a concrete design context to refer to. The Curve Intersections component is mysterious at best - it aligns units along a preordained path that can only be altered within very strict confines and to very little visible result. (I must admit that the precise function of this tool eludes me still, and thus it was discarded after providing no beneficial or productive results). The use of an explicit grid allows alteration of the base grid that patterns are applied to - as can be seen in the examples, moving from a linear grid to a hex grid arrangement removes most of the rigidity or ‘obvious order’ of a pattern, leaving a far more organic result that feels like it flows or moves more gently across a surface. This tool would be invaluable in trying to remove an ‘artificial’ or ‘computer generated’ feel from a design, as the absence of a regular linear grid seems to trick the eye into perceiving a more natural pattern or form. A final component that has seen regular use throughout this matrix but has not been mentioned is applying a pattern to the surface normal - this is not only useful, but an integral part of applying any pattern. This ensures the pattern is applied correctly and accurately to the underlying surface, regardless of the manner in which it curves and folds such a projection prevents patterns form becoming warped or ‘stretched’ when they are projected to a surface, as the distribution across the normal ensures they are projected at the appropriate angle for that point. Much like the above explicit grid, this appears more ‘natural’, and also preserves the original pattern as it was generated and intended to be seen, no matter the underlying form it is applied to.
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Boolean Pattern
GEOMETRY: BOOLEAN:
CIRCLE TTFT
GEOMETRY: BOOLEAN: SCALE:
CIRCLE TFT 25% MAX
GEOMETRY: BOOLEAN: DENSITY:
CIRCLE TTFT U: 60 V: 60
GEOMETRY: BOOLEAN:
RECTANGLE TTFT
GEOMETRY: BOOLEAN:
RANDOM TTFT
NO. OF SIDES CORRELATES WITH ATTRACTOR
Curve Intersections
GEOMETRY: CIRCLE CURVE APPLICATION DICTATES SCALE OF UNITS BOOLEAN:
GEOMETRY: CIRCLE CURVE APPLICATION DICTATES SCALE OF UNITS
TTFT
SCALE:
25% MAX
CIRCLE U: 33 V: 33
GEOMETRY: SCALE:
CIRCLE 25% MAX
GEOMETRY: CIRCLE CURVE APPLICATION DICTATES SCALE OF UNITS U: 60 DENSITY: V: 60
GEOMETRY: RECTANGLE CURVE APPLICATION DICTATES SCALE OF UNITS
GEOMETRY:
RANDOM
NO. OF SIDES CORRELATES TO SCALE OF UNITS / LARGER = MORE SIDES
Explicit Grid (Hex Grid)
GEOMETRY: DENSITY:
GEOMETRY: DENSITY:
CIRCLE U: 60 V: 60
GEOMETRY: DENSITY: UNIT SIZE:
RECTANGLE U: 33 V: 33 2x2
GEOMETRY:
RANDOM
NO. OF SIDES CORRELATES WITH ATTRACTOR
Applied to Surface Normal
PRIOR COMBINATIONS APPLIED TO SURFACE NORMAL TO ILLUSTRATE EFFECT IN THREE DIMENSIONAL ENVIRONMENT
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RESEARCH PROJECT: CUT SCOPE OF POSSIBILITIES REVERSE ENGINEERED CASE STUDY: DE YOUNG MUSEUM SAN FRANCISCO, USA // HERZOG & DE MEURON In examining a series of case studies, it was felt that the De Young Museum facade designed by Herzog & De Meuron really exemplified all that could be achieved by approaching the Wyndham Gateway Project in a similar regard - the museum facade is designed to reflect and integrate the surrounding greenery in order to become a cohesive part of its surrounding environment, and this ambition could well serve the gateway project as well. In order to achieve this effect, the patterning of the De Young facade was driven by the application of very specific data - the local flora from the area surrounding the museum. An image of nearby trees was applied in very much the same manner as the image sampler experiments on the previous page, and holes were punched into the facade in accordingly, with their radius dictated by the colour intensity of the image used. These holes allowed the passage of natural light through the facade, creating an effect similar to being under the shade of trees themselves as can be seen in the images opposite (Pell, 2010). In addition to these perforations, the facade was further altered by the organized embossing and debossing of it’s surface - these ‘dimples’ are regular in size in formation, however the direction of their extrusion is again based on information fed from a similar image sampler function. These two surface treatments are used in conjunction to instill the feeling of being among foliage by using light and shadow to generate a similar atmosphere, and consequently make the museum an integrated part of it’s environment instead of an isolated structure imposed upon it (Killory, 2008).
