2013 S1 Lisa Huang by Studio Air

A D S S T U D I O

AIR 2 0 1 3 _ S M _ 1 L I S A H U A N G 5 4 4 4 3 8

“ I’VE NEVER MANAGED TO KEEP A JOURNAL LONGER THAN TWO WEEKS.

”

- J.K ROWLING

SPECIAL THANKS TO MY G R O U P M A T E S B R Y A N & V I N C E N T T U T O R S D A V I D & M I C H A E L AND 7-11 DOWN THE STREET.

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CONTENTS 6

INTRODUCTION

CASE FOR INNOVATION

EXPRESSION OF INTEREST

PROJECT PROPOSAL

LISA HUANG MADE IN CHINA 199X I've flirted briefly with the Sydney life before moving to New Zealand and growing up there, subsequently making me an expert on how to ride sheep to school on motorways, apparently. Moving to Melbourne in 2011, and now an Architecture 3rd year, I have developed strong interest in the subliminal context of space, emotions and experiences induced, and how their represent and connect to the surrounds in phenomenological ways. All of which I believe is extremely relevant to this studio. I consider myself knowledgeable in theoretical thinking but still in explorative stages of technical software, despite having previous experience in Rhino and parametric design, predominantly from Virtual Environments and other design studio courses. I see Studio Air as great opportunity to advance and balance my skill set as well as articulating theoretical knowledge to design outcomes more specifically than previous studios due to the focus on abstract forms, broadening my insight and choices within the architectural profession. My other passions include food( good stuff), sleep(AMAZING) and sparing the world of shameless selfies one at a time. Otherwise dabbing in anime/manga, freelancing online and participating in various publications. I define myself by architecture, but am still working on it. It's exciting stuff!

CLOSE ENCOUNTERS PREVIOUS PARAMETRIC EXPERIENCE

The virtual body space project, introduced in 2011 as the integral component of the first year Virtual Environments course, was a shallow tread into the world of parametric design. The aim was to construct a NURBS model via the Rhinoceros software and panelling plug-in. The model inspired by a selected natural process, and ultimately to be fabricated into a paper lantern worn on the body. My project took form of a collar inspired by the various movement of dorsal fins on a clown fish. The four parts each possessed a different type of panelling, in sequence forming

a dynamic gradient of exposure, and brightness. The initial goal in modeling was to recreate a plasticine model. However it was quickly established that through digitisation a matrix of new possibilities was available and made contribution to the final outcome, hence changing my views that digital design hindered the designer's creative license.

surrounding context (the user's body), has ability to adapt (through wear) and bear unique meaning to the user due to selective decision making. Hence I consider this project extremely relevant to Studio Air not only due to the overlap of software, but focus on theoretical development in parametric design within the disciplinary context through firsthand experience, generating interest in really the forefront of contemporary design.

The body space project also represents the wider architectural discipline as it posses many qualities of a dynamic networka design which responds to its

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C A S E F O R INNOVATION

1.01 PLACE-MAKING WITHIN THE AVANT-GARDE "We need a ______" Skyscraper? Museum? Exceptionally ugly bus shed? What drives ARCHITECTURE as the continual solution in providing local signature, and how can it re-shape the surrounding culture at large?

It has been recognised, even in How I Met Your Mother, that the skyline of a city seem pinnacle in the definition of it. For millenniums we have relied on outstanding visual properties of 'landmarks' for recognition- height, breadth, grandeur, and that particularly phallic tower in Paris. Yet these properties do not guarantee fulfillment of Wyndham's goals: to "enrich", "inspire", and above all, be "innovative"1. The power of architecture lies within its position of interdisciplinary junction, possessing not only aesthetics but inherent functional and socialpolitical properties. Architecture is "a network of practices"in which"material facts are a small part of the overall field",2 thus, it can only be ignorant to create singular visual icons with appointed stylistic identity in attempt to give definition to a detached setting. Architectural discourse has shifted towards

structures which are equally represented by its surrounds as they are representative of them. This dialogue between architecture and setting creates a uniquely valid relationship, a sincerity which has long been an underlying theme in the culture of architectural design, whether through rawness of material or revealing skeletal forms, long before the prevalence of computer technology. Hence, I believe this cross-reference will hold continual influence within the on-going disciplinary discourse at large, and is pivotal in the Wyndham Gateway design. I interpret Schumacher's statement of "capturing and reconstructing the rationality of the existing architectural discourse- rather than indulging in the construction of a supposedly radical, new ideal"3 as the crucial understanding of the architectural network and its constructs which must come before the extension

or deviation from it. This does not limit the creative license of architects but contrarily provide basis to stem from. Architecture functions as a system, with ability to enhance, mould, and stimulate its surrounds in continual motion and self reference through inherent experience. Only when rooted within the local sphere does it possess near biological adaptability, and consequently an enduring relevance and appeal. Therefore, innovative architecture lies not only within technique but ability to respond and connect to its surrounds. Parametric design is an effective method to achieve this, and perhaps its adoption referential to domestic stylistic preference, but in no way a benchmark of contemporary design. My aim is to consciously utilise the potential of computation in creating particular conversation with Wyndham city, and in turn a trajectory, distinctive signature.

1. Wyndham City Council, Western Gateway Design Project v02 commented by Stanislav Roudavski, retrieved from LMS, 10 Mar 2013, pp 4 2. Williams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, Ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 115 3. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 7

FROM STATEMENT TO CONVERSATION INNOVATIONS OF PHARE TOWER AND THE BURNHAM PAVILLION: the jury board after it was finished.6 The tower, like many structures completed during the city's skyscraper boom, was also irrelevant to its physical surrounds. Lin Den-li admitted the structure might have been drastically different had it been accompanied by urban planning, a different form "if we had known how many tall buildings were going to go up around it". 7 Thus, it can be excused for contemporary proposals of the Pudong district to stand aloof from the Oriental Pearl in return- their structures and axes rarely in reference to the city's attempted signature. (fig 2) FIG. 1 ORIENTAL PEARL RADIO AND TELEVISION TOWER, SHANGHAI., 1995

FIG. 2 SKYSCRAPER PROPOSALS FOR PUDONG DISTRICT.

