2012 S2 Karl Weber

DESIGN STUDIO AIR SUBMISSION ONE

UNIVERSITY OF MELBOURNE

ARCHITECTURE DESIGN STUDIO SM2

KARL WEBER 505845

TUTOR FINN WARNOCK

NOVEMBER 12h

SEMESTER 2 2012

CONTENTS FEATURES 8-9 KARL WEBER: INTRODUCTION A brief introduction to Karl Weber and his work and design history, also a discussion on his experience and opinion with digital software.

10-11 ARCHITECTURAL Architectural projects and approaches that inspire karl and his design thinking.

These projects answer and respond to the design issues architects are faced with today.

12-13 COMPUTER AIDED DESIGN A brief discussion on the progression and effect the computer aided design is having on the architectural and construction industry.

14-17 PARAMETRIC MODELING A critical analysis of two architectural projects that were produced with the aid of parametric modeling.

18-27 CASE STUDY : # 1-2 The reconstruction and analysis of two projects using grasshopper as the design software, a break down of the steps used to arrive at the outcome.

28-31 MATRIX STUDY Exploring and expanding on the grasshopper design techniques used for case study 1-2 and then adapting them to the project brief.

34-35 PRECEDENTS An explanation on the precedents behind the expression of interest for the Werribee Project proposal.

36-37 PROPOSAL A discussion of the proposal for the expression of interest presentation, and images of the proposed concept. 3D computer imagery and physical model.

38-39 PROGRESSION A brief discussion on the panel feedback and what the next steps are for the development of the project.

CONTENTS FEATURES 40-57 DESIGN DEVELOPMENT A look into the explorations of our design journey from after the Mid Term presation.

57-69 DESIGN PROGRESSION A look at the design ideas that we explored in more detail and the ideas that failed to reach the goals we were aiming for.

70-77 REFINEMENT Refining the design outcomes that we decided to explore for the final design, looking at problems that we faced when fabricating our model.

78-87 FINAL PROPOSAL The final design for our Weribee proposal, images and site location of the sculptures.

88-89 FEEDBACK AND REFLECTION Feedback from the final presentation and a reflection of my journey throughout the subject.

ADS: AIR 2012_SM2

COURSE COORDINATOR Alison Fairley STUDIO TUTOR Finnian Warnock STUDIO TUTOR Haness McNamara STUDIO TIME 6.15 pm Thursday GROUP MEMBERS Nara Park & Elliot Mihai

MARINETTI, “DYNAMISM OF A CAR”, 1912

FIG 1

MARINETTI, “DYNAMISM OF A CAR”, 1912

http://pavlopoulos.wordpress.com/articles/luigi-russolo-dynamism-of-a-car/

FIG 1

1 THE CASE FOR INNOVATION

INTRODUCTION

COMPUTING IN ARCHITECTURE

PARAMETRIC MODELING

008

KARL WEBER :

ABOUT : My name is Karl Weber I was born in Queensland Australia and I am attending Melbourne University as a mature age student. Prior to attending University I had been living in London for several years working as a Site Engineer on various Infrastructure projects for the Olympic games. My background is in construction, and after graduating with a diploma in construction I worked in multiple trades throughout the industry, after, however I have also worked in the skateboard industry off and on throughout this time. My experiences in London where the catalyst for me to return to Australia and study Architecture, I am currently in my third year of study. Outside of architecture (which has become uncommon) I enjoy spending time surfing, cycling and visiting galleries and museums.

PREVIOUS STUDIOS : For my previous studios, Earth and Water, I made a point of hand drawing my final presentations ( although I am confident in AutoCAD ), I feel being able to hand draw or sketch is still one of the most valuable tools a architect can have. However, last semester I did Virtual Environments ( photo of model opposite page ) which was an enjoyable studio, learning Rhino was a steep learning curve ( panelling tools in particular ) but I now have a basic grasp of the software.

For my final design, the precedent and natural process were derived from the structural skeleton of a dragonfly wing and how it moves under different wind and turning patterns. The design outcome was a circular lantern, bottom lit, expressing the panel tabs as structural elements. However, my favorite studio so far has been Water, for this studio we learnt the theories and principals of a master Architect, in my case it was Tadao Ando, and apply then to our own design. My design was a terraced building nestled into the landscape, taking advantage of the surrounding environmental conditions and vistas, overall it was well received and displayed in the architecture atrium.

DIGITAL ARCHITECTURE : My experience with digital architecture is rather limited, I am aware that it is changing the face of architecture and I understand its importance within the industry.

I am confident with AutoCAD and moderately confident with Rhino ( but I am hoping that will change by the end of this studio ), I look forward to exploring the possibilities of Grasshopper and applying them to my designs and presentations, although I still feel that a pencil is the architects most powerful tool. However, I feel that architects of today will react to digitization in a similar way to how the architects of the early 20th century reacted to industrialization, it will be a tipping point of change and innovation. I am familiar with many digital architectural projects, but one that sticks in my mind (not for its aesthetic) for its innovation and exploration of digital programs is Liz Diller’s proposal for the Hirshhorn Museum in Washington, DC. Using Rhino, Liz Diller and her team have designed and calculated the loads of a fluid and inflatable structure, a design which would be impossible to create and construct without the refinement and aid of digital software.

