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Content: Serpentine Gallery Pavilion

Town center of ivry-sur-seine

Guggenheim Museum

Responsive surface structures

New Czech National Library

Wangjing SoHo FAZ Pavilion

SCIArc Gallery

Grotto Pavilion

Desiring Machine

Yorkshire Diamond

New Harmony Grotto

Paratekton

Fractal Pavilion

Part A: The Case of Innovation 01 Architecture as Discourse 02. Introduction to Computing in Architecture 03. Intorduction to Parametric Modeling

Part B: The Cut Project 01. Biomimicry 02. Computing, Performance Driven Design 03. Research Project: Case Study 2.0: Scope of Possibilities 04. Project Exploration 05. Reflections & Rethinkings on Project

Part C: The Gateway Project 01. Reflections on Further Technique Exploration 02. Design Progression 03. Project Delivery 04: Reflections & Feedbacks

Part A: The Case of Innovation

‘Computers must be achknowledged not only as machines for imitating what is understood, but also as vehicles for exploring what is not understood.’ -Kostas Terzidis

01. Architecture as Discourse

Accessibility movement Circulation:

Focal point, events:

Green corridor connectin Green ings ings

edges

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High Point Extensive View:

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Small Scale Diversity, Active Edges:

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Making Focal PointsArticulate Public Events:

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Good Access Is Good Design:

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Green Corrido Ecological Fre

Self Introduction: I am the third year environments student ,majoring urban design and planning.

Landscape studio urban open space was the last studio i did. In this studio, the major project was the university lawn redevelopment. Apart from this, the interrelationships between university lawn, campus and city scale were also examined holistically, and the vision for whole campus was discussed.

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Design Psychology: UNIVERSITY IS NOT THE ‘CITY’, UNIVERSITY IS A HUMBLE PLACE:

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Cities possess major influence on human society. The university also does so.

However different from the way that city does, university changes the society more unobtrusively and imperceptibly.

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The university’s identity differs from global metropolis like Tokyo, New York, Singapore and Melbourne, which is outward, broadcasting, showing off and fashionable, the university is more inward, sedimentary, subtle and academic.

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Passive space enclosure: ng greater surroundvisually partially enclosed, physically ce- noise place open visually partially enclosed, physically limited

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Accessibility movement Circulation:

active space Visually open, physically open

If Melbourne is ‘flower’, then, the university is ‘leaf’, if the city is ‘tree’ , then the university is ‘soil’.

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human nature human human space

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PRODUCT

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Tranquillizing Space, Enclosure:

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PRODUCE

or As A eeway:

Refreshing Space, Interactivity:

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Although the soil is never eye-catching, it nests all sorts of life. Thus the soil is ‘humble’.

The university’s characteristics is just like the soil, because it enlightens beings and nests human civilization. University is a humble place.

Two major themes that connect the sense of humbleness are the rich spatial experience and multi-purpose use. By addressing these, the street life and inter-person interactions can be greatly stimulated.

My perception of computational design:

Before this course, in my mind, there is no clear boundary between ‘computerization‘ and ‘computational design’. I consider all the software as a tool that help us to ‘design‘ objects. Within all of them, Grasshopper is also a tool ,a time-saver. It just does better than others. However, I did consider that Grasshopper may be helpful for designing an object or a building that beyond people’s imagination. It allows exploration on more structural and geometrical complexity in architecture sphere.

In the developing country, such as China, efficiency is the key. Large quantity of buildings are constructed every day. My parent’s colleague once said, ‘There is nearly no time for designing process. No chance is given to test even few options. ‘ (CAD drafting are mostly used in China) They understand that sometimes, the ventilation is not energy-efficient; or if design properply, less columns will be used.

However, their is no time to start everything again. Both aesthetic value and energy performance of constructed buildings are constrained.

Revit by comparison, is more efficient than normal CAD dafting. Sections can be automatically generated whenever 3D model is modified. The top-down approach is partially achieved through this program.

In terms of geometry flexibility, however, the restriction is still substantial.

Probablely, I have ever considered the sphere of computer aided ‘design‘. The discourse of ‘Digital Architecture’ is still a new field for me.

The Serpentine Gallery Pavilion is constituted of simple line network (lines connect half point to the third point of each side of the square).

The major breakthough of Serpentine gallery pavilion was empolying the recursive algorithms. This mathematic method helps to regulate the order of interlocking chaotic lines system (Legendre,2011). Thus the geometric genesis can be easily percevied by users without losing its spatial dynamism.

The initmate relationships between formation and materialisation is also achieved in this project. In organism system, the material and structure serves dual functions, produce mass and support the structure. The combination use of glass and aluminum panels here serves the puspose of structural supporting, defining interior space and control solar peneration. These functions are all reached through the facades design.

Serpentine Gallery Pavilion Kensington Gardens, London, Toyo Ito & Associates with Arup AGU 2002

In this pavilion, the habitable space, circulation, solar gain, structure and pattern are integrated and considered as one entity (system), which shows the great potential of computational design during the early period (2002).

However, it is manifest to see the limited use of computation in this project. The scripting essentially is facades based(2D oriented). Because its function was set as a pavilion, the complexity of internal movement and functions is at a very low level. This makes early experiment of computational design possible.

The computater aided design did not exist at the time, that ivry-sur-seine was in construction. However regardless of computation, the essence of computational design thinking are found in this project. In another word, it can be defined as ‘system thinking’ or ‘top-down approach‘, just like Antoni Gaudi. Top down approach in Renaudie’s mind was considering the building among the urban context, social context and finally down to architectural sphere(Hyde, 2004).

Although this building project was set as public housing. Enormous efforts on addressing social and urban issues can be seen. The dazzling gemotrical form becomes a sharp contrast with the surrounding dull housing blocks (public housing as well). This proves that the building with high aesthetic value can also be afforadble housing for lower class, which can not be realized without constant exploration on creating novel possiblitities (e.g.the requirements for solar gain, dense housing units, sloping terrian)(Hyde, 2004)

Town center of ivry-sur-seine

Credac Jean Renaudie 1970-75

My study area is urban design and planning.

By contrast with form, i am more care about if the building stimulate street life. How much interaction with public space that each building has. Because the way that city works is encouraging information exchange and envoking new ideas. As an fine grain element, faciliting interaction should be one basic function for architecture.

The ivry-sur-seine does relate building to urbanism. The active frontage with mixed commurical use at ground levels , numerous semi-privative yard and central court yard shared by community ehanace the public domain and human-human activities both interrnally (within the public housing) and externally (intimate experience between building and street as well as mountain). This, in fact, is worthwhile to study, especially for those who are able to master scripting but lack ‘computational design thinking’ (Ahlquist & Menges, 2011).

Summery: The key idea that I intend to bring here is ‘systems thinking’.

Aristotle’s defination of Holism gives the first understanding of system, which is more that the sum of part. In the discourse of architecture, this is defined as ‘Computational Design Thinking‘ by Achim Menges and Sean Ahlquist (Ahlquist & Menges, 2011). It has been argued that computational approach is required to play considerable role in connecting to adjacent fields, including histrorical context and relating to local culture. This in fact, can be major chanllege in todays computational design. How to set a system, that consideraing all the related elements. In serpentine gallery pavilion, computation is probablely integrated with structue, solar gain and architectural language. In ivry-sur-seine, its success approved by 37 years use, show that his architecture dose archieve the social and cultural requirements. This demonstrate the importance of system thinking in architecture. Computational design is seen as a great breakthough in the architectural sphere. However, beyond testing more methaticically complex form a lot of aspects should be further explored for the sake of a holistic design. Because 1+1>2 is one of the major driving force in conputational design.

Reference: Ahlquist, S & Menges, 2011, A Computational design thinking, John Wiley & Sons Ltd.: West sussex, United Kindom.

Hyde, J., 2004, Jean Renaudie, ART IN AMERICA; JAN, 92; 1; p113-p113 Legendre, L,G,2011, Mathematics of space, Architectural design; v. 81, no. 4, London : John Wiley & Sons Richard, W, 2005‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 16 Patrik Schumacher, 2011,‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28

Architecture (parametric architecture) nowadays is transforming from the ‘making of forms’ to the ‘finding of forms‘.