My first contact with a major work of architecture was upon visiting the Oriental Pearl tower in Shanghai (fig 1) in 1999- a building which, "despite futuristic intent", is now considered "primitive" and "most frequently described as 'kitsch'".4 After revisiting the structure in 2012, I am convinced that this is due to both physical and cultual detachment from its setting.

the design showed an ominous disconcern with its local sphere since conception. The structure's aesthetic was a form unprecedented in China, Lin Den-li, project's leading architect accounted for this to the treatment of commission "not just as a building but as a work of art[...] and a work of art must be original"5, while the designer Jiang Huancheng admitted narrative of the tower, derived from an ancient Chinese poem, was provided by chief of

As centrepiece of the 1990's stimulation scheme of Pudong, Shanghai's financial district,

4. Pridmore, Jay (2008) , Shanghai: the architecture of China's great urban centre, Harry N. Abrams, Inc. NY, pp 21 5. Pridmore (2008), Shanghai, pp 21 6. Miller, JFK (January 5, 2010). "Shanghai's Pearl Tower turns 15". that's Shanghai (Urbanatomy Media). Retrieved 29 May 2011 7. Pridmore (2008), Shanghai, pp 21

It is logical then, to search for a successful counterpart within the inspiration of Pudong's original scheme- La Defense.8 With predicted completion in 2017, the Phare tower (fig 3) designed by Morphosis (led by Thom Mayne), will be the tallest skyscraper in Paris, the highest building constructed there since the Eiffel tower, and effectively one of the highest in the European Union. To be selected above countless others as the new icon of such significance, the building must in itself hold unique language with the district and city beyond.

FIG 3 PHARE TOWER, MORPHOSIS, 2009. 8. Pridmore (2008), Shanghai, pp 21

FIG 4 PHARE TOWER, MORPHOSIS, 2009.

Aesthetic of buildings is neither the only nor the ultimate objective of architectural design, the goal is instead in place-making9. To create architectural discourse within the surrounding context , adaptable to the addition of qualitative human experience. This is definately applicable to the design intents of Phare tower. True to its name (phare being French for beacon or lighthouse)10 the building aims to stimulate the fragmented business district of La Defense, not by visual dominance or intrigue, but through form create spatial connection between disparate elements(fig 4), thus coherency within the area and

in turn give rise to communal value. The building's form is also utilised in social contexts. Hybrid qualities of the tower's structure transforms the tower into an urban gateway, its irregularity allows it to permeate the surrounds while through straddling the site as if a tripod (fig 4), existing urban axes are transformed into framed monumental paths. In this way, the building alters domestic culture by inherent pedestrian experience, but maintains a positive, additive effect by creating visual corridors toward other local significant architecture such as the CNIT and Courbevoie

My fascination with the Phare tower stems from the exclusive mutuality of its relationship with the La Defense district, particularly exemplified by the digitally designed structural facade11 (fig 6)as response to the immediate microclimate. Despite appearing as one sweeping gesture, the tower's facade consists of wind capsulation technology providing energy feedback into the building,12 and complex groupings (fig 7) in different orientation, corresponding to solar paths-the planar north facade maximise daylight exposurewhile a curvilinear second skin of diagonal stainless steel mesh minimise solar gain.

9. Al-Kodmany, Kheir, and Mir M. Ali. "Skyscrapers And Placemaking: Supporting Local Culture And Identity." Archnet-IJAR 6.2 (2012): 46-67. Art & Architecture Complete. Web. 10 Mar. 2013. 10. Morphosis Architect.Inc. "Architecture: Phare Tower" in "Morphopedia"(2012). Web. 10 Mar. 2013 http://morphopedia.com/projects/phare-tower. 11. Morphosis Architect.Inc. "Architecture: Phare Tower". 12. Morphosis Architect.Inc. "Architecture: Phare Tower".

FIG 5 PHARE TOWER, MORPHOSIS, 2009.

It is impossible to foretell the precise effect Phare tower will have on La Defense and the greater region of Paris, as the cross-referential and crossinfluential relationship between architecture and its context is always changing. However, with such strong connections to the surrounding physical and social context, I believe Phare tower will have the capacity to adapt, and will be continously appreciated and relevent to the architectural discourse. This holistic approach in architectural design is precisely the new direction in which the discipline is moving forward, and is my goal in designing for Wyndham's gateway project.

FIG 6-7 PHARE TOWER, MORPHOSIS, 2009.

FIG 8 BURNHAM PAVILLION, UNSTUDIO, CHICAGO, 2009

FIG 9 BURNHAM PAVILLION

Unique response to the urban context can also be exemplified by the Burnham Pavillion designed by UNStudio. Commisionned to celebrate the centennial of Chicago planning7, scoop like columns connect the plinth-like roof and floor while offereng selective views of the city's western skyline.

pavillion acts as a dynamic, responsive system holding exclusive social significance to the city of Chicago alone, enhacing the local identity through its presence and simultaneously amplifying existing urban components by framing specific portions of scenery, calling forth domestic appreciation from the users.

Although solidity of the pavilion stands in stark contrast to its organic surrounds, (fig 8) the structure introduces a gradient between the sharp cityscape and greenery through its floating and continuous form, providing reconciling connections within two distinct parts of local urbanscape.

Repeating themes which arise from these two projects highlight their importance in the current discourse, and thus are absolutely relevant to the Wyndham Gateway project. Combined with the potientals of parametric modeling, I hope to reach a dynamic, innovative outcome that runs in parallel with these themes and will ultimately provide a positive addition to Wyndham City.

At night 42 LED lights embedded in the floor cast colours on the ceiling (fig 9), varying in accordance to the pattern of visitors' footsteps.8 In this way, the

FIG 10 BURNHAM PAVILLION, UNSTUDIO, CHICAGO, 2009

7. Cardno, Catherine A. "Two Temporary Pavilions In Chicago Celebrate Centennial Of Burnham's Plan." Civil Engineering (08857024) 79.11 (2009): 20-23. Computers & Applied Sciences Complete. Web. 10 Mar. 2013. 8. Schulze, Franz. "Burnham's New Millennium. (Cover Story)." Art In America 97.8 (2009): 53. MasterFILE Premier. Web. 10 Mar. 2013.

1.02 COMPUTATION IN ARCHITECTURE MACHINES, MACHINES. AND WHERE THEYâ&#x20AC;&#x2122;RE GOING

We are upon the age of faceted indentities, architecture is in no way different. Buildings are no longer simply forms but are overlaid in functions, meanings, stories...and why not? With all that we can do?