The Wyndham area is the frontier between bustling suburbia and vast stretches of farm and bushland, all of which is linked by the Werribee river - this apparent contradiction and the juxtaposition of two radically different environments is not only an intriguing occurrence, but also a source of pride for the local area. The gateway project itself is set to be placed in an area that very clearly illustrates this transition, on the outermost Western edge of Werribee, leaving a site that almost begs to be employed in order to highlight and celebrate the rich local assets from both ends of the spectrum. It was decided early on that a similar approach to that taken by Herzog & De Meuron would benefit the area greatly, and highlight this interplay. In order to replicate this desired effect, the experimental definitions from the previous matrix were re-employed and extended to better explore and work toward this specific outcome, as detailed by the matrices on the following pages.
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REVERSE ENGINEERED CASE STUDY: DE YOUNG MUSEUM DEFINITION MATRIX The matrix opposite shows the key steps taken in attempting to reverse-engineer the facade design. Ultimately, a design was achieved that resembled the De Young museum’s patterning and camouflage based of individually gathered images for use in the sampler. The design as it stands will create a very similar effect to that of the museum, in simulating the user’s passage underneath the canopy of a forest or through foliage. In order to realize an appropriate and engaging design for the Wyndham Gateway site, these basic properties will be retained and used, but further investigation will be taken in order to extend what can be achieved using these methods and strengthening their relationship with the site itself. The first step in extending these experiments was to build a physical model of this final definition so that the effect of light and motion on it’s face and surroundings could be observed. These tests can be found on the following pages.
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Shape
CURVES ALIGNED TO GUIDE CURVE AS PER IMAGE SAMPLER
SURFACE NORMAL PIXEL DATA EXTRUDE
GEOMETRY APPLIED VIA IMAGE SAMPLER
LOFTING GEOMETRY TO DIFFERING RADII
EXTRUSION OF GEOMETRY VIA IMAGE SAMPLER
CHANGE OF GEOMETRY TO RECTANGLES // HEIGHT AND DEPTH DICTATED BY PIXEL DATA
EXTRUSION OF GEOMETRY FROM LEVEL PLANE // HEIGHT DICTATED BY IMAGE DATA
GEOMETRY EXTRUSION DICTATED BY IMAGE SAMPLER // DARK = POSITIVE SHIFT, LIGHT = NEGATIVE
Emboss and Deboss
Final Recreated Design
EMBOSSING / DEBOSSING APPLIED PER IMAGE SAMPLER PERFORATIONS CUT PER IMAGE SAMPLER
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RESEARCH PROJECT: CUT SCOPE OF POSSIBILITIES MATERIAL EFFECTS TESTING THE PRELIMINARY DESIGN The following pages detail the various physical manifestations of initial experimental CUT designs - the production of which was initially apparent as quite an obstacle. Cutting, perforating or adding to a surface are techniques wellexplored by most who find themselves regularly constructing models or prototypes for architectural explorations, and thus the initial layer of perforations was applied with little trouble, Embossing a surface, however, is a more uncommon goal. It was decided than thin sheets of metal were best suited for this application at a small scale due to their malleability and flexibility. The dimples themselves were applied by drilling shallow hemispherical notches in a wooden board in accordance with the pattern produced by image sampler output, upon which the working surface was placed. A dowel was used to impress the surface into these indentations, and the was repeated for each side with the impression pattern changed accordingly to achieve the desired effect. The movement of light behind this surface produced the desired effect of dappled light emerging from amongst foliage, and thus was considered an appropriate avenue for further exploration. This subtlety in the filtering of light made for a camouflaged and indistinct effect, which would be invaluable in the stated intention of integrating the design into the surrounding environment as much as possible. In addition to flat test panels, additional models were produced to test in conjunction with their effects. The first model was a spin-like structure made of flat panes, producing it’s own shadow as well as creating an interesting interplay with the De Young panels. While intriguing, the effects of this model were considered somewhat harsh - this, in addition to it’s stark form, led to the conclusion that such a form would not be suitable in achieving the desired effect from a final design. As an aid to further exploration, the effect formerly applied to flat panels was the applied to a structure comprised of a string of vaguely spherical structures, as shown. This experiment drastically lessened the visible interplay of light through the apertures on these panels, and also made the underlying order behind the punctures and dimples seem far more rigid and less organic. Due to the disappointing results of these further experiments, it was decided to return to the original re-engineered design, and investigate hoe to push this further in order to make it applicable for a final three dimensional form whilst still retaining the qualities that were desired from it - the interplay of light on the design and it’s surroundings, as well as integration with the surrounding area. The generation of this design quite stolidly followed Kalay’s proposed design generation methods, that “The additional information needed to complete the goals statement must either be invented as part of the search for the solution or adapted from generalized precedents metaphors or symbols” (Kalay, 2004). This design process began with such a search for environmental integration, inspiration was found in the De Young precedent, and then this was extended symbolically and metaphorically as will be detailed.