LINK : http://www.ted.com/talks/lang/en/liz_diller_a_giant_bubble_for_debate.html

010

ARCHITECTURAL INSPIRATION :

FIG 2

FIG 3

TOP: GLENN MURCUTT SKETCH/ BOTTOM ABATON ARCHITECTS

FIG 3 : FIG 2 :

http://www.archdaily.com/209535/estate-in-extremadura-abaton-architects/ http://www.arcspace.com/studio/Murcutt/pages/03.html

ARCHITECTURAL INSPIRATION : I am inspired by many architectural projects and it is almost impossible to narrow it down to two, however the projects I have chosen to discuss are ones that I often think about during my studies. Firstly, the work of Glenn Murcutt ( top left ) I find inspiring and extremely relevant to the issues designers and planers are faced with today. By way of understanding the local environment of a proposed site, his buildings can work in harmony with it, which reduces its amount of energy consumption and its environmental footprint . It is an intelligent and simplified architecture that designs out the use of outdated climate controlling methods, his architecture is regional and site sensitive, a type of vernacular Renaissance. The second building ( bottom right ) by à baton Architects in Spain is also a project that I find extremely inspirational, this building follows the same theories as Murcutt’s work. By way of returning to the vernacular ( materials and building type ) they have created a house that is totally modern, Luxurious, self-sufficient and low impact.

The occupants have to become aware of the local environment because the house needs to adapt to the changing weather patterns and seasons ( doors and windows need to be opened and closed depending on the time of day and year ).

Last of all the Modernist movement is extremely influential in my thinking of design and aesthetics (painting by Le Corbusier bottom right ), Le Corbusier, Kahn, Gropius and Schindler. I love how they striped architecture back to the raw elements and embraced new building materials and techniques ( reinforced concrete ), also their design reaction to the flux of the world.

FIG 4

FIG 4

LE CORBUSIER, STILL LIFE

http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3426&pa

012

COMPUTING IN ARCHITECTURE :

ICD / ITKE Research Pavilion 2011, University of Stuttgart. This project explores the architectural transfer of biological principles from the Sea Urchin, by way of computer based design and manufacture.

FIG 5,6,7,8

FIG 5,6,7,8

ICD / ITKE RESEARCH PAVILLION 2011 http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

COMPUTER AIDED DESIGN : Throughout the history of construction and architectural design there have been several watershed moments that change the course of its path, such as the “Age of Enlightenment”, which was the catalyst for movements such as the “Baroque” and “Neoclassical”.

Followed by the “Industrial Revolution” which introduced architects and engineers to new construction materials and methods, enabling new forms of construction, such as Skyscrapers, long spanning bridges and factories. Leading to now, the 21st century with the introduction of Computer Aided Design, which is another watershed moment for the construction industry and the architectural profession.

The introduction of computers into architectural design has greatly benefitted the design and the manufacturing processes involved in construction. The architectural design process is extremely complex and involves the input and cooperation of many professionals and trades, from a variety of fields (engineers, construction management, trades and suppliers and manufactures). Computer aided design brings all these fields closer together, the architect can now work on an drawing and instantly send it to various manufactures to get feedback on cost, time of production, material usage/wastage and know that it is all done to an exact specification. Furthermore, with the aid of digital 3D modeling architects and designers can now construct virtual models of their final design to an exact scale, this allows engineers to calculate the exact loads and stress points acting on the structure, allowing for instant changes to be made to the design before any costly manufacturing is done. Furthermore, once a final design and materials are decided upon, the file can then be sent anywhere, instantly, for manufacturing (laser cutting, mechanical routing and precast, etc ), and know that it will be produced to the exact specs on the file, this reduces man hours on site and human error, all of which can delay and increase budgets on a project.

The benefits from computer aided design are not only in the construction and architectural fields, science is also expanding and exploring the possibilities of these tools, through the use of Biomimicry which is percolating into the architectural industry ( e.g. ICD / ITKE Research Pavillion ).

014

PARAMETRIC MODELLING :

FIG 9,10,11,12

PRIVATE HOUSE : GRAMAZIP & KOHLER

FIG 9,10,11,12

PRIVATE HOUSE : GRAMAZIP & KOHLER

http://www.archdaily.com/260663/private-house-gramazio-kohler/501fecd828ba0d67a4000003_private-

EXAMPLE ONE

THE DWELLING by Gramazip & Kohler, “Private House” in Uster Switzerland is a beautiful example of parametric design, the simplicity of its design reflects the typology of the surrounding vernacular gable-roofed houses. The groundplan shape of the house was governed by two geometric operations, one was to maintain the neighboring houses view of the lake, the other was to allow for access and parking at the rear of the house.