Recognising computation as a tool and not replacement of creativity is crucial part of architectural sincerety, but it would be sinfully naive to dismiss the power of computer aided design(CAD) as only such. Humans have come far since times when buildings where the works of masons alone, a single routed process which does not allow for planning, deveolpment or re-evalutaion. Modern architectual discourse marks not only change in methodology but thinking, hence the use of computerisation as simple

translation of media is of little value in the digital age, and certainly does not validify designs as 'current'. Computation as generative design is a logic driven process-as Kalay prescribed- puzzle making rather than problem solving1 , shifting the designer's role from making to finding. To extend on Jacob Bronowski's theory on intelligent behaviour, the human capability of design stems not only from inventing solution, but also to have have preference, to recreate it, and to imagine beyond logic and

sensibilities. Yehuda's theory of design process2 speaks exactly of this ability to differentiate the current and new situations, and most of all purposefully evaluate the latter. In this sense Lawson's theory on 'fake' creativity encouraged by CAD3, that technology can replace design; and Frazer's point of "design computation is still only seen by many as 'just a tool' and remote from the real business of creative design[...]"4 both fail to acknowledge this shift in role, unable to grasp the potential of CAD.

1. Kalay. Yehuda E. , Architecture's New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 6 2. Kalay, Architecture's New Media, pp. 5 3. Lawson. Bryan. (1999)."'Fake' and 'real' creativity using computer aided design: Some Lessons from herman hertzberger", in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by ernest edmonds and Linda candy (new York: Acm press), pp. 174-179 4. Frazer, John h. (2006). "the generation of Virtual prototypes for performance optimization", in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas oosterhuis and Lukas Feireiss (rotterdam: episode publishers), pp. 208-212

FIG 11 MINIMUM COMPLEXITY, VLAD TENU, LONDON, 2010

FIG 12 THE YARDMASTERâ&#x20AC;&#x2122;â&#x20AC;&#x2122;S BUILDING, MCBRIDE CHARLES RYAN, MELBOURNE, 2010

The shift to 'finding' can be seen in many architecture explorations. In Vlad Tenu's Minimal Complexity (fig 11), though the form is generated by computation, it is within constraint of criterias set by the designer and can infinitely approch the desired outcome through refinement. In this way, digital generations offer a broadness of possibilities, and the utilisation of such into formulating a specific solution still very much relies on the designer's creative license and judgement. In practise, the major part of computation architecture is often fuelled by design complexities

and intergrated contruction processes. Walls are no longer singular entities but complex facilitation systems. Pattern design on the Yardmasters building (fig 12) involve, above aesthetics, proportioning for light penetration, building services and energy consumption. Required interdisciplinary efforts and communication to achieve these is far more efficiently managed with computer generations. Within pre-set parameters, multiple fitting variations can be simultaneously simulated, selected and re-developed instead of traditional trial-and-error methods.

FIG 13 KINETIC SCULPTURE,, ART+COM, BMW MUSEUM, MUNICH, 2010.

For the Wyndham Gateway project, I wish to reference inspirations which have driven the BMW Kinetic Sculpture (fig 13). While not a direct example of computational architecture, the sculpture is a metaphorical translation of form-finding design. Using advanced digital techniques, 714 metal spheres controlled by individual stepper motors are animated into a seven minute mechatronic data display- each formation representing part of the design process. "Start[ing] in chaos" of "many independent ideas", from which different shapes emerge, followed by competing ideas and finally the recognisable shape of a car".5 By utilising the precision of programming, the designer creates autoactive, reactive and interactive elements within a communicating narrative which can engage the public, transforming their role from audience to participant. Similarly, the V Motion Project (fig 14) use motion sensors to translate body motion and

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gestures into musical components, the pattern of which feeding back as visual display. Though in ditfferent context, I believe the dynamic appeal of both projects is entirely appropriate for the Wyndham Gateway. I am convinced by Kolarevic's theory that appeal of topology is driven by "performative circumstances surrounding the project, whether they are morphological, cultural, tectonic, material, economic and/or environmental",6 and that incorporation of local source as parameter in computational generation would create such designs both fitting the brief's criteria of exciting and impactful design as well as the interactive placemaking qualities of architectural discourse. 5. Environmental Graffiti. " 714 Kinetic Balls Undulating In Perfect Unison" in "Art and Design" (2010). Web. 15.Mar. 2013 http://www.environmentalgraffiti.com/featured/kineticballs-perfect-unison/20274 6. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 5-6

FIG 14 V MOTION PROJECT, V ENERGY19 NZ, AUCKLAND, 2012

FIG 15 DANIEL CARDOSO LLACH, DATA VISUALISATION OF A CONTEMPORARY BUILDING’S DESIGN AND CONSTRUCTION COORDINATION, 2012

1.03 PARMETRIC MODELING A DIFFERENT STAGE AND SCRIPT It seems everyone have caught on to the idea of parametric design- but does it REALLY guarantee architectural character? Parametric design had been characterised into the themes of knowledge, models, and reuse.1 These define the area of interest (knowledge based systems), the underlying cultural discourse (knowledge modeling), and pragmatics involved (knowledge sharing and reuse). Today, with benefit of computers that are much more powerful, analytical algorithms much more sophisticated, and visualisation techniques that render the analytical data immediately understandable, we are driven toward sophisticated results that can evaluate more design proposals and gain much deeper insights into theoretical concepts. Yet increasing mismatch of competency between technology and the architect provide problems in both process and result. Though derived from the C language, Grasshopper is a

plug in which ultimately still relies on visual connections in creating parametric script. Complex overlaid networks of data (fig 15) are transposed into nodes which are visually descriptive. This possess the obvious advantage in increased user comprehensionespecially in the design discipline where professionals rely largely on visual, rather than binary communication. This however creates aperture between developers and users, the group which are consciously aware of behindthe-scene workings and extensive capabilities, and those considered 'amateurs' that are constrained to default tools given. A method of avoiding the necessity of consulting specialised professionals for every project, and a great blessing of the digital age is ability to facilitate sharing

of codes, tools and ideas. Internet forums, websites and sharing platforms such as vimeo and youtube provide opportunities for the architect to develop their own toolbox and designs, but modification is always necessary in this workflow, "even after a model is created, other designers can't easily modify the design because they do not possess knowledge"2 of creation or design intent. It is not the simplicity in form or structure which subtracts validity, but loss of connection to the brief. It is also questionable when a designer re-utilise their own parametric components. Burry describes this as "simply being a designer"4, but the structure's specific relevance to its context are no doubt in risk when considering projects such as the Wyndham Gateway, which relies so heavily on unique representational abilities.