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ASSEMBLY METHODS PUTTING IT TOGETHER Following the prior design outcomes, the experiments in form were discarded as feedback decreed they were an unsuitable solution, and a renewed focus was placed on refining and extending the surface patterning created in order to better suit the site and express the desired emotion and experience. In order to achieve this, the perforations and dimples were more or less integrated into a single unit which comprised a more ephemeral and transient surface that would better camouflage and integrate with the site as desired. The fruits of this further investigation are shown below and opposite. Testing the new panel design by building a model showed that the new, streamlined design still communicated the dappled light effect that was sought from the beginning, but also made for a more dynamic and intriguing outer surface, less rigid or planar in appearance. The increased perforation to surface ratio of this design also allowed a more marked effect of light interplay, which was felt to be an important modification due to the high speed at which cars would pass any installation.
Extended Surface Perforation Design
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INTEGRATED PERFORATIONS AND DIMPLES APPLIED TO FLAT PLANE
NEW SURFACE TREATMENT APPLIED TO SURFACE NORMAL
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RESEARCH PROJECT CONCLUSION: LEARNING FROM PRECEDENTS EMBRACING TECHNOLOGY PROVIDING A TAILORED SOLUTION The experimentation undertaken on the prior pages is a fairly clear example of the kind of ‘evolutionary’ design process that is made possible by digitally aided or algorithmic design software. Examples of the required patterning and form were able to be produced reasonably quickly, with the software generating a completed effect from the inputs it was given, and then physical models could be constructed to test these effects under real lighting conditions. The issues and errors encountered in the design process serve as a good example of the strength inherent in this method of generation - due to the semi-automated nature of the production process, an extraordinary amount of time was saved when designing that then allowed extra time for testing of these physical models. This advantage means that any proposed solutions can be thoroughly and accurately tested before being presented, ensuring that the designers and stakeholders alike can all be confident that the intended result is not only feasible, but also verifiably functional. The experimentation itself, through it’s many changing forms, has retained the same overall goal - to generate a design that presents users with an experience, using light and shadow to engage them within its narrative. Testing has proven that this goal is satisfactorily evocative; and while the work so far has by no means brought about a final consolidated design, the current series of design iterations are well on the path to the desired outcome. Successful experimentation coupled with encouraging prototype results indicate that the design ambitions are worthy of further pursuit, and thus the following sections will detail how this initial EOI will be employed to further develop these forms and patterns into a final design that is of benefit to Wyndham while remaining in harmony with its surroundings.
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EOI: CONCLUSION COMPETITIVE ADVANTAGE AN INNOVATIVE APPROACH MORE THAN JUST A MONUMENT To conclude this expression of interest, both the prior case studies and the prior research project must be taken into consideration as together they form the foundation upon which the final design and its goals will rest. In realizing a final design for the Wyndham Gateway Project, the ultimate intent is to ensure that the final form communicates a narrative that is unique to and inextricable part of the Wyndham experience. In order to achieve this, lengths have been taken to produce a proposal which is not only informed by, but also communicates and can exist in harmony with he surrounding environment; be it natural or suburban. The use of light as the primary input to the user’s experience, along with employing design software which allows unprecedented real-time control over every part of the form and its ornamentation as a cohesive whole, allows for a design which will not only pique the interest of those driving through or adjacent to it, but will also encourage them to reflect upon the local area and their experiences within it. It is this focus on producing an experience instead of ‘just another’ monument or piece of art that truly brings the design to the fore as an appropriate solution for the site. This proposal engenders a truly innovative approach that will not only acknowledge the local area and its inhabitants, but also make Wyndham itself a place of note for those passing through or from further abroad.