However, what really sets this house apart is the 315 vertical wooden slats fixed to the façade of the house, this emphasizes the pitched roof and horizontal windows. The envelope of the house is completely surrounded by these vertical slats, which impedes on solar access. To overcome this problem each slat was milled (along the vertical profile) in modulation to correspond “with the window strip so that requirements of sight and sun protection were fulfilled, and various, flowing levels of transparency could be set”.1 Not only do these slats provide necessary living requirements for the home they also provide the home with an architectural detail that is functional and aesthetically pleasing, by way of modulating the suns path over the house they could parametrically design the profile of each slat to accommodated for solar access.

This treatment of the facade is such a positive attribution to the project, it turns a regular ridged facade into a fluid and organic form, not only this, it is also constructed from accessible materials that could be installed by any number of trades. It is exciting to see that parametric design is not only restricted to large scale, large budget projects, it can be used in residential projects and be used to enhance sustainable design.

However, some issue that are raised in this particular design are, the accessability to the windows for cleaning and fire exits from the bedrooms ( you can’t get out of the windows).....

1, ArchDaily.com, Roman Keller ,Aug 12, 2012.

FIG 13,14,15,16

ARCHI UNION : AU OFFICE & EXHIBITION SPACE

FIG 13,14,15,16

ARCHI UNION : AU OFFICE & EXHIBITION SPACE

http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/

EXAMPLE TWO

ANOTHER EXAMPLE of great parametric design is the AU Office and Exhibition Space by Archi Union, Shanghai. This was a restoration project of an old abandoned and dilapidated warehouse, the original space was used for the storage of silk fabrics.

This concept of silk fabrics has been represented in the faรงade treatment, through the use of parametric software Archi Union have created a fluid and curvaceous skin. Furthermore, this has been achieved by using cheap and plentiful concrete blocks, typically not the most attractive building material but parametric processes have been used to superimpose the contours and definition of silk undulating in the wind. This concept is further enhanced by the angulation of the hollow blocks, which creates interesting texture and light patterns, in both the interior and exterior of the building. Furthermore, through the use of parametric software Archi Union have created a structural system that is both load bearing and the main design feature of the relatively simple building, this approach to architecture is extremely appealing as it reduces cosmetic decoration which can be extremely costly and wasteful.

Parametric software is making it easier for architects to create interesting structural systems that enhance the buildings design and aesthetics.

This is another positive example of how parametric software can be used on small scale projects, with common and traditional building materials to create exciting and innovative designs. This relatively simply and quick procedure gave Archi Unions proposal the winning edge, they have turned the common into the uncommon and created beautiful architecture.

2 CASE STUDY

CASE STUDY # 1

CASE STUDY # 2

MATRIX

020

CASE STUDY # 1:

OMA MC CORMICK, TRIBUNE CAMPUS CENTER

FIG 17

FIG 17

OMA MC CORMICK, TRIBUNE CAMPUS CENTER

http://app.lms.unimelb.edu.au/webapps/portal/frameset.jsp?url=%2Fwebapps%2Fblackboard%2Fexe

CASE STUDY : OMC, Mc Cormick Tribune Campus Center, in this small case study it was decided to try and replicate the light fixture within this building (shown opposite), this was done using Rhino and the small Grasshopper script shown. The first step was to reference a point into Grasshopper and then create a circle, next was to divide this circle into points and draw lines from those points to the original point. Once this was done a random function was added to the script which randomly placed the points within the circle, once the lines were decided upon a pipe function was added to the script which gave the lines their random diameters.

Although the attempt was not a great success, it was extremely helpful in understanding how Grasshopper works. Realizing that Grasshopper can drive the drafting process was extremely enlightening, this plug-in gives you more control over detail than was first expected, your not just gambling with the design outcome, you can control it.

PARAMETRIC LEARNING : Throughout the first few weeks of this subject I have become more interested in Parametric design, it became a lot more interesting after researching the two design projects in the weeks before (GRAMAZIP & KOHLER, ARCHI UNION). Ashamedly, I had always related parametric design to “Bubbletecture”, which I’m still not a fan of, however I have become interested with the idea of this software being used on small scale projects. I’m interested in how it can be used to design around environmental conditions (the sun path and wind patterns), and after the small amount of exposure I’ve had with the software, I am really surprised with the amount of control you have over the outcome. I guess the true test of this will be tested in the coming weeks when we explore our own ideas, but I look forward to the design process and using this software to achieve the final outcome.

022

CASE STUDY # 2:

WEBB BRIDGE, DCM ARCHITECTS, MELBOURNE

FIG 18

WEBB BRIDGE, DCM ARCHITECTS, MELBOURNE

http://bingfotos.blogspot.com.au/2010/09/webb-bridge-melbourne-australia-doug.html

FIG 18

PARAMETRIC MODEL

TO FURTHER analysis some concepts and deffitions that our group had been working on , it was decided to reconstruct the “Webb Bridge� using Grasshopper. This allowed us to explore design concepts and construction systems we felt would be useful for the reverse engineering case study and precedents for the Werribee project.