1. Motta, E. (1990) Reusable Components for Knowledge Modelling: Case Studies in Parametric Design Problem Solving, IOS Press 2. Parametric Technology Corporation, 2008. "Explicit Modeling: What To Do When Your 3D CAD Productivity Isn't What You Expected." 3, Burry, M (2011) Scripting Cultures, West Sussex: John Wiley & Sons Ltd. 4. Burry, Scripting Cultures

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Advancement in parametric technology can be seen in creation of many real-time responsive projects beyond the form and structure. Cirriform(fig 16),a interactive facade proposal by Future Cities Lab is an example of interactive architecture which captures, translates and projects back to its surrounding context. With Firefly, an advanced Grasshopper plug in, user are in essence transformed into point attractors as their proximity trigger rotation of illuminated crystalline components, forming fluid conversations between digital and physical realms. 5 Here, the facade became not only a system in its own right but a manifesting one, a design which reaches beyond static compositions to enhance user experience. Contrastively, the technical components within the design are complex and tightly bound by a novel communication protocol6, difficult to understand or repair without expert knowledge. In fact, it can be argued only small portions of the loop (ie luminescence) is being registered by the user.

FIG 16 CIRRIFORM, FUTURE CITIES LAB, SEATTLE USA, 2011

FIG 17 CIRRIFORM, FUTURE CITIES LAB, SEATTLE USA, 2011

5. John Wiley & Sons Ltd (2013), AD magazine, accessed from Unimelb LMS. pp 147 6. John Wiley & Sons Ltd (2013), AD magazine, pp 147

FIG 17 INVISIBLES, BIOTHING, 2003

A similar disadvantage can be found in Biothing's project "Invisibles"(fig 17). The audio/visual/physical interface is an interactive soundprogramming environment which alter conventional music composition. Three interrelated layers (a skeletal field, a speed distribution field and a surface field) form a cell to be programmed through inverse-kinematics-based skeletons in MEL script, setting algorithmic constraints, ultimately inducing a complex set of skeletal

swarming via joint rotations8, creating sound animation. The project is said to bring forth an "entirely new perception of our environment[...] one less formal, less spatial, defined not by the conventions of boundary"7 Yet I feel the innovation of algorithmic scripting in these projects lack relevance when considered in context of the Wyndham Gateway project. These installations are not created to be permanent, nor

can they convey their complex processes quickly and effectively to public outside the specific discipline, especially in a car moving 100kph. In their drive to explore new fields, it leaves behind the beauty and simplicity of comprehension.

7. Kane, Kevin (2003) The invisibles Installation project. 8. Biothing (2003), Invisibles, http://www. biothing.org/?cat=12 accessed 2 Apr 2013

FIG 17 ESKER HAUS, PLASMA STUDIO, ITALY, 2006.

It may be more appropriate then, to consider parametrics applied such in the case of Esker Haus by Plasma Studio. The residential unit is placed on top of an existing house, developed as a parasite morphology which "adopts the structure of its host and gradually distorts it to fit a unique organisation". 9 The parametric logic involved in the structure is comparatively

simple, smooth hillsides of the surrounding landscape is recreated and complimented with deformed steel and timber frames, resembling a series of contour cuts. Despite its simplicity, the form is still intimately connected with its setting in an exclusive and relevant fashion, in a way which immediately comprehensive. In my opinion far more crucial in Wyndham's agenda.

9. Plasma Studio (2006), Esker Haus, http://www.plasmastudio.com/work/Esker_Haus.html 2 Apr 2013

1.04 ALGORITHMIC EXPLORATIONS In the first weeks my aim was to grasp the Grasshopper plug in by extending from the EXLAB tutorial files provided. However I quickly realised that pre-existing curves and surfaces from which to generate from largely limited the types of outcome, and I felt detached to the forms I have developed. While it is also due to my lack of skill, I think this is representative of computerisation and its failure to access digital generative potential, as the designs are already predetermined.

As my skills developed, I began using list manipulation to selectively connect various components, as this is relevant to the basis of my argument. Using the same sphere boundary, I was able to create forms to the left.

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I attempted to link my argument further by creating attractor curves and surfaces specifically in accordance with site topography, such as outline of the motorway. They were dissatisfying in outcome due to similar reasons in the first stages of exploraion. I was constrained by following the initial geometries used as demonstration.

Finally, I created these twisted fin forms from selective portions of the site which I was satisfied with. I feel they align with my design intent through the conscious connections formed between elements and the Wyndham context, as well as processing an unique aesthetic I can claim as my own- a factor which I found most influential in my explorative process in Grasshopper, despite the

simplicity in resultant form. During the studio course thus far there has been many critique of the bromidic practise of computerisation, yet is the autonomous combination of prescribed scripts any more valid? Without understanding of basic algorithmic theories, how can one be expected to bypass the linearity of trialand-error design? This result

in a false-design, a use of parametric which is "superficial and skin deep[...] lacking of larger framework of reference, narratives, history and forces." 1 In short, the generation of outcome without reasoning process is a lost cause. Through my explorations, I feel confident that I am working towards a design positive that respect.

1. Burry, M (2011) Scripting Cultures, West Sussex: John Wiley & Sons Ltd.

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1.05 CONCLUSION AN EXCLUSIVE SIGNATURE Architectural discourse has flourished, and will continue to do so in the direction of structures being in holistic connection with its context. The significance of the architecture and its setting is a matter of crossreference and only when this is achieved can it possess the adaptability necessary for long-lived influence within local spheres and beyond. The site topography and predetermined motorway flow gives unique opportunities to create an intimate and intensive relationship between physical and social realms of the city. In designing a gateway which is directly responsive of the existing conditions, I aim to fulfill Wyndham's goals of creating an unique signature and exciting identity.

1.06 LEARNING OUTCOMES Through my experience of learning about the theory and practise of architectural computing, especially through tutorial discussions and forming my own journal arguments, I feel I have grasped a greater understanding in the designer's role within parametric and computational design, which is so different from traditional analogue processes in the architectural discipline. The significance of conscious choice in representation, and difficulty of maintaining representative connection has become a great influence and fascination. I have become very much aware of the balance necessary between the digital and the designer in generative design maintained throughout the design processwhich I previously conceived as more autonomous up to the final proposal selection. In this way, I hope to create a design falling within this balance, now equipped with the knowledge learnt from analysis of successful precedents such as Art+Com, Morphosis and UNStudio.