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LEARNING OBJECTIVES & OUTCOMES INTERIM PROGRESS SO FAR HIGHS AND LOWS This semester’s introduction of Grasshopper and Rhino 3D - to software suites cannot confess to having used before has resulted in some definite moments of victory and satisfaction, though these are contrasted heavily by the terrible, terrible moments of frustration and confusion that have also been abundant. I entered this semester and this project with aims to further consolidate the design skills and drafting techniques learned in prior projects, and hopefully develop a continually more holistic and considered outlook on what it takes to realize an architectural design. Never did I imagine how much reality would differ from the experience I expected! Initially, I was personally very enthusiastic about learning a new skill set and how to harness some new design software, however my enthusiasm was frequently tested during the moments in which I simply could not convince Grasshopper to perform whatever seemingly simple function I wanted it to at the time. While I still have much to learn when it comes to conventional drawing and drafting techniques, this project marks the first time that I have had to battle my tools in order to achieve the desired result, rather than just needing to overcome conceptual design issues. Ultimately, this was absolutely infuriating, as it often seemed that a task I could have completed in minutes ‘by hand’ was taking hours or days to achieve within the software itself. Another ever-present peril of this method of design are the constant opportunities in which it is easier to alter your design to accommodate your current level of skill, rather than push yourself to overcome these learning obstacles in order to finally bend the software to performing as per your original goals. It is with some small amount of pride I say that we, as a group, constantly endeavoured to avoid this former mind set, and persevered with our frustration and lack of knowledge in order to eventually adhere to the latter method of design. This highlights another area in which I have thus far learned quite a lot - employing the help of others. On prior projects I have always maintained a small group of friends with whom I share my ideas and frustrations, however this is the first time I have been formally required to work in a group for the entirety of a project. While at times our differing opinions or inability to communicate complex ideas effectively caused small issues, overall working as a group was of enormous benefit, and I can confidently say that in the face of the steep learning curve none of us would have achieved as much as we have so far if we were working alone and without one another’s support. Another important factor to note in regards to working with others is that we learned as a group to maintain much more regular contact with our tutor than any of us have in the past - in fact, at times we were communicating via e-mail several times a day in order to resolve issues or ask advice, in addition to semi-regular meetings outside of class. I perceive this as being akin to relying on professionals in their fields when working on a ‘real’ project; one cannot be the master of all skills, and it pays to have some humility and learn when you need to ask for the support or advice of others. Overall, while this semester has been fairly gruelling so far, the benefits of these experiences has far outweighed the detriments, and has taught me to look at things from a radically different perspective in order to achieve stronger outcomes - and this will definitely be a boon in the future.
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The all-too familiar results of a night trying to achieve the desired result in grasshopper lead to another unmitigated disaster.
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PART TWO:
PROJECT PROPOSAL
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PROJECT PROPOSAL GENERATING A FINAL DESIGN PROJECT INTERPRETATION PURSUING AN INFORMED RESPONSE Wyndham is an area undergoing an incredibly fast period of growth and prosperity, and is certainly becoming a ‘place to be’. In pursuit of a design for the Wyndham Gateway project, primary importance was placed upon emphasizing the momentum behind Wyndham’s development, both during the present and into it’s future. Upon reaching the gateway at Wyndham’s border, the intention was to instill in drivers a sense of curiosity, an urge to explore the local area and community and see what it has to offer. Examination of the brief provided by Wyndham city highlighted four key design criteria that were employed and referred to throughout the design process in order to achieve a beneficial outcome for users and stakeholders alike. These were:
- The creation of a design that communicates to all, regardless of their background. - The design of an innovative installation for the city of Wyndham - The creation of an experiential approach, as opposed to simply an object or sculpture on-site, and - The expression of a dialogue between sculpture and the landscape
These criteria formed the basis of any and all experiments conducted during the design process, and served as key drivers in realizing an appropriate design. The overall goal of the final design can best be summarized as:
“To evoke an intrinsic experience through reference to and inclusion of the surrounding landscape and people of the Wyndham area”
The pursuit and fulfillment of these design criteria lead to the completed design, as can be seen opposite. The following pages will detail precisely how each of them has been used to full potential to provide the intended experience.