24

CASE STUDY # 3:

STUDIO GANG : SOUTH POND, CHICAGO

FIG 19

STRUCTURE

FIG 19

STUDIO GANG : SOUTH POND, CHICAGO http://cubeme.com/blog/2010/09/23/south-pond-pavilion-at-lincoln-park-zoo-chicago-by-studio-gang-architects/

PARAMETRIC MODEL

STUDIO GANG’S South Pond pavilion in Chicago was of interest to our group because the design intent is expressed through the structural system. Our group is interested in creating a structural system that is not only supportive but is also the design feature of the project, we are wanting to strip away cosmetic decoration. This pavilion is a great example of this, the prefabricated laminated panels transfer load and also create an expressive aperture which can be in filled with fiberglass Coverings to provide environmental protection.

# 1 : ARCH

# 5 : TRIM BOTTOM CURVE

# 2 : CREATE THREE CURVES

# 6 : MIRROR CURVE

# 3 : EXTEND CENTER ARCH

# 7 : INCREASE RADIUS OF BASE CURVE

# 4 : ADD POINTS AND CURVE

# 8 : LOFT AND MOVE ALONG ACCESS

# 9 : CREATE SURFACE

# 10 : ADD TO STRUCTURE

# FINISH STRUCTURE

THIS PROCESS of constructing the arch system was extremely difficult to figure out, the first approach was to create the pattern on a flat surface and then project it onto a vaulted form. Although it was easy to create the pattern on a flat surface, once it was projected onto the vaulted form the pattern deformed over the surface. We tried to overcome this by changing the arch size , however the same failed result was achieved again and again.

The next approach was much more successful, for the second approach it was decided to create the pattern along the arch so it would not deform when placed over the arch. To get the shape of the structure each structural aperture was created in two half’s from three points. The larger, vaulted arches, had a series points spaced differently over them, once these points were joined it created an arch which was then mirrored.

This technique can now be expanded to explore other structural systems, once a pattern is developed it can now be applied to any number of forms. The next step is to construct a number of patterns that can be used as structural elements that also respond to the design intent.

# FINISHED SOUTH POND MODEL

028

MATRIX :

FIG 20

POSSUM SKIN CLOAK : GUNDITJMARA POEPLE

STRUCTURAL MATRIX : The imagery of the possum skin rug was used to inform the structural systems within the design matrix, these patterns were abstracted and then modeled into Grasshopper where they could modified as structural systems. Once these patterns are constructed in grasshopper they then have the flexibility to be projected and transformed onto various forms which can be further explored as design interests.

FIG 20

POSSUM SKIN CLOAK : GUNDITJMARA POEPLE

http://en.wikipedia.org/wiki/Possum-skin_cloak

MATRIX STRUCTURE

MATRIX STRUCTURE

MATRIX STRUCTURE

MATRIX SYSTEM: For the matrix system it was decided to explore the possibilities that would arise from creating structural systems that were abstracted from the Possum Skin Cloak. In doing this a system could be developed that would be both structural and show the design intent, which reflects the work in the Studio Gang’s South Pond Pavilion. With this goal in mind we set about creating these patterns in grasshopper following the same procedure that was done for the case study, however we did explore other possibilities using different definitions ( see bottom of opposite page ). At first these patterns were created on a flat plane, then they evolved onto more complex forms were there density was adjusted to suit the size, then they could be transformed into 3D structures. Having complete control over the patterns in grasshopper and a design agenda we were able to execute our ideas, this control was rewarding and we then adapted this formula to follow other design concepts. The idea of controlling the design outcome was something that was key to achieving success for the Werribee proposal, our concept relied on replicating the patterns within the Cloak to show the panel of judges our expression of interest. The process of doing the matrix system was extremely helpful and gave rise to many systems and definitions that will be expanded on and refined throughout the remaining design program.

3 EXPRESSION OF INTEREST

PRECEDENTS

PROPOSAL

PROGRESSION

34

PRECEDENTS

MARINETTI, “DYNAMISM OF A CAR”, 1912

FIG 21

RUSSOLO, “ THE REVOLT”, 1911

FIG 22

FIG 23

POSSUM SKIN CLOAK : GUNDITJMARA POEPLE

PRECEDENTS

FIG 23 FIG 22

POSSUM SKIN CLOAK : GUNDITJMARA POEPLE

http://en.wikipedia.org/wiki/Possum-skin_cloak RUSSOLO, “ THE REVOLT”, 1911

http://theredlist.fr/wiki-2-351-861-414-1293-401-474-view-futurism-profile-russolo-luigi.html