-Branko Kolarevic

02. Introduction to Computing in Architecture

Architecture’s New Media: Computing in architecture field are featured with its superior ‘analytical’ and ‘creative’ functions. As long as certain program is input. Computers is able to doing repeatively work in a short amount of time and make no mistake. It generates more accurate information of site environment (wind, solar, precipitation, moisture.etc) and cost-prediction, loads calculation.

Computers also have certain problem solving ability. By providing a database, it can draw rational conclusions through comparing various precedents. The rationality and inner logic (e.g. architectural function and performance) of design, thereby, are enhanced. The term ‘creative’ is more advanced. In building industry this can be referred to structure modeling, and paratermic design, which evaluate the whole system rather than individuals independentlely. In the ground of digital architectural , Infinite possibility of results can be tested which maxmize the final results.

Furthermore, computing force and also allows multi-disciplinary collaboration. Common languages are shared in computers, Such as NURBS 3D modeling system. thus buildings with greater geometrical complexity can be constructed by builders. This easy-to-understand shared language further encourages the engagement of general public. In fact, architecture sphere are becoming more inclusive and holistic though this collaboration.

Responsive surface structures

HfG, Offenbach, Germany, Achim Menges 2006-2007

The project use 'smart' object, pine tree wood as the tool to create a veneer surface. The veneer changes surface shape in response to an increase level of relative humidity.

The key design parameters, fiber orientation, the ratio of thickness, length and width were tested in relation to the moisture change and intensity(time interval) of moisture change. The parametric setup at the same time also incorporates the constraints of manufacturing, construction, cutting patterns and assembling. This allows seamless procedure from designing to fabrication and manufacturing (Menges ,2008).

Architecture in the Digital Age : In the digital architecture age, the issue of embodied meaning of contemporary architecture is discussed. In contemporary architecture, the notion of urbanism and structural typology, continuity and morphology of historic style are rejected.

In turns, digital architectural tend to represent an ideological, conceptual and a new formal language. However, in many ways, it actually have reference to history. The Einteinturn (1921) by Erich Mendelsohn and Chapel at Ronchamp (1955) by Le Corbusier are two expressive precedents. The only different from history is that this curvilinear is transforming from a minor group to the mainstream architecture (Yehuda,2004). Personally, internally, it also maintains tight link to current social trends. From Mis van der rhon’s point, that architecture should be a true reflection to the human civilization.

According to his logic he always choose the latest materials (glass and steel) to impose the modern age. From this aspect, digital architecture, itself essential is the reflection of the digital age. The computer-aided design software largely originated from ship, vehicle and plane manufactory(e.g. CATIA). Similarly, the form of vehicles and planes are also with ‘blobby’ form. Thus, technically speaking, digital architecture is a reflection of human civilization.

In spite of this, in fact, this with social and history are too weak to perceived by general public. In fact, among many architecture design, the site context are totally ignored. Some of them are becoming pure mathematic practice. Issues like this are necessary to be considered in digital architecture discourse.

Guggenheim Museum Bilbao, Spain Frank Gehry 1997

Guggenheim Museum, regardless of its technology breakthrough and inter-configuration. As a city’s landmark, Bilbao became well-known after its construction. It attracts numerous tourist annually and generates significant amount of income (Bilbao effect). However, because this building, an entirely new image is imposed to the city- the image of an architect’s signature, the original local identity is disappearing.

Genetics:

Driven from nature evolution, the concept of genetics is applying this rule into architecture, a generative process for architecture for development (Ahlquist & Menges, 2011). It is also described as all about search.

Large number of architecture prototype are evaluated. After this process, the common traits of ‘fit’ form are recoded and passing to the new generation.

Essentionally, Genetics is focosing the internal design pross and logic (Menges , 2008).

From my personal understanding, Genetics develops a more intelligent ideology, in which computation not only engages the ‘creation’ process, but also the selection process. This discourse shows potential of developing large amount of architectural forms and reducing the time of manually selection and evaluation process. However, the scripting that defines ‘fitness criteria’ is crucial, which need to be considered holistically beforehand.

AA Strawberry Bar

Achim Menges 2003

Based on population selection (fitness criteria), and reproduction, Genetric algorthm generates a form across multiple generations (Menges,2008). The algorithm evolves evaluating complex relationships between distribution of program allocations, voids and overall articulated massing.

Reference: Ahlquist, S and Menges, 2011, A Computational design thinking, John Wiley & Sons Ltd.: West sussex, United Kindom.

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 Menges ,A, 2008, Material Performance Castle, Architectural Design, Vol 72, no 2, London, Artmedia Press, pp 34-41.

Yehuda E. K, 2004, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25.

‘Our interest is in how an algorithm, loaded with design intent, emerges from the design problem rather than simply the architecture emerging from a known algorithm.’ -Kokkugia Roland Snooks

03. Introduction to Parametric Modelling

Parametric Architecture: ‘If architecture wants to survive as a discipline, it needs to engage the culture of innovation and computing. ‘ (Mark Collins & Toru Hasegawa, Proxy) Similar ideology can be dated back to modern architecture movement, the zeitgeist. Many architects nowadays are too eager to follow the ‘Spirit of time’(latest technology) but forget what should architecture be. Many architects are using parametric modeling without understanding its real meaning in the architecture sphere.

According to scripting culture, ‘The architectural field’s current use of the parametric modeling has been superficial and skin-deep, maybe importantly so, lacking of a larger framework of referents, narratives, history, and forces.’ Partially, this is because, in the economy driven society, architecture is dropping to the fashion-look and skin-deep form to suit the market demand. Because it is quick and looks cool. Many parametric design today, indeed, tend to be free from the parameters of culture, free from the parameters of environment and free from the tectonic. The only parameter is the rational logic and cold mathematic functions behind the design. Many parametric works becomes a kind of selfindulgence in those Bloblike form. In fact, even in those finest modern architectures’ work, rich materiality, spatial experience and sense of integration with local environment can be detected. As an illustration, Farnsworth house reflects the ideology of total reductionism and minimalist. However, its integration with the nature is, at the same time, fully expressed. I guess the ‘time of spirit’,

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Wangjing SoHo Beijing, China, Zaha Hadid architects 2009-2014

The design analogy of Wanjing is trying to link a commercial block with traditional Chinese brush drawing. Its form from my eye, is way too simple. As an traditional Chinese, I don't feel this has any inner link with the classic arts and culture. In fact it's essentially, very similar with zaha's other works. From the public perception this extreme fluid and continuity of planes and surfaces can only be categorized as an international 'style' and a signature architecture, but with little embedded local meaning.

(continuous...) indeed, should include two parts; the ‘time’, technology and the ‘spirit’, locality, experience and meaning. And ‘spirit’ should always go first. Personally, according to this, top-down design process must be kept to maintain the stylistic consistency (form that driven by meaning) Otherwise, we will lose ourselves into the endless dizzy graphic ‘possibilities’.

Currently, most professionals that use parametric design, today, are restricted in the ‘image of complexity’. This is far short of the digital modeling’s actual potential. It needs to be understand, that the capacity of parametric modeling allow us to work with very large data sets and proceed in many directions at the same time. It has rich potential to correlate multiple aspects simultaneously and optimize complex functional requirements, site-specific problems, architecture meanings and crossdisciplinary collaboration.

‘Surprisingly a lot of the scripting work looks similar to me’, Michael Meredith’s view brings an issue of contemporary parametric modeling. Most work done by parametric modeling are visually similar. Because, currently, this tool is used by professionals in limited areas. Some designers rely too much on others’ work (scripting) and some just develop a bit form others. However, on the other hand, this reveals the rich potential of parametric modeling. CAD tool has capacity to free human’s mind and enables the possibility of creating any kind form. It can be used for complexification but also simplification. It has huge potential to encourage Diversism(pluralism) and fully express individual’s own identity. But before we letting our computer generate creative form, we ourselves must develop a creative mind (also strong logic).