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Concept Sketch of proposed final design
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PROJECT DELIVERY DESIGNING FOR WYNDHAM In order to deliver the design as intended, each of the identified design indicators had to be catered for and included in the final product, as follows: - The creation of a design that communicates to all, regardless of their background. In order to achieve this goal and encourage involvement from the general public, experimentation was undertaken with a more experience-based design rationale; one that utilized tools and techniques that were almost certain to evoke a response based on what the user themselves actually experienced. The control of light and the alteration of scale to varying degrees was employed to encourage dialogue and reflection upon the site when it is encountered. - The design of an innovative installation for the city of Wyndham For the purposes of this design, innovation was defined as requiring the presence of an element of novelty, for this novelty to be accepted, and the overall aim of the innovation to be inciting a positive change. By employing these factors, a framework was constructed within which the intangible concept of innovation could be responded to accurately. The act of participating with the installation generates a more novel approach than the construction of a passive monument, and the design goal was to ensure that those passing through the site will accept and enjoy this inclusive experience, encouraging them to reconsider their perception of Wyndham both as a place and within context as part of greater Melbourne. - The creation of an experiential approach, as opposed to simply an object or sculpture on-site By embracing the motorway and including the road and by extension the drivers themselves within the design, the installation moves from being a passive object to being an inclusive one that is used rather than passed. The further use of perforations in order to control the effect of light upon passing motorists intensifies this feeling of experience, blurring the borders between the design itself and the users as they pass through it. These perforations are intended to evoke a sensation akin to moving beneath the canopy of foliage, strongly linking the user to the surrounding natural environment. - The expression of a dialogue between sculpture and the landscape The final design was intended to form a dialogue with the surrounding landscape by referring to the two different landscape types present. As commuters approach form the West, the piece begins as a series of organically curved members devoid of surface treatment. As they progress through the site, the members begin to become thicker, closer together and more rigid, intensifying the experience. Here is where the organic form, a reference to the surrounding natural landscape, morphs over time into a more angular shape - an outline of a house, forming a recognizable reference to the suburban home. This change serves as reference to Wyndham’s state as a rapidly evolving suburb, before the overall form morphs back to organic shapes upon the driver’s exit, illustrating that Wyndham’s development is not yet complete and its connection to the city is not yet completely secured. These design drivers were referred to constantly in the extending and refining of the project’s the final iterations of the submitted design.
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Above left: Diagram illustrating the development of the form as the user moves through it Above Right: The underlying shapes which the overall form is composed of Left: Conceptual Diagram illustrating the development and application of perforations to achieve the intended lighting effect Above: Diagram illustrating the intended effect evoked by perforations.
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PROJECT DELIVERY DRIVERS AND CONSTRUCTION It was deemed important that each of the members that constituted the overall form read as a contribution to the experience itself and not as an individual object. In pursuit of this, the pattern of light and shade created by the members was manipulated to form a striking and engaging experience: the rhythm of the members quickens and their thickness increases towards the middle point, almost joining to eliminate the large punctuating strips of light that have thus far interrupted them. The principle of countershading camouflage as employed by many species of deer was employed to increase the perforations at this darkest point in the experience, to shift to a new dynamic play of light. The testing of prototypes highlighted that this central point formed the climactic moment of the experience, and thus great care was taken in ensuring that the effect was properly realized in the final design. In a nod to the nearby icon of the Werribee open range zoo, the over arching form of the design itself employs a technique similar to the dazzling camouflage of the zebra, by being separated into a series of strip-like members rather than being composed of one solid mass. This softens the outline of each discrete member to imply the whole, converting isolated units into a single over arching form that embraces the user while moving with the surrounding landscape to further strengthen the dialogue between the two.
In regards to the proposed method of construction of the final design, the individual members would be composed of trusses at the sides, supporting each structure. These would then be clad in sheet metal which had been inscribed with the appropriate perforations - these panels would be prefabricated off-site in sections, before being transported and bolted into place at the site. This off-site construction will serve to minimize disruption to the road and traffic, and ensure a swift and efficient construction process. After consultation with a structural engineer, the design software can be employed to help ensure that the steel required for each member could be calculated and modeled digitally to create a precise estimate of material cost, and calculate the allocation of weight per truck for transportation. This will ensure the absence of unforeseen expenses and time delays resulting from errors and miscalculations for the project.