PRECEDENTS

PRECEDENTS : # 1, Our groups proposal for the “Werribee Gate Way Competition” was interested in exploring the ideas behind the “Italian Futurist” art movement of the early 20th century. The theory behind this avant-garde movement was based in the representation of speed, movement and the industrialized city. The Futurist’s main goal was to graphically depict movement and speed, these key aspects of their theory related closely to the brief for the “Werribee Gate Way Competition”, this link is of great interest so we decided to further explore this idea. Our group is interested in finding a way to expand and explore on their theories by abstracting their works into 3D forms to create a sculpture that can be read at high speeds as drivers pass through the site. # 2, The other precedent behind our proposal is the indigenous “Possum Skin Cloaks” of the Aboriginal clans from the Werribee area. The cloak is a traditional garment worn by the clans of Southern Australian Aboriginals, and each panel of the cloak has a graphical image on it that represents a place from their local area. These cloaks read like a map of their region and were worn to show other clans where they were from and what was available on their land. This concept of representing the local area was an idea that our group found very interesting and decided to explore, through finding graphical images that represent the Werribee area we could construct structural systems based on these patterns which are meaningful to the area.

36

PROPOSAL

3D COMPUTERIZED MODEL OF SCULPTURE

PLAN VIEW OF SCULPTURE

PROPOSAL

PROPOSAL

FOR THE expression of interest presentation our group proposed an abstract structure that was a combination of the Italian Futurists work combined with the structural systems derived from the possum skin cloak matrix. The form of the proposal is an abstraction of the paintings done

by Futurists Artists, Marinetti and Russolo, this form is derived their graphical representation of speed. It represents the feelings and emotions felt from speed and friction, as you move past this sculpture this sensation will be enhanced. As you move past the sculpture it will rise and open before you as if your punching through the g-forces, then once you pass the centre point of the sculpture it will drop and close behind you as if your being shot from a cannon.

The patterning of each panel is a structural system derived from the Possum Skin matrix, each pattern represents a place or item used by the Wathaurong People ( the traditional land owners of the Werribee region ). By having a structural system that represents these patterns the sculpture is tied back to the region and pays respect to the history and people of Werribee. Furthermore , this proposal would be extremely low maintenance and relatively easy to install, the structural truss system that the sculpture is comprised of would be made from recycled steel from the local industries.

38

PROGRESSION

PHOTOS OF PHYSICAL MODEL

PROGRESSION

PROGRESSION

FOR THE PROGRESSION of the project the feedback from the judging panel will be taken on board, their advice was extremely helpful and constructive. The next step is to expand on our ideas and move away from such a literal interpretation of our precedents. Although our ideas were well received the execution of our concept was lacking progression and in need of refinement.

Furthermore, our physical model was successful, however many lessons were learnt in the process of constructing it, in both the digital construction and fabrication process. The next step is to research and expand on our structural systems so our ideas can be better expressed and have greater impact on the motorist passing the site, also more attention needs to be placed on how we can fabricate our final model as the structural system needs to be self supporting (no support props).

Overall the learning curve of this subject been steep but enjoyable, our group has many ideas on how we can expand on our precedents and relate them to the site and brief. The following weeks will be stressful, but I believe with the help from our tutors and group mates we can succeed in bringing our ideas to fruition in a creative and exciting way.

4 DESIGN DEVELOPMENT

EXPLORATION

PROGRESSION

REFINEMENT

42

EXPLORATION

DESIGN SKETCH OF DRIVERS VIEW

EXPLORATION

EXPLORATION

THE NEXT Stage in the design process was to explore and expand on possible design outcomes.

We were still interested in the Futurist precedent, however we felt our Expression of Interest presentation fell short of exploring this idea. We needed to find a way to engage the driver with the sculpture and create a narrative and flow as you move past it. Furthermore, we needed to strengthen the argument of the Possum Skin Cloak concept, the previous idea was to complex and as a result the idea lost strength. The exploration process began straight away and over the non-teaching period we organized a site visit and began brainstorming for ideas. The site visit was extremely helpful, we gained a good understanding of how quick you move past the proposed site and realized you only have a few seconds to capture the drivers attention and engage them with the sculpture, this confirmed that our previous proposal was to complex and confusing. We also organized a visit to the “Narana Creations, Aboriginal Craft and Cultural Interpretation Centre� in Geelong, which was very helpful. We explained our concept to the manager of the centre and she put us in contact with local elder and artist Gavan Couzens, Gavan has worked on several installations with the local council and has also studied the images and meanings of the art on the Possum Skin Cloaks.

EXPLORATION

FIG 24

POSSUM SKIN CLOAK : GUNDITJMARA POEPLE

EXPLORATION

FIG 24

POSSUM SKIN CLOAK : GUNDITJMARA POEPLE

http://en.wikipedia.org/wiki/Possum-skin_cloak

EXPLORATION

WATHAWURRUNG SYMBOL : WERRIBEE SHIRE

WURUNDJERI SYMBOL : MELBOURNE SHIRE

AFTER TALKING with Gavan Couzens about the images on the cloak we found out that images not only represented local places within Victoria, but they also represented the local tribes within the state (each region has its own symbol). After finding out this information we decided to only incorporate the symbols of Wathawurrung and Wurundjeri into our design concept. This allowed us to simplify our design and create more impact with less confusion. These images were then constructed in Rhino and projected onto a surface in Grasshopper.