New Czech National Library OCEAN and Scheffler Prague, 2006

Morpho-ecology:

Driven by the ideology of ‘Morpho-ecology’, New Czech National Library by OCEAN and Scheffler + Partner integrate the notion of morphology with logic from the ecology. This project explores the possibilities of gradually shifting exclusive program and hard threshold alignments (at the center) to heterogeneous spatial arrangements and environmental gradients (at the edge). The gradient, from collective environment(high level of organizational control in central library building) and individualized environment (reading rooms) is achieved through the branching structure. At the same time the spatial and visual link between interior and external environment is gradually increased by changing opacity and permeability of the building envelope.

Demonstrated in this project, the sense ‘form defined by function’ is carried within the whole process. The social dynamic is maximized. Both material, structure, tectonic and interior environment is considered holistically in order to articulate the design ideology. The generative system is utilized to seek a best outcome according to the parameters(criteria) such as stress distribution, incident of sunlight, view axes and spatial characteristics. Although, parametric design approach is utilized in this project, the top down approach can clearly be noticed which keep the consistence between from, function and meaning.

Part B: The Cut Projects

‘Nature always doubles up on functions, think of a feather – waterproof, airfoil, self-cleaning, insulating, beauty for sexual reproduction. What can we expect from our buildings?’

-Janine Benyus

01. Biomimicry

Reflections on Digital Design:

After 4 weeks’ study, I start to get more deep understanding on the digital architecture and parametric architecture. Initially, parametric design was simply about playing geometry and fancy forms. It was then, transforming to the stage of ‘understanding and exploration’. During this stage, more designers begin to use parametric modeling as a tool to maximize the outcome, such as structure, solar gain.

And, at the same time the parametric design processes are refined and embedded with stronger logic. The collaboration between different professions is also becoming more effective. This, I would like to call ‘process optimization.’ After this, I believe, there will be a more exciting stage approaching. As computer becomes more intelligent, the ‘design ideology’, ‘meaning of architecture’ could also be integrated within one whole system, the system embracing design analogy, performance analysis, fabrication and installation.

In facts, I feel parametric architecture actually undergoes a very similar way with modernism-post modernism periods.

This transformation: STARTED WITH ‘we create it because we can’(e.g. early 20th skyscrapers) TO ‘use new technology to maximize performance’(e.g. structure optimization and spatial flexibility)-> TO The ‘soul of architecture and the sense of place’(human interactions and enhance the meaning of locality, i.e. postmodernism) Modernism emphasize the maximum efficiency, universal and flexible design, latest construction technology and new materials. Beginning with American journalist, Jean Jacob, who criticized that the Modern urban planning and the dehumanizing architecture lead to human isolation and make those no one’s places, professions then started to rethinking, the sense of ‘people’s place’, the ‘locality’ and the meaning embedded in architectural ornament. And from my perspective, this is the intent to this subject, however under the context of parametric architecture.

Biomimicry:

The potential for biomimicry lies far beyond the direct imitation from natural forms.

Numerous performance metrics of the designing are benefited from the natural ‘technologies’.

In addition to ever increasing emphasis on ecological and sustainable development. It is worthwhile to revitalized the biomimicry within the architecture sphere (Benyus, 1997).

Among the parametric architecture discourse.

Three major advantages that Biomimicry has are: • It possess close relationships with performance architecture.

• It always allows designing to integrate with the locality. for example, all plants develop their own technology to survive in certain environment; it can either be forms, traits or physiology. By extracting and developing these from the nature, Architecture will be able to reflect the sense of locality.

• Optimization of the design and construction process could also potentially derived from logic inside nature. The ‘evolutionary’ or ‘Generative process’ is one illustration.

Although in terms of fully expressing local identity, there should have multiple factors to consider (natural, social and culture), especially as a gateway which is supposed to represent the whole Weerribe region.

However, biomimicry can still be a good way to start with.

Protocell: This project open up a new horizon of structural design technique which enables material system to address variable, localized and non-symmetrical loading conditions(give more chance for the expression of locality).

Meanwhile the structure and material performance is optimized.

The design analogy of structure can be refer to the protocells inside the bone. As the stress increase, normally at the joints part (where loads transferred together), protocell become more ‘solid’(less porous ratio). This logic is fully transforming into the line array project. As shown in the photo, the void space in-between the individual panel reduce as down to the bottom. This therefore allows bottom part to carry more loads.

SCIArc Gallery

Voussoir Cloud, Line Array project IwamotoScott Architecture + Buro Happold Engineers, Los Angeles, 2008

Morphogenesis:

FAZ Pavilion

Achim Menges, Steffen Reichert and Scheffler+Partner, Frankfurt, 2010

The system of envelope integrate structure and climateresponsive material.

As the responsive capacity is embedded in the material itself, no additional technical equipment or supply of energy is required(the dual functions of natural form). The increase in relative humidity (e.g. rainfalls) in air triggers the structure to closes and form a weatherproof skin.

The responsiveness of this material system is programmed(through parametric modeling) so that the elements can be either open or close. This manifest the effect of spatial experience and function performance.

Currently, most attempts on climate-responsive architecture rely heavily on technical equipment superimposed on inert materials. In contrast, natural systems embed all the responsive ability in the structure of the material itself. The development of biomimetic responsive material systems explains a possibility of truly ecologically embedded architecture.

Case Study Project 1.0 Modifications: • Image change • RGBA colours channel

Modifications: • Image change • colour brightness channel

Modifications: • Image change • Rarrange pattens into a 3D space according to 2 mathmatic functions

Modifications: • Image change • Reference patterns onto a deformed 3-D surface

Parametric Diagrams:

Extract information from image sample - brightness Ecoordinate in the frame is given localized character.

Frames - on planner surface

coordinates- data List

Base geomtry - curves

Pattern on the frame

Specify the curve gemotry on each coordinate generic data

Reference: Benyus, J. M. 1997. Biomimicry: Innovation Inspired by Nature, New York: Morrow.

Burry, M, 2011.

Scripting Cultures: Programming,Chichester: Wiley, pp. 8 - 71.

Architectural

Design

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Hensel,m & Menges,A, 2008, Designing Morpho-Ecologies Versatility and Vicissitude of Heterogeneous Space, Versatility and Vicissitude Performance in Morpho-Ecological Design, Architectural Design, Vol 78, no 2, John Wiley & Sons, london, pp102-108 Iwamoto,L, 2010, Line array protocells as dynamic structure, protocell architecture, Architectural design, NEIL SPILLER & RACHEL ARMSTRONG(editors) vol 81, no 2, London, Artmedia Press, pp112-115.

Menges, A, 2012, Material capacity, embedded responsiveness, Material Computation: Higher Integration in Morphogenetic Design, Volume 82, Issue 2,pp 52-59.

Peters,T, 2011,Nature as measure the biomimicry guild, Experimental Green Strategies: Redefining Ecological Design Research, Terri Peters, Architectural Design, Vol 81, no 6, London, Artmedia Press, pp 44-47.

02. Computing, Performance Driven Design

Case Study 2.0 : Yorkshire Diamond Yorkshire Diamond was a finalist in the Yorkshire renaissance pavilion competition. The project is an attraction in itself with a striking exterior in the form of inflatable tubes arranged in the atomic structure of diamond. The diamond-lattice structure is mined out at the bottom to form a grotto-like interior space in remembrance of the Yorkshire coal mining period.

The Architects of this project argues for : • flexible interior configurations enables multiple usage from small gatherings to large conferences or public presentations. The pavilion can also be turned ‘inside out’ to open up a large covered area to accommodate concerts or bigscreen events.

• The innovative sustainable features reduce embodied energy during transportation and installation, together with lightweight recyclable materials (e.g. PVC coating, Woven polyester base cloth). Meanwhile a reasonable production price is assured.

The use of natural-formic atomic lattice structure is useful in enhancing structure performance and architecture aesthetic value.

However I do feel the connection between interior and exterior is not strong, in fact segregated.

Probably tow separated parametric definitions are utilized, this thus, undermine the architecture ‘wholeness’.