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BIBLIOGRAPHY Al-Kodmany, Kheir, and Mir M. Ali. "Skyscrapers And Placemaking: Supporting Local Culture And Identity." ArchnetIJAR 6.2 (2012): 46-67. Art & Architecture Complete. Web. 10 Mar. 2013. Burry, Mark (2011) Scripting Cultures, West Sussex: John Wiley & Sons Ltd. Cardno, Catherine A. "Two Temporary Pavilions In Chicago Celebrate Centennial Of Burnham's Plan." Civil Engineering (08857024) 79.11 (2009): 20-23. Computers & Applied Sciences Complete. Web. 10 Mar. 2013. Environmental Graffiti. " 714 Kinetic Balls Undulating In Perfect Unison" in "Art and Design" (2010). Web. 15.Mar. 2013 http://www.environmentalgraffiti.com/featured/kinetic-balls-perfect-unison/20274 Frazer, John h. (2006). "the generation of Virtual prototypes for performance optimization", in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas oosterhuis and Lukas Feireiss (rotterdam: episode publishers) Kalay. Yehuda E. , Architecture's New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Lawson. Bryan. (1999)."'Fake' and 'real' creativity using computer aided design: Some Lessons from herman hertzberger", in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by ernest edmonds and Linda candy (new York: Acm press) Morphosis Architect.Inc. "Architecture: Phare Tower" in "Morphopedia"(2012). Web. 10 Mar. 2013 http://morphopedia.com/projects/phare-tower. Motta, E. (1990) Reusable Components for Knowledge Modelling: Case Studies in Parametric Design Problem Solving, IOS Press Miller, JFK (January 5, 2010). "Shanghai's Pearl Tower turns 15". that's Shanghai (Urbanatomy Media). Retrieved 29 May 2011 Parametric Technology Corporation, 2008. "Explicit Modeling: What To Do When Your 3D CAD Productivity Isn't What You Expected." Pridmore, Jay (2008) , Shanghai: the architecture of China's great urban centre, Harry N. Abrams, Inc. NY Schulze, Franz. "Burnham's New Millennium. (Cover Story)." Art In America 97.8 (2009): 53. MasterFILE Premier. Web. 10 Mar. 2013. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley) Williams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, Ed. by Matthew Rampley (Edinburgh: Edinburgh University Press) Wyndham City Council, Western Gateway Design Project v02 commented by Stanislav Roudavski, retrieved from LMS, 10 Mar 2013

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IMAGE CREDITS Fig. 1 Oriental Pearl TV Tower, Shanghai. Retreived from http://architecture.about.com/od/towers/ig/Tall-Towers/ Oriental-Pearl-TV-Tower.htm 4 Apr 2013 Fig. 2 Skyscraper proposals for Pudong district. Retrieved from http://inhabitat.com/shanghai-tower-by-gensler/, 4 Apr 2013 Fig. 3-7 Phare Tower by Morphosis Architectis, Retrieved from morphopedia.com/projects/phare-towe 10 Mar 2013 Fig. 8-9 Burnham Pavillion, United States, Retrieved from http://www.unstudio.com/projects/burnham-pavilion 10 Mar 2013 Fig. 10 UNStudio's Burnham Pavilion, Millennium Park, taken by suegenerous, Retrieved from http://www.flickr. com/photos/63866909@N00/with/3843292573/#photo_3843292573 10 Mar 2013 Fig. 11 Minimum Cmplexity, Retrieved from http://www.archdaily.com/94612/minimal-complexity-vlad-tenu/ 20 Mar 2013 Fig. 12 The Yardmaster's Building, Retrieved from http://www.mcbridecharlesryan.com.au/#/projects/the-yardmasters-building/ 20 Mar 2013 Fig.13 BMW kinetic sculpture, Retrieved from http://www.artcom.de/en/projects/project/detail/kinetic-sculpture/ 20 Mar 2013 Fig. 14 V motion project, Retrieved from http://www.v.co.nz/the-motion-project/ 20 Mar 2013 Fig. 15 Data visualisation of a contemporary building's design and construction coordination, Retrieved from http:// app.lms.unimelb.edu.au/bbcswebdav/pid-416194-dt-announcement-rid-12019919_2/courses/ABPL30048_2013_ SM1/Computation%20Works%20-%20The%20Building%20of%20Algorithmic%20Thought.pdf 22 Mar 2012 Fig. 16-17. Cirriform, Retrieved from http://www.future-cities-lab.net/cirriform/ 3 Apr 2013 Fig. 18 Invisibles, Retrieved from http://www.biothing.org/?p=59 3 Apr 2013 Fig. 19 Esker Haus, Retrieved from http://www.plasmastudio.com/work/Esker_Haus.html 3 Apr 2013

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“ DOWN THE RABBIT HOLE FROM HERE, REALLY.

- LISA HUANG

”

EXPRESSION O F INTEREST

2.01 A MUTUAL EXPERIENCE GROUP DESIGN PROPOSAL

According to Wyndham City's 2011~2015 plan, the city's self identification in the foreseeable future lies, as it is currently, within the focus of communal coherency1. The city is proud of its strong sense of cultural belonging within its ethnically diverse population. The Quality Community Plan and Mission Statement outlines a long term vision of maintaining " a strong community atmosphere" in creation of " a distinct sense of place"2. This focus can be repeatedly found in various documents such as the Wyndham Value Statement and outlined values.3 Thus, the essence of place making within Wyndham is the ability to heighten, or create a sense of community, which studies by McMillan and Chavis defines by creation of "membership" through a "common symbol" creating "collective memories" via shared experience4. This experience must also be of long lasting effect to create a design possessing longevity in interest as outlined in

the design brief. According to Hill, persistent user experience "depends on complex juxtapositions of many moments and conditions"5, thus we believe that geometry is the most suitable parametric approach in addressing the Gateway design, as it possess the characteristics of duality within its attributes, which can inform these desired juxtapositions. Duality and juxtapositions can also be found in various aspects of the project. The site acting as both point of connection and separation between Wyndham and the wider urban sphere, the group of users, ethnically diverse yet with a strong sense of cultural belonging, and the Gateway's induced phenomenon, individually experienced in cars on a freeway but collectively mutual to those travelling through Wyndham. It is notable that due to the multicultural composition of Wyndham's population, a certain level of ambiguity is required. In

cosmopolitan societies, symbolic communication is harder to enact as it is difficult to gain a consensus on symbols or icons.6 Thus, in exploring geometry techniques, focus should be drawn towards not visually referencing a particular cultural aesthetic but its capacity to create experiential effects through duality, as place making is permanence created by immaterial7. In this way, we are creating a non-neglective, nondiscriminative design process, and using it to bridge cultures within the municipality instead of isolating them. Hence creating "representative works treasured by their communities, and at its best, [lead]to a vision of a hybrid art pointing to architecture's 8 future" .Therefore, certainly accelerating Wyndham to the forefront of design, and potentially help local culture to embrace new design industry techniques to create lasting influence on local design outcomes.