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Zebras - local reference used employed in design
Pattern used for Perforations
Deer - example of cross-shading effect employed via use of perforations
Construction Detail of a single member
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PROJECT DELIVERY EXPERIMENTATION After deciding upon the final design, several experiments were undertaken in refining it to achieve the best outcome. Several experiments were conducted by altering the width and spacing of the individual members that the overall form is comprised of, until a scheme was discovered that not only maintained the effect of producing an implied form but also allowed sufficient light in passing in order to create the rhythmic momentum that was intended. The patterning of the perforations was the next focus for experimentation, and this was at the mercy of several variables. The density and size of the holes was altered until a final pattern was reached that not only allowed sufficient light at the focal point in order to achieve the cross-shading effect, but also ensured that the image that was driving the pattern formation was readable and not an unintelligible mess. A further refinement imposed on this portion of the design was experimentation with several different base images of zebra stripes, in pursuit of a sample that maintained the required legibility from afar. The results of these experiments within digital space can be observed on the opposite page, however this was only half of the experimentation process. Once a design was reached that was deemed satisfactory, a small prototype model was produced to test the effect of light on the design under real conditions. The scoop-like perforations were produced by preparing several copies of each perforated member, each with slightly smaller perforations than the last, and them having these sets laser cut. These individual layers of each member were then glued into a frame one by one, ensuring they were properly aligned, in order to replicated the appearance of a solid member with threedimensional scoops removed from it using only planar materials. The construction process and finished prototype can be seen on the following pages - a cursory examination makes it clear that the perforations were not appropriate, as the amount of light permitted through these holes was insufficient to generate the pronounced effect that was intended. Ultimately, the prototyping process was of enormous benefit, as it allowed further refinement of the final design in order to achieve maximum effect with the results, as well as acting as a brilliant guide for neat and efficient construction of the final presentation model.
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Iterations of form with adjusted member density and width
Iterations of the perforations applied via image sampler The density and size of units is altered to increase legibility and light access
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PROJECT DELIVERY PROTOTYPE CONSTRUCTION
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PROJECT DELIVERY DESIGNING FOR WYNDHAM These orthogonal drawings provide key views of the proposed final design from several different views. All drawings are presented at 1:1000 scale.
SCALE 1:500
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South-East Elevation
North-West Elevation
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PROJECT DELIVERY FINAL MODEL
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PROJECT PRESENTATION PUTTING IT ALL TOGETHER Below is a capture of the presentation boards that were presented to the judging panel upon completion of the project. These have been included as a reference for further consideration, as well as conveniently summarized representation of the concepts and design outcomes that have been discussed during the prior portions of Part Two of this journal.
Note: Drawings are not to scale as this is a resized version of the presentation boards.
SITE PLAN
NORTH-EAST ELEVATION
SOUTH-WEST ELEVATION
DRIVE THROUGH PERSPECTIVES
SCALE 1:500
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PROCESS DIAGRAMS
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SCALE 1:200
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STRUCTURAL DETAIL 0m 10m 20m 30m 40m 50m
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AN INTRINSIC SCALE 1:200
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EXPERIENCE
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BY K KOPIETZ - 391054, M HAMER - 501423 & A GOWER - 201443
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SCALE 1:200ELEVATION 0m 2m 4m 6m SOUTH-WEST
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DESIGN INTENT Key Design Drivers: Creation of a design that communicates to all, regardless of background. An innovative installation An experiential approach as opposed to the creation of simply an object Generating dialogue between sculpture and the landscape To encourage involvement from the general public, we experimented with an experience based design rationale; one that utilised tools intended to evoke a response be accepted), and often aims to incite positive change. Using these indicators we were able to build a framework with which we could accurately respond to this intangible concept – participation with the installation is a more novel approach than the erection of another monument or structure that remains passive as commuters pass it, and it is hoped that those passing through the site will enjoy this feature and reconsider their perception of Wyndham and it’s place in the surrounding area. As one progresses through, the members change intensifying the experience, and the pattern of light and shade created by the members interplays with moving vehicles form an striking and engaging experience. The organic, as reference to the surrounding landscape, morphs into the rectilinear and more recognizable symbol of the home. This is the embodiment of Wyndham’s evolving state as a suburb.