Personally, the flexibility, which frequently mentioned in this pavilion is highly limited in changing interior configuration (partition). In fact, the structure is not adaptable at all. Meanwhile I question the sustainability of usage and maintenance of this inflatable structures. The electricity need to be constantly consumed in order to maintain the inflatable structure. Furthermore, in despite the use of High tenacity material, this pavilion is still vulnerable from outside damage.

As long as leakage happened in any single part, The whole system may collapse. In other word, this inflatable structure has low performance in resilience capacity.

Adaptability: This project really explore the potentials throgh combing parametric architecture with temporary and relocatable architecture. The inflatable tubes makes building more adaptable and flexible for local use (easy to fabricate, remove and repair). In fact this diamond shape pavilion make form and structure into one whole, which makes the architecture cost effective and also more meaningful. The material is also carefully chosen to achieve the goal of ‘human scale’. e.g. solar peneration, internal flexible use. (nature forms always have dual functions) In the gate way project, the inflatable structure is not real suitable, since the gateways ‘land arts’ is intended to be more permanent. However, some ‘soft’ materials can be experimented in order to reduce the structural loads and fabrication and transportation cost. In terms of sustainability, which frequently mention in this project, I guess sometimes sustainability is not just about using high-tech products, but also combing many local organic materials, which could also be more ‘culturally sustainable’ as well. This factor can also be taken into account in the gateway project.

And another thing i concerns is what does this pavilion stands for in this particular site, Yorkshire. Does it purely about ‘learning from nature’. Personally, this is the weakest part of Yorkshire pavilion design. In our gateway project, there needs more deeper exploration and understanding on the local characters , both the Werribe and Melbourne.

The Yorkshire Diamond Jim Dodson, et.al Yorkshire, UK 2009

Vector diagrams: Atomic structure of diamond:

Reflection:

Basically, our group test two methods to build this 3-d lattice structure.

The FIRST method explores the basic gemotry within one cubic. Because the units inside one cubic is not the finest gemotry of the diamond. It thus, requires more spatial understanding of the gemotry configration inside on cubic unit.

However, after finishing one single unit, the inter-layer and intra-layer repetation will become easier to configure.

Another restriction of this method is that, it gives less control on the components inside each single unit.

Initial layer:

Remove redundant units:

The SECOND method utilize the basic genotry of diamond(tetrahedral). Each tetrahedral represent one repetation unit. However within one layer, every second unit(inside triangel grid) need to be void in order to ensure each joint connect only four other joints, just like the atomic diamond structure.

Inter-layer structure plancement and structure modification is also necessary to make sure each layer can joint together. The ‘cull component‘ is used. In the second layer every first unit is removed. The gemotry repeats in very two layers, so through repeating two layers as a whole, multi-layer diamond structure could be made.

This methods gives good control on each single units, however, more procedures are required to achieve inter-layer and intra-layer repetation.

Method 1 - Definiation Development:

Manually draw basic gemotry within a cubic unit. Reference multiple curves.

Orient gemotry onto a referenced surface.

Interval is set so each geotry could joint together.

a.1 Triangle grid: in planner surface

a.3 Identify points of basic gemotry withine each grid

a.2 Cull: remove the structure information in every SECOND grid (True, false)

a.4 Making basic gemotry: Connecting lines

b.1 List one reference point for second layer

b.2 Cull: In each layer inte information of has to be remo

order to make erconnected, the f every FIRST grid oved. (False true)

Inter-layer repetation through ‘series’ .

a.5 Visualize the gemotry(first layer)

b.3 Repeation of the same step as first one

Method 2 - Definiation Development:

b. 4Intra-layer repatation (move)

Reference: Basulto, D, 2009, The Yorkshire Diamond / Various Architects,Archidaily, Viewed: 18/08/2012, <http://www.archdaily.com/14312/the-yorkshirediamond-various-architects/>

â&#x20AC;&#x2DC;Architecture needs mechanisms that allow it to become connected to culture.â&#x20AC;&#x2122; -Farshid Moussavi

03. Research Project: Case Study 2.0 Scope of Possibilities

Matrix Series Morph

Base Gemotry

Morph On Plane

Morph On Curve Plane

Culling Through Line & Solid

Culling With Attractor Factor

Morph on Soild

Major Interests:

Testing the degree of transparency and the position of joints around the edge through changing basic geometries.

Modularized and improved cubics for easy fabrication and flexibility in assembly.

Base Gemotry

Aligned surface

Orient gemotry onto surface

Duplicate gemotry onto multiple layers

Reference basic geometry on nonplanner surface: This creates distinct changes in level allow for more varied and interesting views. However due to the distortion on basic geometry, the fabrication and assembly could be hard.

Making Solid in culling mass. The void space created could potentially give way for circulation. Meanwhile it help to control the brightness of grotto interior and framing the view to exterior. This creates the grotto effect.

Base gemotry

Reference base gemotry onto planner surface, interval and height are maintained at same dimension as base gemotry

Base surface

Duplications on multiple level

Reference twisted box onto the surface

Create surface domain

Reference gemotry onto non-planner surface

Gemotries within solid are culled

Out put

Out put

Create a cull pattern according to the distance between base gemotry and sttractor point

Reflection of the Function of Ornament:

Leon Krier’s True Cit Rethinking from Adolf Loos The author of ‘Function of ornament’ stands at opposite position against Adolf Loos’ view, who claims the social function of ornament is to give local character and emphasize individuality. Personally, individuality should be encouraged, however, Loos’s means of suppressing the differentiation of architecture is not totally negative. From Leon Krier’s True City, the model of traditional city combines a res publica, monumental buildings, often in classic style, and res private, vernacular buildings, consisting of urban blocks forming streets and squares. While currently many modern architects tend to monumentalize every building, this have devastating effect, which confuse readers and undermine the legibility of the city. This statement does not mean, that vernacular building should not have individual character, but need to be controlled and give way to those key public buildings. Whereas, those public buildings should be ‘exciting, eye-catching and inspiring’, this is the function of our gateway project should have.

ty ‘Inherited symbols remain dependent on a particular cultural moment or context cannot survive changing conditions (Farshid Moussavi)’. At the time that Werribee preserves and celebrates local characters, this city also constantly changing urbanizing and gradually evolving the global environment. Thus if this gateway land art is to remain convergent with local characters, rather than recycle existing ones, a new image combining traditional culture and new culture (transitioning to an era of technology and globalization) need to be created. These two poles also need to be interconnected and integrated, through structure, materiality and ornament. Meanwhile as a ‘res publica’, Rather than focusing on site, the ambition of this project should be far beyond: towards the city of Werribee and regional environment. By obeying those two points aforementioned, the new werribee gateway could fully meet its role, shifting through time and space (Krier,1990).

Reference: Jones, Owen (1910, original publication: 1856). The Grammar of Ornament (London: Bernard Quaritch) (pages 5-8) Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press), pp. 6 - 24.

Krier, R, (1990), Typological elements of the concept of urban space, in papadakis, A & Watson, H(1990)(editors) New classicism: Omnibus Edition, Academy editions, London, 212-219.

Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14

04. Project Exploration

EXPLORATION: Past: How it been discovered/explored: • The original aboriginal inhabitants gave this place the name of ‘Imaroo’ for the river that flowed through the plains.

• ‘Due to a reliable water supply from the river, and an overnight stop being required for the trip between the developing cities of Melbourne and Geelong, a small village soon developed and became known as Werribee.’

Current: Werriebee Globally:

is

being

explored

• Chiryu, Japan In 2000, The City of Wyndham and the City of Chiryu(Japan) signed a formal Sister City agreement to promote cultural and educational exchange and explore business opportunities between these two cities • Costa Mesa The cities of Wyndham and Costa Mesa, California signed a Sister City Agreement in 1996. This program encourage education exchange and cultural enrichnement.

What is valuable to explore locally: • Natural features (the Werribee River and K Road Cliffs) and wildlife sanctuaries (Point Cook Coastal Park and Heathdale Wetlands).etc • HHistorical attractions (Werribee Park Mansion and the Victoria State Rose Garden) and museums (The RAAF Museum and Cobbledicks Ford),Wyndham Art Gallery • Strong local cultures, Sculpture Walk at Werribee Park , National Equestrian Centre. etc

However...