1. Wyndham City Council,Wyndham City Plan 2011-2015, retrieved from http://www.wyndham.vic.gov.au/aboutwyndham/planspolicieslocallaws/cityplan, 15 Apr 2013, pp 8-9. 2. Wyndham City Council,Quality Community Plan 2007, retrieved from http://www.wyndham.vic.gov.au/aboutwyndham/planspolicieslocallaws/qcp 15 Apr 2013, pp 30 3. Wyndham City Council,Wyndham City Plan 2011-2015, pp 25 4. McMillan, D.W., & Chavis, D.M. (1986). Sense of community: A definition and theory. Journal of Community Psychology, 14(1), 6-23. 5. Hill, Jonathan (2006). 'Drawing Forth Immaterial Architecture', Architectural Research Quarterly, 10, 1, pp. 53 6. Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5 7. Hill, 2008, pp3 8 Caples, Sara (2005), AD magazine, Vol 75 No. 5 . pp 5

wyndham

communal signature

m u t u a l experience

juxtaposition

SITE: LINK & BOUNDARY connection between melbourne & Wyndham point of differentiation of wyndham from the wider local sphere

USERS: COHESIVE & DIVERSE

PHENOMENON: INDIVIDUAL & COMMUNITY

communal coherency

individually experienced phenomenon

ethnic diversity collectively mutual & unique

duality t e n s i o n & compression

s u r f a c e geometry

f o r m geometry

interior & exterior

geometry 35

FIG 1.MATSYS, SG2012 GRIDSHELL, NY, 2012

2.02 CASE STUDY I CASE STUDY I ALGORITHMIC EXPLORATIONS Among the provided Grasshopper definitions, Gridshell by Matsys (fig. 1) was chosen as a case study due to the juxtaposition of "minimised material waste while maximising its architectural

presence"1, as well as integration between geometry, structures and material performance, a holistic precedent created by use of parametric tools. The data flow manipulation technique from

which the form was created also of personal appeal due to the flexibility of potential input and outputs.

1. MATSYS, SG2012 Gridshell, retrieved from http://matsysdesign.com/2012/04/13/sg2012-gridshell/, May 1 2013

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”

NEXT, NEXT, NEXT DEVELOPMENT

MATRIX

My first aim was to turn thin tensile members of the gridshell form into compressive volumes distinctive from the original surface.

LOFTED SURFACE AS BOUNDING OBJECT

VARIANCE IN EXTRUSION DIRECTION

Using the surface as boundary, randomly generated circles were extruded to its specific spatial parameter to create volumes. The edge curves, and inherent points evaluated from them, were then used as center points for further extrusions. End points were finally used as centres in creating a collection of spheres. Extrusion directions then became of interest. Geodesic curves generated in the original algorithm were first given dual-directional extrusions, then I attempted shattering the curves into small segments to extrude in different planes and directions. I found the last development particularly interesting as it not only successfully connects the shattered curves, but the change in extruded width will create shadows providing interesting experiential boundaries. Inputting various values into the shift list component to create gridshell variations. I was surprised by the curves created when large shifts were induced, especially around narrow bends of the center ellipse as they were not completely smooth, as I expected geodesic curved to be since they represented the shortest path across a surface. In hindsight this was due to the unconventional surface on which curves were generated. However, as they were generated from the original surface, the curves gave little aesthetic variance.

SHIFT LIST CONTROL + BOOLEAN TOGGLE

I then attempted further list manipulation using the cull pattern component. In these developments though the sets of points generated on bounding curves are constant, a clear visual distinction can be seen. This effect is enhanced due to the surface shape, as changes wouldn't have been so obvious on circular boundaries.

CULL PATTERN

The list cull algorithm was extended by using the jitter component to change point parameters. I found the curves' apparent loss of tension interesting, but was still unsatisfied at the generated results as I feel they simply resemble unsuccessful products of the original gridshell. JITTER

“

” “

”

“

” 40

OFFSET + RECREATE ARC + EXTRUDE

OFFSET + RECREATE ARC + POINT ATTRACTORS

I first made small changes to the bounding curves by offsetting the middle curve in various directions, then creating 3-point arcs through point divisions. The arcs formed interesting series of torsions, which were enhanced by extrusions made using a series component in the last development, creating interesting dimensional multiplicity and elegance in geometry. Further deviation from the original shape was created by placing point attractors. I found the 4th development particularly interesting as two attractors placed in opposite direction created symmetrical wing-like components which visually alluded to certain structural capabilities, though Rhino and Grasshopper does not account for physics such as surface thickness or gravity without relevant plug-ins such as Kangaroo. The hint of constructability drew me towards my final development. I attempted in mimicking the effect of wires or string within each arc to create a sense of tension -giving the models a certain solidity but still consisting of thin members forming a structure of high transparency. The lines are created by first randomly populating a very thin extruded arc with points, then spliting the list of points to join lines. This technique gave me a randomised result and considerably more parameters to experiment with. Boundary variations were then explored in a variety of methods including random heights of arcs, degree of arc shift and shape of boundary curves. I found that fewer arcs created more interesting compositions as they have a tendency to form a circular geometry once densely populating a boundary curve, no matter what shape the boundary curve takes.