EXPLORATION # 1: BOX SYSTEM :

EXPLORATION

EXPLORATION

THE FIRST exploration into using the simplified concept was to create a box system truss that had the pattern cut into the front and back of each panel. This allowed for a hollow centre and the image could projected through the truss system, we also tried to change the density of the pattern as it moved along the sculpture. The density of the pattern was achieved by putting each truss onto a separate definition and controlling the amount of points on each surface through a series of sliders, each truss increased in the number of points as it extended vertically until the last truss was a solid surface. We also had complete control over size of each truss ( depth and width ) so a combination of examples could be looked at in a matter of seconds. However, we felt that this idea was very similar to our first proposal and also lacked impact and creativity, the image was just lost in a blur and the viewer could not engage or read the sculpture when passing it at 100km an hour.

However, we felt that this concept could be pushed and explored further, but we decided to put it to rest and explore other avenues of exploration, away from the truss system.

EXPLORATION # 2:

BEARTH & DEPLAZES ARCHITECTS : GANTENBEIN WINERY

EXPLORATION

FIG 25

BEARTH & DEPLAZES ARCHITECTS

http://designcrave.com/2009-07-21/robotic-bricklayer-lays-mathematical-swiss-masonry/

FIG 25

EXPLORATION

BRICK SYSTEM :

FOR THE NEXT avenue of exploration we decided to go back and look at some earlier case studies and built projects that make good use of parametric modeling. We got inspired by the Winery of Bearth & Deplazes Architects, who used the patterning of simple bricks to create a beautiful facade. Inspired by this and some earlier matrix explorations we used image sampler to rotate the bricks to see if we could replicate this method. We figured out how this was done, however it was felt that this was an easy system to use and the use of bricks in our design limited the amout of flexability we had. This is a great design approach and a good way to make use common bricks in order to create a fliud and interesting facade, but it was not suited to this project.

EXPLORATION # 3:

IMAGE SAMPLER :

EXPLORATION

EXPLORATION

THE NEXT idea we explored also used image sampler, however we moved away from using small individual bricks and progressed onto linear patterns. This system gave rise to several patterns that had potential for further use, and once the Wathawurrung image was placed into the definition it instantly produced clear representations of the image. At this stage we were still not sure on how we could apply these results to the project, but we got inspired to explore the system further and look at built works for inspiration. The image on the left of page was the most interesting result we achieved ( and reminded us of the Joy Division, “Unknown Pleasures� record cover ) so this was put aside until we found the correct situation to use the definition.

EXPLORATION # 4: OPTICAL ILLUSION :

IN SEARCH of a way to engage the driver/viewer with the sculpture we wanted to create some fluidity and movement within the sculpture itself. This lead us to exploration of optical illusions, if we could incorporate this into the design we would create movement within a stationary object.

EXPLORATION

EXPLORATION

OPTICAL ILLUSION STUDY :

EXPLORATION

EXPLORATION

EXPLORATION

IN ORDER to apply this system into our design we first had to figure out how optical illusions are made, to do this we reverted back to simple programs such as, Illustrator and Photoshop. The basic principle of the illusion system is that the image you wish to move or rotate is drawn below a screen that moves across that image. The image you wish to rotate is divided into increments according to the amount of rotations you require (eg: the first example shown has four rotations of the rectangle), then the thickness of the vertical elements in the screen are a multiplication of the rotations you require (eg: the screen elements in the first example are four times the thickness of the broken image bellow). So in effect as the screen moves over the image the vertical screen elements block out everything except for the one rotation you wish to show, so when you move it across at speed the image appears to move and come alive.

We got this system to work very well in 2D, however we knew in order to apply this to the project it would require a different method, as the image and screen would remain stationary in the sculpture and it is the viewer that moves across the viewing plane. Furthermore, the viewer would be moving past the screen at high speeds which would require a different set of calculations. Despite all the complications we decided that this was something we wished to explore in more detail and incorporate into the overall project.

EXPLORATION # 5:

MARCO CIANFANELLI : NELSON MANDELA, HOWICK

FIG 26, 27

IN OUR explorations we came across this sculpture of Nelson Mandela by the artist Marco Cianfanelli, we found the simplicity and effectiveness of this design extremely powerful. We felt that this concept would work well as a highway sculpture because it could be read at high speeds and capture the viewers attention as it goes in and out of focus. We decided to explore this concept and see what outcomes it would produce, using image sampler we created surfaces on the vertical profiles of the Wathawurrung image, producing a verity of outcomes that would required further refinement to achieve an effective outcome.