Werribee is still: a ‘hidden place’, heaps tourists come to Melbourne. But as the matter of fact, very few of them actually are coming and exploring Werribee.

And a ‘passing-by’ place, while people traveling between Geelong and Melbourne and passing through Werribee.

According to my understanding, City, Coast, Country, in fact precisely expresses the condition and the wishes of Werribee. Technically, Werribee is a city, but it has not been recognized by general public. It is regarded as a subordinate place to Melbourne, where nothing exciting occurs. Because of this, the potentials of this place are restricted. This explains why, the word ‘city’ goes first. Werribee people want it to be recognized, they want its characters to be understood and its attractions to be explored. Meanwhile, ‘city’ also embedded the meaning, that Werribee is evolving with the modernization and globalization. Many new characters are constantly adding on. ‘Coast’ and ‘country’ represents ‘what Werribee has’, the natural scenery, pastoral life and strong local heritages. This then form the logo, City, Coast, Country.

As can be seen, the intent of west gateway project is to make Werribee a more ‘stationary’ place, attract people to stay and explore.

Grotto:

From literatures, grotto historically was referred to: • Ancient Greeks regard Nature grotto as the abode of nymphs and deities, and the water emerging within them was considered sacred.

• ‘Primitive dwelling’ Vitruvius considered them as the primitive and wild habitats of early humans.

• A place in which to honour the Muses and to seek philosophical inspiration.

• French classicist philibert de l’orme believe that cave was a metaphorical space of ignorance.

• The revival and re-creation of the ancient building form became popular during 15th and 16th centuries. The ‘grotesques’ was referring to the rediscovery of antiquity.

• Heighten the poetic inspiration that was sought in grottoes. Tableaux depicted Classical landscapes as a place that enabled the visitor to settle his thoughts on ancient times.

• From French ceramicist bernard Palissy’s grotto design, essentially the idea of complete imitation of nature should be applied.

• ‘nature and art’, ‘heavenly and earthly love’.

Large number of grottoes designed after 1570 also belonged to the domain of nature as a creator.

• A pleasant summer retreat, the running water affording coolness and repose.

• Grottoes represented the reverse of rationally organized architecture, such as formal garden.

This was the irrational realm of the underworld, in which rules ceased to apply. The ‘constructed nature’, grotto architecture really express the intimacy between human and earth, human and nature.

• In 19th century, place of Dankness, like grottos increasingly became associated with types of underground spaces brought into people by urbanization, such as sewers and basements.

• In more recent years, grottos have begun be seen as ‘signifying the repressed within modern architecture’ or as ‘representing sites of uncharted and immense particularity’. Many view this as a place offering a unique and underexplored spatial milieu.

Our interpretations of grotto in gateway project:

In the Werribee gateway project, the ‘grotto effect’ that we are aiming to create is to inform the idea of ‘exploration’, ‘local natural environment’ and ‘cultural environment’.

Design Psychology: • Highlight the sense of nature, earth and wildness. Giving the complete imitation of nature, free from rules. Probably embedded ‘land arts’ with ecological functions.

• ‘Grotesques, rediscovery of antiquity’ ‘ settle thoughts on ancient times’ Such like Werribee, although this city is under the process of fast urbanization. Essentially, the past, heritage and local culture are carefully preserved. Through the site visit at Werribee, we feel some of these ‘antiquity’ can hardly be found in Melbourne city. Such as, pastoral senses and 19th century Italianate architecture with grand formal garden in the front.

• The antithesis of enclosed, even dark interior within the vast open exterior on the high way, allow driver to appreciate this special sense of enclosure.

• Explore the immense particularity of Werribee. This enclosed new world still maintains connection with exterior. Probably, this connection could be even stronger than existing open landscape, because,the scenery of landscape, the mountain will be selectively framed to drivers. Large opening to Werribee is aiming to encourage the exploration on this city and its attractions. The quality of intimate experience(rather than mechanic) of interior space will also amplify the sense of exploration.

Precedent Study: Exploration of idea and form

Reflection: Aranda & Lash develop a project that explicitly return us to the historical experience of those dark, cool, underground space that prevalent in early-modern architectural thought. From my eye, this grotto pavilion does imply the exploration of underground spaces through a modern expression. The ‘hidden place’ and the intent of ‘discovery’ can be sensed. The control of enclosure and light create a place where there is something to discover within.

However, in regards of the experience of intimate. I could hardly agree. Within a small scale (human scale), the ‘rock’ seems monotonous(large polished rock surface). It’s, thus in lack of small scale sensory experience.

If the dynamics on these rocks can be further added, the idea of ‘discovery’ could be reinforced.

As the matter of fact, grotto is normally link to primitive nature, however this project seems too mechanic and modern.

Exploring proportion in space

3-D printin

ng model

Rediscovery of ‘antiquity’

expression of romaticism

The Grotto Pavilion Benjamin Aranda, Chris Lasch New York 2005

‘Neo-dank’ space for exploration

Fabricated model

Reflection: Different from traditional ‘grotto’ (dank space), this project creates more direct transparency between interior and exterior. Probably it is the reason of naming this project as ‘New Harmony Grotto’; more interaction and softer transitions between grotto and adjacent natural environment.

This interestingly, have effect soften the ‘modern’ feeling of grotto(stainless steel shell). Thus, I have to agree, Federick Kiesler’s (1960s) impenetrable notions of “continuous tension” and “co-realism” is achieved.

However, without making strong interior character, I am doubting if this can be called grotto any more. Or it is just a parametric steel frame. In terms of the form, personally, I guess it is way too abstract and weak to link to the ‘grotto’. Because it fails to explain the sense of discovery.

CATIA: Digital modeling

Exploration on forms

Grotto inspiration

Stress analysis

Precedent Study: Exploration of idea and form

New Harmony Grotto METALAB Architecture Houston, Texas, USA 2010

In these recent projects, the meaning of grotto is both reconceptualized and redesigned.

What might pejoratively be regarded ‘dankness’ actually contains quality relative to specific local materials or regions. These projects embrace the grotto as a sort of new expression and they enable us to see that seemingly undesirable quality of dankness can be filled with pleasure. These allows us to recognize the grotto’s particular and varying features.

Our gateway project is also aiming to unfold these potentials.

Frederick Kielser’s Grotto for Meditation

Fabrication

Installation

Design Methodology:

Evaluation

Research Based Concept • Exploration • ‘Grotto’

Abstract Logic • • • •

Attractors Culling Replacement Morph

Arguments From Biomimicry • Celluar formation • Permeability/ Change of structure density • Dual functions (Form+ structure)

Evaluation

EOI Experiment:

Explore Possibilities Through Parametric Approach • • • •

Mattrix Grotto effect View framing circulation

EIO Digital Model Tertiary set of attractors: Lines for car circulation.

Merging attractors

Secondary set of attractors: Points for medium gemotry replacement.

Primary set of attractors: Some points will be replaced with large gemotry

Reference base gemotry onto planner surface.

Interval and height are maintained at same dimension as base gemotry.

Duplications on multiple layers

Create cull pattern a to distance between and attractors

accroding n gemotry

Output 1: Replace some parts of culling space with large size base gemotry

Output 2: Replace some parts of culling space with medium size base gemotry

Output 3: Small size base gemotry

Fabrication:

Available joints inside each cubic: 4 joints at corner:

All these are designed to bring visual dynamics and rich spatial experience.

Diverse joints types:

4 joints on surface:

Ric

ch Fabrication choices:

Joints coherence between the cubics with various size

A A

A A

B A

B

Between cubics

A

B A

A B

(chosen type in EOI)

Inter-fillable cubics

Reference: Aranda, Benjamin, and Chris Lasch, 2005. Tooling, Pamphlet Architecture, 27 (New York: Princeton Architectural Press) Gissen, David,2009. Subnature: Architecture’s Other Environments (New York: Princeton Architectural Press) ‘Grottoes and Gardens’ 2011, World Of Interiors, 31, 12, pp. 170-175, Art & Architecture Complete, EBSCOhost, viewed 19 September 2012.