OFFSET + RECREATE ARC + POPULATE+ SPLIT LIST+ JOIN LINE+ OFFSET + RECREATE ARC

I further manipulated the form by offsetting evaluated points on each line and again creating a 3 point arc through the new set of points, in this case creating shell-like structures which visually allude to structural rigidity despite curves and torsions. I am very satisfied by this form as it still retains not only the original algorithm but bounding curves, and use the same shift-list technique to create an elegant form with a drastically different aesthetic. 41

“

”

DIVIDE SURFACE+ SHIFT LIST+ GRAFT +WEAVE + BOOLEAN TOGGLE/ CULL

I explored another algorithm using shift list by combining it with the weave component. The results created a clear threading effect seen in the second development in contrast to sharp turns created by shifting points alone, giving fluid results in which no component is intersecting with another. Thus, though the structure is clearly lacking in structural integrity, it can be easily fabricated using bolts between strips of material or threading strip material through perforations, avoiding complex intersecting joints.

I attempted to give the form rigidity by applying it to different surface objects, but the algorithm was only successfully applied to a spherical surface due to lack of edges. Nevertheless, it produced a number of interesting geometries, though I felt the enclosed nature of these forms did not align with the pursuits of Wyndham and the gateway design brief.

PUPPET STRINGS POTENTIAL APPLICATIONS OF WIRE FORMS Overall I felt my Case Study I explorations were successful, as I have achieved a substantial variety of forms based on the same algorithmic theory of data shift as the original gridshell definition. Realistically, my outcomes would be implemented using completely different methods. I have found the works of Santiago Calatrava particular of interest not only due to aesthetic similarities but also engineering considerations embedded within the design itself to create elegant structures. Scenic sets created for the New York City Ballet company's spring season (fig. 2-4) demonstrated multifunctional environments illustrating the theme of movement and flight. The structures possess visual anonymity in design drastically different from traditional ballet sets, but becomes integral to its surrounds by notions of place making- responding to the performance via mechanically shifting shapes.

FIG 2-4. SANTIAGO CALATRAVA, SETS FOR NEW YORK CITY BALLET COMPANY NY, 2010

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The transparency and apparent weightlessness of these structures align with the theme of 'AIR', and their mechanised movements require specific digital programming highly likely incorporating parametric tools such as the Firefly plug-in, responding to movements of dancers. In these ways, the designs are very relevant to the learnings in this studio, and the overall architectural discourse, as I find the title of the season, "Architecture of Dance",can also be reversed, as studies thus far in parametric design have exemplified the progression of architecture into an efficiently choreographed, precise, integrated art similar to that of ballet. Thus, applications of these forms in the gateway design will certainly accelerate Wyndham into the realm of innovation.

Continuing research into Calatrava's designs, the Milwaukee Art Museum (fig. 5-6) held interest in the spatial experience created by its projecting, cantilevered strip forms. The curvilinear arrangement of these components introduce a second degree of geometry beyond the building surface, and inherently induces a gradient in spatial experience due to the light and shadows created. This method is suitable for the Wyndham gateway project as it possesses projected influence beyond its physical footprint, demonstrating possible cantilever above the freeway without the addition of rigid structural members required in tensile wire forms such as the New York City Ballet sets.

FIG 5-6. SANTIAGO CALATRAVA, MILWAUKEE ART USEUM, WI, 2008

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FIG. 7 MELIKE ALTINISIK,ISTANBUL KUCUKCEKMECE MASTERPLAN, TURKEY, 2008

Another application of similar forms is found in the urban master-plan of Kucukcekmece in Istanbul (fig 7). Attractor generated field forms are placed on site and combined to inspire projections from which urban centres are designed. Though individual buildings may hold no aesthetic similarity, the inherent relationship, and thus movement between them are influenced by these curve paths.

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2.03 HEX[IGLOO CASE STUDY II REVERSE ENGINEERING

The HEX[igloo pavilion(fig 8-10) is a combined effort of 55 students and architects led by T_A_I lab as a 7 day workshop project. 1 The structure was born of technical interest, focused on exploring parametric potential in creating a surprising urban encounter. In this sense, the pavilion was successful in achieving its goal, as the cardboard igloo form certainly held interest by creating strong contrast from its setting. However our fascination with the project stemmed from its duality in character, between the smooth exterior and projecting, funneled interior surface, as well as the coherent flowing base form and cellular hexagons it is composed of.

1.T_A_I, HEX[igloo pavillion retrieved from http://www. morfae.com/1006-hexigloo-pavilion/May 1 2013 FIG. 8-10, T_A_I, HEX[IGLOO BUCHAREST, ROMANIA, 2011

S U R F A C E PERFORATION

C O N T R O L S I Z E V I A ASSOCIATION

LOFT

EXTERIOR SURFACE

OFFSET

B A S E SURFACE

DISTRIBUTE POINTS

EXTRUDE

HEXAGONAL G R I D

B I N D I N G SURFACE

OFFSET LOFT I N N E R PERFORATION

I N T E R I O R F U N N E L S U R F A C E

C O N T R O L S I Z E & D I S T A N C E V I A ASSOCIATION

ASSUMED PARAMETRIC PROCESS

We were also drawn by the unintended interactions the structure created between itself and the immediate urban scape, its perforations providing a framing effect inducing appreciation of specific views of the surrounding nature, and providing means of connection between the interior and exterior.

pavement on which it was built, very much similar to the result we wish to achieve for the Wyndham gateway design. By reverse engineering, we hope to gain a better understanding of specific experiential effects created by the design and the ways in which physical attributes were responsible in creating them.

These interactions give the pavilion presence beyond a role of simply complimenting the flat

PARTIAL CLONE REVERSE ENGINEERING DEVELOPMENT MATRIX

BASE SURFACE

HEXAGONAL CELLS VIA PANELLING USING LUNCHBOX PLUGIN

GRAFT CURVE LIST TO LOFT OUTER SURFACE

LOFT OFFSETTED HEXIGONS WITH CORRESPONDING GRAFTED CURVED TO CREATE FUNNEL LAYER ADD VARIATION TO LENGTH OF FUNNELS BY ASSOCIATING OFFSETTED DISTANCE WITH POINT ATTRACTOR

OFFSET TO CREATE PERFORATIONS

ASSOCIATE OFFSET WITH POINT ATTRACTOR

OFFSET INNER HEXIGONS IN Z DIRECTION WITH DISTANCE ASSOCIATED WITH POINT ATTRACTOR.