EXPLORATION

FIG 26, 27

MARCO CIANFANELLI : NELSON MANDELA, HOWICK

http://www.bbc.co.uk/news/entertainment-arts-19149362

EXPLORATION

IMAGE SAMPLER PROTOTYPES:

DESIGN SKETCH OF ILLUSION EXPLORATION

59

PROGRESSION

PROGRESSION # 1:

OPTICAL ILLUSION : UNSUCCESSFUL

FIG 28

CLARKE HOPKINS : MOIRE TABLE

FOR THE progression of the optical Illusion concept we decided to expand the concept into Grasshopper. Following the basic principle of the illusion method we created a screen along the edge of the road and placed the broken image behind the screen, however this raised a multitude of problems. The largest issue was getting the screen angle to Aline with the drivers view ( 30 degrees from the road edge), we realized that the image behind could not be parallel with the screen because of the speed and angel the driver would view it at (see sketch of previous page). Furthermore, to block out the rotations you do not wish to see it would require the vertical screen elements to be rotated to a specific angel, and having to be read from three different lanes of traffic at the same time, the system became to complex. After hours of exploration it was decided to scrap this concept as we could not get it working to a good enough level.

PROGRESSION

FIG 28

CLARKE HOPKINS : MOIRE TABLE

http://www.neatorama.com/2011/12/11/optical-illusion-rug/

PROGRESSION

ILLUSION : BASIC BOX IMAGE

ILLUSION : WATHAWURRUNG IMAGE

PROGRESSION # 2: IMAGE SAMPLER OVERLAY : UNSUCCESSFUL

PHOTO OF DESIGN SKETCH MODEL

THE NEXT stage in the progression of the design was to explore the Image Sampler overlay using the “Joy Division” system (from Exploration # 3), we decided to apply this to a structural form and fabricated a physical model. After getting the model back we realized that this idea was unsuccessful and a failure, the undulations of the profile are not pronounced enough to create a visible replication of the image. However, not all was lost we learnt several things during the fabrication process the helped for the final model.

PROGRESSION

PROGRESSION

IMAGE SAMPLER : SINGLE LINES

IMAGE SAMPLER : SURFACE ADDED

PROGRESSION # 3:

MOIRE EFFECT : SCREEN

RALF KEMPKEN : ABBOTSFORD CONVENT

PROGRESSION

PROGRESSION

AFTER THE failure of our optical Illusion explorations we still had a desire to incorporate movement into the final design. After some suggestions from our client (who also liked the idea of incorporating movement into the project) we visited Abbotsford Convent to see Ralf Kempkens art installation. Ralf uses Moire effect screens to create affective and powerful images that go in and out of focus as you move past. This system is very similar to the work we did in Exploration # 5 (Nelson Mandela sculpture), and basic compared to the optical illusion experiments, but very effective. The system is comprised of two screens offset from each other at a slight angel, and as you move past the screens line up and create a solid image ( just for a split second) then go out of focus.

The Moire effect is ideal for the project because it works best when being read from an angel and the faster you move past the screen, the more dynamic and fluid the image appears. Using image sampler we decided to progress ahead with this design and get it ready so we could send it off for fabrication and get sample models. The model returned successful, however some structural issues needed to be worked out for the progression of the design.

PROGRESSION # 3:

MOIRE EFFECT : SCREEN

PHOTO OF DESIGN SKETCH MODEL

PROGRESSION

PROGRESSION

MOIRE EFFECT SCREEN : WATHAWURRUNG IMAGE

PROGRESSION # 4:

LOUVRE SYSTEM :

HERZOG AND DE MEURON : SIGNAL BOX

PROGRESSION

FIG 29

HERZOG AND DE MEURON : SIGNAL BOX

http://www.flickriver.com/photos/bchang/sets/72157605869387013/

FIG 29

PROGRESSION

RETURNING to some of our earlier explorations we decided to elaborate more on the Mid Semester proposal.

By reducing the number of images within the truss system the concept gained strength and meaning, however it was still weak. Inspired by the Signal Box we decided to incorporate a louvre system over the trusses to engage the driver with the sculpture. This also joined the structure together creating one fluid motion and a smooth transitions as the sculpture grew.

71

REFINEMENT

REFINEMENT # 1:

LOUVRE SYSTEM :

HERZOG AND DE MEURON : SIGNAL BOX

REFINEMENT

FIG 30

HERZOG AND DE MEURON : SIGNAL BOX

http://www.flickriver.com/photos/bchang/sets/72157605869387013/

FIG 30

REFINEMENT

INDIVDUAL LOUVRE PROFILE :

EXTENDED LOUVRE PROFILE :

DECIDING to progress ahead with the louvre system we realized that the design would be strengthened if the louvres continued over the length of the sculpture. We also decided that the louvres should close as the trusses opened in height, turning the last section of the sculpture into a solid wall. This would allow the viewer to see the first few trusses behind the louvres, and as you move past they would gradually fade away into a solid wall. This would create movement and dialogue and enhance the notion of speed.

REFINEMENT # 1:

WATHAWURRUNG TRUSS : REDUCED IN MASS

WE ALSO decided to reduce the size of the trusses, the larger trusses would of been too overpowering and overscaled for the project.

Furthermore, when we got to the fabrication stage we realized that the louvre system was to complex to get fabricated, we had to reduce the number of points along the truss so the louvres would gain a straight profile rather than curved.