Melbourneinphotos, 2012, melbourneinphotos, melbourneinphotos.com/?s=helen+lempriere>

viewed:

02/09/2012

<http://

Wyndham City Council, 2012, Wyndham City Council, Viewed: 02/09/2012, <http://www. wyndham.vic.gov.au/> Minner ,K, 2011, New Harmony Grotto: A reinterpretation of Frederick Kielser’s Grotto for Meditation / METALAB Architecture + Fabrication,Archidaily TexasUniversity of Houston, USA ,viewed: 18/09/2012,<http://www.archdaily.com/101711/new-harmonygrotto-a-reinterpretation-of-frederick-kielser%e2%80%99s-grotto-for-meditation-metalabarchitecture-fabrication/> Rietzsch, B 1996, Grotto, n.p.: Oxford University Press, Grove Art Online, EBSCOhost, viewed 19 September 2012.

05. Reflections & Rethinkings on Project

Future Direction:

We previously use the ideology of â&#x20AC;&#x2DC;grottoâ&#x20AC;&#x2122; to enhance the concept of 'exploration'. The 'grotto' demonstrates an approach bridging the abstract term 'exploration' with a physical form. However, the shortcoming of our presentation is that we didn't dig out the 'grotto' in depth.

In fact, beside the sense of exploration, there is also rich meaning inside it. in order to reinforce the grotto effect, we further develop our concept.

Our project should incoperate:

• Inform the history and the heritage of Werribee, as mentioned before grotto was referring to the rediscovery of antiquity. This will could potentially be achieved through, use traditional materials (such as timber) and searching for the local pattern and embedded it in to basic geometry(19th Victoria pattern, or extract pattern form Italianate building and historical garden) • Enhance the sense of romanticism. Grotto is natural, intimate, poetic and irrational. In our EOI, the experiment model is too rigid, mechanic and modern.

This could achieved through adding ornamental patterns and carefully reconsider the scale of our project (although this land art is designed for high speed car, the scale of our EOI model is still too big, which further diverges away from the sense of ‘human’ scale and romanticism).

• ‘Nature and art’, ‘heavenly and earthly love’. Grotto embraces the idea of primitive nature, which is excluded in our EOI. Emerging with the landscape, the ecological function should be considered in our project. The structure should offer more function that purely ‘visual effect’. The factor of sound, fresh air and smell is vital to give the sense of locality (Werribee) If not, at least, strong connection should be maintained.

• Integrate the modernity and intimate experience. The ‘grotto’ is given with new interpretations in many modern project. Here, the Werribee gateway should be able to address that Werribee is changing, adapting and developing. The parametric tool indeed is a good way representing this.

Precedent study: exploration of intimate form connecting locality

Dimensions: c. 38 x 10 x 10m Material: laser-cut 16-24mm galvanized steel plate, sections welded and bolted together

Reflection:

Although the ‘Desiring machine’

by Simeon essentially expresses entirely different meaning from our project, which memorializes the struggle of human to co-exist with nature, the sculpture achieve a balance between wild nature(A fallen tree shape + 19th century pattern of floral border) and modern age of human civilization (Recursive system and rigid stainless structure, the tree does not look like organic form at all) (Simeon N, 2011).

This is worthy to learn for our project.

Werribee indeed need a medium to express the sense of semi-city and semicountry. This sort of detail patterns give more intimate feeling to drivers, which is missing in our current EOI. However, in order to enable drivers perceive this sort of humane pattern, I do think the scale of cubic based pattern in our gateway should be larger than ‘Desiring machine’. Also, too much repetitions are seen in this project, where in ours, parametric tool could help to enhance visual dynamics and richness.

Desiring M

Sime

Eastlink motorway M

Bolted joints

Machine

eon Nelson 2007 Melbourne

The modules from which the sculpture is generated

Weld joints

19th century nature pattern

Precedent study: exploration of intimate form connecting locality Neo-Neo Gothic Project: Paratekton (open sculptural system) Material: laser-cut plywood modules, dimensions variable depending on installation.

Reflections:

The study of paratekton project (artifact) is motivated to adding explicitness and romanticism into our ‘grotto’ gateway.

This Neo-Neo Gothic project updates the 19th century Neo-Gothic and Art and Craft aesthetics of Pugin, Morris, Jones and Ruskin with their utopian socialist programs to the 21st century.

The methods in which Paratekton putting together are almost infinite, this designed randomness represents the idea of ‘letting go some of the authorship’ and ‘ demanding a meaningful creative and productive life ‘. From my observation, One drawback of this is, one module can only be bended to one direction (within a Cartesian plane), neither 90 or 180 degree. This restricts the freedom of this ‘open system’, where rigidity is sensed.

This artifact unfold the potential of creative assemble through flexible joints system(we are also doing this) (Simeon N, 2011). This rich joining choices and the embedded pattern within the structure greatly enlarge the effect of visual dynamics among a 3 dimensional space.

Paratekton gives inspirations of increasing the romanticism in our cubic grotto system, which seems rigid and mechanic in our EOI.

Par

Simeo Lond 2010

ratekton (open sculptural system)

on Nelson don, Portugal & Australia (arts show) 0

Basic modulars:

Precedent study: Exploration of construction availability

We are especially interested in timber as our primary construction material in the Werribee gateway project, since it informs the sense of nature and country as a part of our grotto effects. However, because in order to construct an artificial grotto for car, the project scale will be larger. According to calculation, the longest part may need a 4200mm free span. The height of project will be around 20 meters.

Thus the construction become one of our major concerns.

Although the scale of AA Fractal pavilion is much smaller than ours, it exhibit strong similarity with our project (e.g. EOI model) in terms of the material use and joints type. In a way, this project is purely assembled by â&#x20AC;&#x2DC;jointsâ&#x20AC;&#x2122;( thus the size of joints is relatively larger than normal), where the form is made of structure, and these two parts integrate into one entity. At the edge, the timber panels are not only slotting together but also bolted with twisted L shaped steel panel. This greatly enhance the structure stability.

Meanwhile, the variation of structural elements could also be noticed. How do the elements(from generation 0-9) with different sizes and thickness joining and interlocking together is worthwhile to study as well (Randzio, 2008).

AA Fractal P

Dana Behrman, Am Hooke Park 2006

Pavilion

mandine Kastler, et. al

Rethinking design in context:

The site visit (both gateway, Werribee city and identical local resorts), enable us to have thorough understanding on this project.

Site:

a.South part of the site are vegetated with high plants along the freeway, while middle and north part is OPEN grassland.

b.You Yangs Mountain is locate west to site. This in fact give the site with identity and become one focal point of visual change. c.Werribee is situate at north-east site. The entrance(width of road) towards werribee is narrow. The focus of design should be given to this entrance. (e.g. through framing view) d.The scale of each cubic shoud be reduced, probably reduced to 2m x 2m x 2m (approximately the height of car) . Beyond this the romantic feeling will not be sensed at all.

e.The openness of the site and vast landscape differs this place as cityscape. The feeling of pastoral and wildness could be sensed.

The contrast between openness and enclosure could enlarge the spatial experience and give strong character to site. f.Unlike the city, the site is dark at night. The night effect should be considered, which is also a way enhance the grotto effect. The fluorescence material does not require electivity and the light it radiates adding the romantic and â&#x20AC;&#x2DC;naturalâ&#x20AC;&#x2122; feeling. g.Along the free way, it is quite noise. However it could potentially be developed to enhance the grotto effect. Through using the sound reflection material in enclosed interior, the feeling of grotto will be vivid.

Role of land art: Apart from considering and enlarging the character of the site, it always should be kept in mind that the role of this land art should move far beyond this site. As the idea of ‘res public’ discussed in week 6. The scale of the context should cooperate Werribee city, its culture and the whole surrounding regions.

Future technique improvements: • Replace pure repetition, with gradual change between each cubic.

• Link to the landscape on site, we will attempt to use non planner surface as reference.

• Change the density of structure through control the size void space inside each cubic. This adapts the bond structure from biomimicry.