PRECEDENTS
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PROJECT PROPOSAL CONCLUSION THE FINAL OUTCOME In conclusion, through the consideration of the identified design drivers and the use of context-driven scripting, an experience has been achieved which embodies all that which makes Wyndham great. Reference is made to not only the natural surroundings, but also to the local residents in order to reach an outcome that will provide a point of discovery and reflection for locals and newcomers alike- all of the prior factors come together in the end to become part of the final design, dubbed ‘An intrinsic Experience’ as reference to its strong ties with not only motorists, but also with the surrounding environment and community. This completed installation can confidently be referred to as an experience rather than as a structure; the shape of the form itself is dictated by the viewer’s perception of the relationship between the individual members whilst they are in motion, and the interplay of light as these viewers move through the design is controlled by strategically placed perforation. These two features carry little impact while the viewer looks on passively, but once they begin to move within the design at high speed this all changes - the interactions between them serve to not only inform the viewer of the site’s story, but also include them in this revelation, making them an active part of the site’s ongoing narrative. Aggressive pursuit of this evoking this experience has led to an outcome which will hopefully intrigue visitors to the area, while simultaneously encouraging current residents look on their home with pride.
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PART THREE:
LEARNING OBJECTIVES &
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LEARNING OBJECTIVES & OUTCOMES CARRYING THE KNOWLEDGE FORWARD PERSONAL BACKGROUND & LEARNING OBJECTIVES THE CHALLENGES AHEAD To expand upon the interim learning objectives and outcomes on page thirty-five, I entered this project expecting to consolidate and extend the skills and techniques gained from prior studios. In reality, this was only my second formal architectural design studio - as a mid-year entry student, I have yet to complete Studio: Earth, and have thus far only completed Studio: Water, the second subject in the series. This prior subject was predominantly focussed on hand-drawing and sketching, so when it was announced that this subject would focus on computer-aided design I was very eager to learn a new skill set that I could use in the future. Looking forward, my core learning objectives were:
- To develop an adequate knowledge base upon which I could employ the use of the Rhino 3D software for future projects, as I was aware that this suite is currently used by many students and professionals
- To experiment with and gain a sound knowledge of using digitally aided design in conjunction with the Fab Lab to produce complex physical models. During past subjects I had not had opportunity to use the Fab Lab, however I was intrigued by some of the designs I have seen it produce and eager to experiment with the ability to rapid-prototype it presented as well as the heightened ability to produce complex yet accurate models.
- To gain a more complete knowledge of how computers could be used not only for the design of abstract forms, but also how they might be employed to account for structural requirements or material use at later stages of development, and
- To further my ‘design vocabulary’; to learn from my tutors and my peers new ways of looking at things or approaching problems, new perspectives and new techniques. While this may seem like an obvious statement, it is nonetheless an important and pertinent part of anyone’s learning, and a part which was very well catered to during this project.
As a mid-year intake student, I am in many ways a semester behind my peers. While generally this difference is nothing a positive attitude and an aggressive approach to learning can’t fix, there were times when a lack of knowledge from subjects that had already been completed by the majority did cause some hindrance. This was most evident when it came time to produce construction diagrams and go into more detail regarding materials for the final design presentation - having not yet completed any construction-based subjects, I had to rely heavily on other group members to assist with this portion of the design process, and I am extremely grateful that the group-work environment presented me with this opportunity to not only overcome a daunting obstacle, but to learn form my fellows in the process. Eventually, like so many others in my position, I hope to one day be an architect - the subjects I have undertaken so far have gone out of their way to highlight that being a slave to tradition is not the way to make progress; that attempts at a new way of thinking are extremely important not only if you want to achieve any kind of progressive design, but also if you hope to one day make a name for yourself based on the strength of your portfolio. Overall, I hoped that a new perspective provided by this course would contribute to this.