REFINEMENT

REFINEMENT

CURVED LOUVRE PROFILE :

STRAIGHT LOUVRE PROFILE :

REFINEMENT # 2: PHOTO OF DESIGN SKETCH MODEL

TRANSITIONS SCREEN AND WATHAWURRUNG MOIRE SCREEN

THE NEXT step in refining the proposal was to add a transition section between the truss system and the Moire effect screen, this was needed to transfer the horizontal flow of the louvres into the vertical flow of the Moire screen. We decided to break the solid surface into smaller fractures as it dissipates into the Moire Screen enhancing the feeling of speed and movement.

REFINEMENT

REFINEMENT

MOIRE EFFECT SCREEN : WATHAWURRUNG IMAGE

TRANSITIONS SCREEN

5 FINAL PROPOSAL

PROPOSAL

PROPOSED SITE

PROGRESSION

80

FINAL PROPOSAL

PHOTOS OF PHYSICAL MODEL

FINAL PROPOSAL

FINAL PROPOSAL

PHOTOS OF PHYSICAL MODEL

FINAL PROPOSAL

PHOTOS OF PHYSICAL MODEL

FINAL PROPOSAL

FINAL PROPOSAL

FOR THE final proposal our group proposed an abstract sculpture that evolved from the theory of the Italian Futurists abstraction of speed, combined with a structural system that reflects the ancient culture and people of the region. Furthermore, this sculpture is designed to be read at high speeds and will interact with the viewers as they move past it. It represents the feelings and emotions felt from speed and friction, as you drive past this sculpture these sensation will be enhanced and once you’ve passed the structure it will dissipate into the landscape with you, leaving you captivated by the symbols and glimpses of the images within.

This proposal is extremely site specific for the Werribee region, yet it is not a literal billboard of any kind, it serves to educate people about the history of the area and also pay respect to them. This sculpture is practically designed from simple materials and will be low maintenance and long lasting.

The installation of the structure would only require the closure of one lane of traffic as each truss could be installed off the back of a truck onto a symple pad footing.

FINAL PROPOSAL

FINAL PROPOSAL

FINAL PROPOSAL

THE OVERALL material used in the construction of the sculpture will be steel in a verity of thicknesses (5mm-12mm), it will be anchored to the footing pads using 12mm hold down-bolts set into the concrete foundation. All joints and louvres will be welded together forming one solid structure able to withstand the lateral loads of the strong southwesterly winds. The proposed structure will be of uniform colour and the louvres and Moire Screen will be seamless in there transition from one to the other.

PROPOSED SITE

MAP OF THE TRIBAL LANDS OF VICTORIA

PROPOSED SITE

PROPOSED SITE

SITE PLAN

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THE proposed site is situated at the junction point of the Wathaurong and Wurundjeri Tribal lands, the Weribee river was the meeting ground for all the Tribes of the area. These sculptures stand as signposts for entering and leaving each region. The positioning of each sculpture is placed to take full advantage of the longest line of sight and the Moire screen is using the four metre contours of site as its back drop (the moire works best if it has a solid background).

PROGRESSION

FOR THE progression of the project it would good to explore how the sculpture can integrate into the site more effectively, so the structure does not start and end so abruptly. It would be good to have the Moire effect slowly dissipate and shrink into the landscape. For the progression of the model it would be good to fabricate it from another material, so the louvres and trusses are of the same material (we had sent it off to be fabricated from aluminium however the turn around time was four day to late).

Regarding the panels final critique, very little was said regarding the proposed design. One critique was regarding the political stance of the Italian Futurist, and that the Futurists precedent was our weakest argument in the proposal, he was not suggesting it was bad, just the weakest. And in no way are we trying to make a political stance with this proposal, the Futurists precedent was just a seed to give form. The other panelist said that she was impressed with how we tried to create a structure the responds to speed and being read at 100km an hour.

The feedback we received from our client was regarding the positioning of the sculptures on site, and how we could further explore where to position them in order to capitalize on the drivers view and sensation. It was also suggested that the louvres of our model could have been made from the same material as the structural trusses ( this would of been the case had we had time to get our job fabricated out of aluminium).

Had we more time many more refinements could of be made regarding the overall outcome of the sculpture, however, I feel we have a strong argument with the precedents we have chosen to use. And if given more time these ideas would have been better expressed and perhaps we spent to much time exploring ideas and not enough time on making digital models to communicate or ideas.

PROGRESSION

REFLECTION

REFLECTING on my journey through this subject I feel I have learnt a lot regarding the possibilities of parametric design. When I walked into this subject I was afraid of not enjoying the design process of digital design, however it has been an enjoyable journey ( stressful but enjoyable). This subject was a great look into the future of architectural design, and I don’t think I will really appreciate what I have learnt until I enter the architectural workforce. I feel this subject maybe ahead of its time and I feel lucky to have been a part of this subjects introduction to the course. I have so much to lean regarding digital design but this subject has been a great foundation to start the process and I look forward to exploring what can be achieved.