• Materiality, durability and structure stability.

• Embedded ‘local’ patterns in basic geometry, the patterns between cubic need to be continuous and modulated.

Experience of parametric design so far: So far, I am still exciting about not only the new way of design but also the new way of design thinking (bottom up).

However, meanwhile, we are facing many frustrating facts.

Most time, it is because we are lacking knowledge.

Firstly, although we are trying multiple techniques to search our interests and architecture language during the last 8 weeks. The techniques we produced is still highly restricted (cull, morph. etc). This in fact constrains our design. The basic knowledge of grasshopper has been provided, however, in terms of finding more personal and ‘our own’ definitions to this specific project, the choices are limited. Many times, I don’t know which approach I should use to achieve the goal we are aiming.

Secondly, we are really thinking about how can our digital model could be modularized and fabricated. We don’t feel like to use 3-d printer, because this will make our design lose the sense of real, the constructability. In the end, however, again, we are lacking of (grasshopper) skill to transform our digital model into the real world. The compromise reduces the effect we wanting to achieve.

Thirdly, because our group interests are biomimicry, many ideas we found, cannot be justified and rationalized though grasshopper, such as cellular formation, structure efficiency (bond structure). We will try to use other plug-ins to solve this issue, such as ‘Kangroo’. However, essentially, this parametric tool is still not fully ‘parametric’, the freedom of design is restricted.

Reference: AA Design & Make ,2012, AA Summer Pavilions, AA School, Finnforest Merk, Arup, HOK, Viewed: 15/10/2012,,<http://designandmake.aaschool.ac.uk/?page_id=300> Randzio, J, 2008,AA SummerPavilion.html>

Summer

Fractal

Pavilion,

<http://www.jesserandzio.com/

Simeon Nelson, 2011, Simeon Nelson Studio, viewed: 17/09/2012, <http://www.simeonnelson.com/>

Part C: The Gateway Project

01. Reflections on Further Technique Exploration

3D Voronoi

3d Voronoi creates a much more dynamic environment, however the variation of size is too random which we found is un suitable at the end. This gives much less control on project in order to integrated as a part of local landscape and the transition of the environment through spatial scale(e.g. city to country). For instance, we tried, to control the stick density, where enclosed space is needed, the density will increase and vice versa. But due to certain reason, the contrast is not strong enough. Meanwhile, because each stick is joining with different angles, it becomes hard to standardize the joints type where none of two is same. In addition to time limit, we then, decided to reject this approach.

Cellular Automat

Rabbit is also been explored af this plug-in is that, it is a self ge strong inner logic (cellular meanwhile it also use cube generation, which can be ea base geometry later on(Our scale of one cube. We use cu base geometry, because it wil to generate overall form.). H found from this are: (1) gene have certain offsets to each o jointed together after repla (Our geometry is designed to corner and face-center of the very little control on overall ef are allowed to generate (bu the control on generating pro few start reference point, it itself, which, again, is highly u

ta (Rabbit)

fter the EOI. The advantage of enerative tool which contains formation and subtraction), as basic geometry for form asily replaced by our original base geometry is within the ubes to represent the original ll takes less time for computer However two major issue we erated by rabbit, many cubes other, which then cannot be acing our original geometry o where joints are located at e cube). (2) This plug-in gives ffect. Only cube with one size ut we need four sizes !). And ocess is very limited. After set started to generate form by unpredictable.

Dodecagons Tessalations

Dodecagons Tessalations, on contrast: 1 Giving possibility of standardized joints types.

2 Meanehile, the spactial experience it provided will be more dynamic than simp cube addation.

This however has two major issues: 1The various of basic gemotry size becomes difficulity. Mis-match will occur.

2 Internally, the joints and lattice structure of traingle gemotry will be reconsidered and rearranged, which is far more complex than the structure inside cubes.

Reflection After trying these techniques, we felt these programs are all not designed to fit the vision of our gate way project. Thanks to our tutor Paul’s suggestion, we then, decided to go back, stick and refining on what we have. Considering more about the cube arrangement and overall effect first, and then develop the techniques which fit these goals. Rather than simply taking techniques created by others, we need to utilize grasshopper to develop our own technique for this specific project. I guess this the ‘computational design thinking’ really about.

02. Design Progression

Central Concept: Exploration

Architectural Language: Grotto

Grotto effect:

Inform the sense of nature and country

1 Secondary architifical landscape 2 Ecological function 3 Tmber as main construction material

Express the growth of nature and the development (invasion) of city

1 Change the arrangement of plants, steel and copper box through time.

2 The growth of native plants 3 The rust of copper

Provide rich spatial experience, giving the sense of exploration

1 Varies size of base gemotry 2.gemotry arrangement 3 various aperture of base gemoties

Create enclosed space, control the light

1.create closure in contrast with open space 2.framing view torards youyangs 3.View towards Werribee

Responding To Landscape-Shell Generation:

Defina Contour Loft In order to achieve a progression experience of enclosed space and enlarge the sense of exploration in the highway. The distance of enclosed project built area is about 350m(i.e. 12 seconds experience). This allows the effect of the transformation from openness and enclosure, the change of the pattern within the cubic to be perceived.

Then we took the original landscape on the site as base geometry. Scaling and adjusting it and then forming a shell, the mini Young Yang.

Inner Shell

ation Set1: Making Shell Outer Shell

Circulation Pattern & Sun Angle Study-Culling: Circulation Pattern & Sun Angle Analysis

Werribee

Melbourne CBD

29째 7:36 am

5:08 am 75째

8:42 pm

5:55 am

Geelong 200m

Defination Set 4 : Sloar Peneration Culling

e

The first culling pattern on the shell is base on the circulation needs and solar penetration.

Defination Set 3 : Circulation Culling

View Analysis-Culling:

Our aim is to create a series of pattern that responds to openings and major views. At fast speed highway, driver’s vision focuses automatically further ahead and thus the visual field reduces in all directions.

At 100 km/h speed, the horizontal visual field is only 40° (20° to the left and right of our line of sight). The views (Young Yang mountains, Werribee & few small opening

to open landscape) that we introduce to driver are within the vision field.

Additionally, because it takes at least 1 second for people to notice object clearly, therefore the opening should allows view be perceived for at least 28 meters on the highway (Neilsen, 2011).

Defination Set 5 : View Culling Path Going South

Path Going North

Car Speed Study-Dimensions Of Geometry &Cube Generation:

28m: 1 second at Highway

Generally, cube with four different sizes are introduced. The 1500mm*1500mm*1500mm cube is the threshold size of cubic, which could be noticed by driver (the car will passing 18 frames in a second). The Large ones 30000mm*3000mm*3000ms and 6000mm*6000mm*6000mm give more spatial variations and visual

focus. 750mm* 750mm*750mm cubes are designed for softening the rigid edges created by large cubes and gives stronger overall effect of enclosed space.

The smallest cube is not noticeable for drivers.

1,The definition shown below, gives a logic for the placement of different cube size within a closed surface. Within one solid geometry, the system will firstly calculate, where to fill the largest cube (6000mm*6000mm*6000mm).

The void space left, will then be filled with second largest cube. All together, it will process four times for cube with four sizes.

This algorism, not only give the logic of the placement of cube, but also ensures the soft

and fluids edges alongside the boundary.

Because normally, smallest will be placed at the outer boundaries.

2, The culling patterns based on, landscape, circulation, single and view(presented before) create the solid surface, which allows cube to generated within. This also predefines the openness and enclosure which prevent the endless cubic generation.

Defination Set 6: Cube Generation

An Environment Responding To Time: Phase 1 Plnats Box

Copper Box

Steel Box

Shell

Pylons

Primary landscape Defination Set 7: Steel Box, Copper Box, Planting Box Aggangement

Phase 2

Although the variation and cube size and change of aperture of base geometry(discuss later), the overall environment is still uniform and monotonous to some extent.