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LEARNING PROGRESS ACHIEVEMENTS AND OBSTACLES As mentioned in the interim learning objectives and outcomes, while I entered this project with boundless enthusiasm (and a certain sense of naïveté, upon reflection), the experience itself has been both incredibly frustrating and extraordinarily satisfying - overcoming some of the more difficult obstacles presented during the semester has been quite tough at times, but also consistently rewarding. While I’m confident that my knowledge of Rhino and particularly Grasshopper has increased by leaps and bounds during the semester, I have no illusions that there is far, far more for me to learn. A major stumbling block that remains from my interim learning outcomes and objectives entry is the perpetual feeling that I am often fighting my tools rather than struggling to reach a satisfying design conclusion, and this can and will frequently place artificial limitations upon said design. While I am still satisfied that we as a group avoided falling into the trap of allowing such limitations and pushed the software as far as we possibly could, the arbitrary allocation of Grasshopper as our design tool still generated moments of ‘we simply can’t do that for this project’. While I can clearly see the advantages to software suits such as grasshopper and the ease with which they allow the meticulously controlled alteration of complex designs, I stand firm in my belief that such techniques are best employed in conjunction with other, perhaps more conventional design techniques. This cooperative use of software is no doubt the intended purpose of the program itself, and such application would allow for far more comprehensively satisfactory designs that can be created unhindered by being limited to only a single form of design generation. This is not a complaint about the course or project, merely a reflective observation - I understand and appreciate that the aim of the course itself was to increase our knowledge and proficiency with scripted design techniques, and feel it has achieved that goal. Nonetheless, the limitations presented by having only a beginner’s knowledge with Grasshopper have been a source of continued frustration. In summary, I would say that my knowledge in regards to scripted design has increased enormously during the semester, however this is only the beginning. In order to gain any real proficiency with the software, I will need to spend a lot of time experimenting and researching it’s proper use in years ahead.
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LEARNING OUTCOMES & FUTURE WORK A REFLECTIVE ASSESSMENT // LOOKING AHEAD The majority of this entry can be seen more or less as an extension of the interim learning outcomes and objectives, and this former entry need not be re-entered - if you wish to refer to it, please see page thirty-seven. The key areas of my development have been learning to use new forms of design software as detailed on the previous page, and working with (or relying on) the help of others. The remainder of the semester further impressed upon me how important and beneficial truly working with others as a team is, and also somewhat empowered me by teaching me when it is a good idea to stand up for a design choice and when to accept the conflicting views of others. There were times during the project where I deferred to others only to find that the critics preferred or suggested my discarded attitude, and other times where the contrary was also true. - this left a very clear message that working with others involves boundless respect for their opinions as well as a certain degree of willingness to discard pride and make a compromise, something I feel I have learned quite well - and to my ultimate benefit! In the future I certainly won’t forget the lessons taught by this semester - the design skills will undoubtedly become relevant time and time again during my education and eventual career, and the social skills I have developed will serve me in a more or less perpetual manner; in reality I will never be working totally solo in the workforce and will still employ much of what I have learned in this project as well as further developing from this foundation.
Why won’t you just work???
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PART FOUR:
REFERENCES Charlie Able et al., ‘Polymorphic Bench’, The Polymorphic Youth, <http://www.polymorphicyouth.com>, [accessed on 15 March 2012] British Museum, ‘Great Court’, The British Museum, < http://www.britishmuseum.org/about_us/the_museums_story/great_court.aspx>, [accessed on 2 March 2012]. EDGE Laboratory, ‘Dragon Skin Pavilion Press Pack’, Laboratory for Explorative Architecture and Design < http://l-ea-d.pro/w/wp-content/uploads/2012/02/DragonSkinPavilion-PressPack.pdf>, [accessed on 2 March, 2012]. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 Christine Killory, and René Davids, ‘De Young Muesum’, in Detail in Process. 1st edn, Asbuilt (New York: Princeton Architectural Press, 2008), pp. 100 - 111 Martin Muller, ‘Dancing House in Prague – Ginger and Fred’, Prague.cz, <http://www.prague.cz/dancing-house/>, [accessed 2 March 2012] Nicolai Ouroussoff, ‘Architecture: Future Vision Banished to the Past’, in The New York Times, July 6 (2009) < http:// www.nytimes.com/2009/07/07/arts/design/07capsule.html?_r=1> [accessed 2 March 2012] Ben Pell, ‘De Young Muesum’, in The Articulate Surface: Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 74 - 79 Roger Stonehouse, Colin St John Wilson: Buildings and Projects. [London: Black Dog Publishing, 2007] p455. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 16.
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A huge thank you to Kathleen and Alexa for persevering under stress and ensuring we got through the project â&#x2122;Ľ Thank you to Gunther, Belinda and Rambo for all of your cups of tea and support A big final Thank you to David Lister, for rescuing us time and time again!
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