Because our vision is about exploration, we then introduce three different cubs(with distinctive materials) to enrich the spatial experience. The steel box, copper box(copper will rust through time) is arranged with high density at north and east part of our project implying the sense of city invasion from Melbourne

Phase 3

and Werribee. While the planting boxes are concentrated at south representing the natural environment. All these boxes could be constantly added on after the initial gateway been built. In addition to the fact of the growing vegetation and rusting copper box, the sense of growth as well as ecological function as part of our grotto effect are emphasized.

Defination Set 8: Mesh Generation

1-50 Key Part Illustration

6m続

One pylon locating at west is taken to give a more specific illustration of our project.

+ 3m続 Original Solid Surface

+ 1.5m続

+ 0.75m続

+

+

+

=

Gemotry Arrangement & Aperture Variation

In the micro scale, Variation of each segments are also explored. At the place where, the great openness is given, the aperture within each triangle is also enlarged.

When approaching to dunk place, aperture is reduced and light penetration are highly controlled. incorporate with three types of box mentioned earlier, all these effect strengthen the internal dynamics, and reduce the sense of machine-like of modulated cubic structure system.

Defination Set 9 : Aperture Variation

1:50 Digital Model

Fabrication & Labelling

Layer 1

Layer 2

Layer 3

L

Layer 1

Layer 2 & Layer 3

Layer 4

L

Layer 4

Layer 5

Layer 5

Layer 5 & Layer 6

Defination Set 10 : Fabrications

Layer 6

Layer 7 & Extras

Layer 7

Extras

Model Assembling:

Joints

Layer 1

Layer 2

Layer 3

Layer 4

Layer 5

Layer 6 & 7

Reference: Neilsen,j, 2011, Driving Vision, SDT Safe Drive Training, Viewed: 07/10/2012,< http://www.sdt. com.au/safedrive-directory-DRIVINGVISION.htm > Time and Date AS, 2012, Sunrise and sunset in Melbourne, Time and Date AS, Viewed: 15/10/2012, < http://www.timeanddate.com/worldclock/astronomy.html?n=152>

03. Project Delivery

Constructions Detailing

750*750*750mm

1100*1800*184mm 500*1800*184mm

2200*1800*184mm 1500*1500*1500mm 1050*1800*184mm

4400*1800*184mm

3000*3000*3000mm

2100*1800*184mm

8800*1800*184mm

6000*6000*6000mm

4200*1800*184mm

Plants Selections: Local vegetation that naturally grows in freedrainaging soils in the wild will give most considerations for this project, since their low management requirement (Dunnett & Kingsbury, 2010).

Box at highier position: 5-10cm substrate simple sedum/moss species & grass: • Lomandra fluviatilis • Lomandra longifolia • Themeda triandra • Myoporum parvifolium • Scaevola calendulacea • Zoysia tenuifolia

Box at lower position: 10-20cm substrate Greater diversity of vegetations. Sedum/ moss communities, dry meadow communities, low growing drought tolerant perennials, grasses and alpines, small bulbs.

(Dunnett & Kingsbury, 2010) • • • • • • • • •

Westringia fruticosa Gazania tomentosa Liriope muscari Dianella caerulea Carpobrotus rossii Bower Spinach Enchylaena tomentosa Ruby Saltbush Myoporum parvifolium

Climbers: Sunny positions: • Zygophyllum billardierei • Coast Twin-leaf • Clematis microphylla • Kennedia macrophylla • Kennedia nigricans Shady positions: • Clematis glycinoides • Passiflora cinnabarina (ANBG, 2012)

Constructions Detailing

References: Australian National Botanic Gardens and Centre for Australian National Biodiversity Research, 2012 ,Information about Australiaâ&#x20AC;&#x2122;s Flora, An Australian Government Initiative, Viewed: 15/10/2012, <http://www.anbg.gov.au/climbers/climbers.arid.html> Dunnett, N Kingsbury, N,2010, Planting green roofs and living walls, Portland/London, Timber Press.

04. Reflections & Feedbacks

Clothes hanger+ Lobster = Our Gateway Installation?

Similar to many other peopleâ&#x20AC;&#x2122;s feedback, personally, i do agree, in the small scale, each geometry piece is like a clothes hanger. And this gateway is the aggregation of clothes hangers. Meanwhile in a large scale, reflected form 1:1000 model, the overall project on the plan looks like a lobster. Although these are just jokes, these greatly undermines the architecture vision. It also been proved that the form are misinterpreted by reader. From my perception, the result of this can be lead by three major reasons: 1 the time, that we spent on exploring the form(both small and large scale) is still limited. and i do think the installation that we develop is still very rough.

2 public perception & architecture language gap: In fact this phenomenon happens quite frequently. When a building is been built, people always tend to relate its form to a object in the real world. And quite often many of these sorts of projects will be heavily criticized, because of the misinterpretation(communication gap) between meaning and form. Personally I do feel things become extremely difficult, especially when we are using real form to interpret abstract meaning and visions (exploration is used here).

In general i still hold that, our project does able to transmits the meaning that we originally wanted as process diagram explained earlier. However in the future we need consider more carefully about this issue when we designing.

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Learning Process And Outcomes: The person that we need to thank most is our tutor, who suggest us to stick and refine the thing that we have, when we become unconfident about our EOI outcome. So we spent more time rethink about the ideology of grotto, cube size & its placement, aperture and ecological function to strengthen the inner logic and enrich the concept. We then finally were able to develop our own grasshopper techniques.

Top-Down Designing Approach: One thing that I really pound of is that, we were constantly flowing the topdown approach. Rather than finding a funky form first, then trying to build some justification for the from (which is just one step to bullshit). We started from defining goal and discussing the effect(which is grotto) we wanted to achieve. And then develop the techniques which fit the goal. I believe, the traditional designing approach brings the real meaning of architecture.

And architecture should always be â&#x20AC;&#x2DC;meaningâ&#x20AC;&#x2122; oriented.

Working As A Team: Rather than working everything together, as a team we should trust our team mate. In order to be more time efficient, after EOI, we decided to determine major goals together, while let individual make decision about those minor parts who are in responsible for. By this mean, the debate and argument were minimized. Meanwhile, by sharing the work load, each member was able to do things which he/she is good at and interested in.

Limitation Of Grasshopper: According to the definition we made, cubes were supposed to generated within the surface, however some cubes generated by definition actually goes slightly beyond the surface. Our 1-50 model as the final end reveals, how fatal the issue in the real world can be caused by this. Some geometry actually are built across the road, which is a huge mistake. Probably it might because we donâ&#x20AC;&#x2122;t have strong technique base. However in fact, sometime, our other definitions seem to have similar systematic issues. The definitions occasionally generate some weird geometries at weird positions; some spaces should be culled but havenâ&#x20AC;&#x2122;t .etc I feel grasshopper should be further refined and polished.

Integration Between Human Hand And Computation: This then brings another interesting topic, which I was heavily arguing with my group mate. He believes everything should better be generated by grasshopper. And once forming the form, little change should be made manually, since this provide strong inner logic of the design. However, I do believe, at the very end human should take the control in the parametric approach. Human is not machine, human is not as rigid as grasshopper, therefore manually deleting or modifying some part is acceptable and sometimes necessary. Last paragraph provide a strong justification for my argument.

Further works: During the whole semester, I gained a lot in terms of digital design both theoretically and technically. Until now, although I am still a beginner at parametric architecture sphere, I am slowly transferring form passive copying definition, testing inputs and outcomes to actively creating my own technique.

My grasshopper skill also helps me a lot in my other studio (Urban precinct studio), it is not only a generative tool, but also a great time saver. All these are really exciting for me.

To certain aspect, Our group is over ambitious and overestimating ourselves.

We were trying to express grasshopper in a 3-dimensional way. As a result, we spent extra time exploring some other methods(such as 3d-voronoi and rabbit) which were all failed(but they are valuable experiences). We need to comprise as the limitation of our knowledge and skill. The form of our installation is also restricted by this. Learning from that, in order to fully master the parametric design, firstly, we need to push further on the digital design skills. Then, we will be able to know what approach could achieve our goal before hand.

Meanwhile, the communication gap between form and meaning could be better avoided.

Aland-Qinyang Zhu Melbourne 2012