ASSOCIATE SIZE OF INTERNAL HEXIGONSAND FUNNEL LENGTHS WITH DIFFERENT POINT ATTRACTOR TO CREATE CONTRAST (IE LARGER OUTER SURFACE PERFORATION=SMALLER FUNNEL PERFORATION)

The reverse engineering process went very smoothly as we have already outlined goals we wished to achieve. The only barrier we faced was associating specific curves between which to loft, as the definition gave a twisted form passing through all curves. (left) This was solved by research into data flows, in particular grafting data lists. UNGRAFTED LOFT

However, though effect of the Hex[igloo pavilion was successfully recreated through contrasting funneled interior and smooth exterior surfaces, there are many differences between our outcome and the original structure. (left) The pavilion created tessellation by mapping hexagonal grids on a surface and designed perforation size based on particular sequence or factors, giving the surface a ribboning effect. The individual components were then joined via vertical partitions on a layer uniformly extruded along the Z axis. HEX[IGLOO COMPONENTS

REVERSE ENGINEERED OUTCOME

We have altered the design by firstly creating a hexagonal base through paneling the surface, and introducing a gradient of perforations, their size based on separate attractor points for each layer, then lofting surfaces between them, in essence, creating hollow cone components acting both as structure and skin.



Due to the 3-layer composition of our reverse engineer model, we found our fabrication process still very similar to the original HEX[igloo pavilion. Pieces were joined in separate cells, then attached to each other. In our case we used tabs and glue to give a clean finish whereas the HEX[igloo employed plastic straps penetrating between cells. We used our model to experiment with different light sources, paper thickness and movement capture to explore experiential effects created by the structure and its shadows, materials, and when it is passed in high speed such as on a freeway.

It was found that induced spatial experiences were contributed to variance in effect due to gradient change in width, depth and direction of perforations between each cell on the curved surface. However, its composition is yet to be developed, as hexagonal cells do not inform our design aim nor strategy, and an adequate connection between each cell is still yet to be devised. Possible further experiments include changing cell shapes, creating change in cell size across surface using associative methods, adding sheet material between cells to connect them, or designing components on the cells to make them interlock.

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2.4 MORPHOLOGY TECHNIQUE DEVELOPMENT

VORONOI PATTERN

CIRCLE PATTERN

DIAMOND PATTERN

As we used the Lunchbox plug in to generate hexagonal panels on our base surface, many aspects of the process were internally resolved within the component. Thus, generated shapes were separated into outline curves and centres, then input into various components just as the Lunchbox hexagonal panel outputs were. This method was mostly successful but some outcomes were abandoned due to technical failure or being distractive from our established interests. For example, a voronoi pattern (top left) failed to perform individual lofts even with the graft component, while I was unable to create circle geometries adapting to each adjacent cell, they were either not connecting or intersecting with each other (left). It was found that the devised method worked best on tessellating polygons such as triangles or quadrilaterals.

REVERSE ENGINEERED HEXIGLOO FORM

STRIP PATTERN

DIAMOND PATTERN

TRIANGLE PATTERN

SHIFTED SQUARE PATTERN

Though these forms were successful in deviating from the HEX[igloo design, we have found there is limited scope in development using the same iterative processes. In reference to Kalay's theory on search process, our development thus far have taken priority in depth, exploring within the boundaries of one candidate solution. In fact the precocious knowledge of HEX[igloo being as a successful precedent has become a barrier in our design process, implicitly preventing us from

other methods by which the results cannot by ascertained in advance. Thus, to break free from this obstacle, a "breadth first" approach should be taken. The overall design pursuit of duality is constant, but "several alternative ways to develop a candidate solution are explored before any one of them is taken to its logical conclusion", considering plausibility before possibility. 55

CONNECTING THE DOTS PATTERN EXPLORATIONS

To introduce implicit duality within their creation process, the voronoi component was used to create initial divisions on a surface grid and developing them into aesthetics drastically different to the conventional voronoi aesthetic. This was achieved by controlling data flows using cull pattern and union components in combination with altering U and V values of the

base surface grid. As grid point and voronoi cell data were manipulated in a repetitive approach, the generated outputs were largely tessellating patterns. When using point fields in attempt to apply a degree of change across the uniform shapes, it was found that cells became chaotic and again resembled typical voronoi cells. After shifting decay parameters, it was

disappointing to realise a point at which cells with a subtle gradient of change while remaining visually consistent was unable to be found. Nevertheless, the attempt to broaden explorative scope was successful as the generated outcomes were far greater in variety once free from the confines of precedent reference.

Searching for other means to introduce variance across patterns, they were projected onto and then extruded from curved surfaces. A degree of change was indeed produced, but the results were dissatisfying on many levels. Firstly, increased distance between grid points due to surface curvature caused cells to disconnect instead of expanding accordingly,

an effect difficult to predict or control. Secondly, extrusions were only successfully calculated in single directions as calculating the normal vector of each surface curve to extrude in is far too data heavy. When experimented with small amounts of pieces, the result still proved chaotic as they either intersected with each other or did not meet.

It can then be argued that these applied surface patterns are in no way different from purely decorative ornament, frivolously slapped on without consideration of context such ways particularly disproved of by Adolf Loos. They do not provide positive additions to the structural function nor its credibility, but only distract from the form on which it has been applied.

A TURNOVER ORIGAMI TESSELATIONS

FIG. 11-16, GORAN KONJEVOD, ORIGAMI TESSELLATIONS

It was then crucial to search for a valid conjunction between the formal and patterned aspects of geometry- eventually found in origami tessellations. (fig 11-16) This particular type of paper art involves creating forms through folding a single piece of paper, conveniently following lines which form tessellating patterns across the sheet. In this way, a 3D form is created from 2D

geometries, binding surface and volume in an integral and codependent way. The technique is also especially relevant to Moussavi's outlined approach of ornament in creating "architectural affects", where "the construction[...] and production of affects[...] are interconnected" and should be seen as "seamless continuity", creating coherent gestures through combining surface and form.

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

As it would be extremely difficult to create these tesselations parametrically with current skill sets, a manual approach was taken in creating origami tesselations. The first (left) an outcome derived from arbitrarily folding and gluing along triangle grids to create a miscellaneous volume, whereas the second (top) was a regularly created water bomb fold with uniform patterning, resulting in a dual surface of different pattern types on each side of a single paper sheet.

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The form we were most satisfied with was the hyperbolic paraboloid, as unlike the previous prototypes, this model possessed duality as it was flexible yet structural, having the capacity to be self supported, as well as forming smooth curvature despite relatively small number of folds created. The shape also had an elegant aesthetic appeal due to the allusion to geodesic forms and double curvature of paper within the overall geometry.

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FORM HUNTING AND HUNTING,,,,AND HUNTING...

Simultaneously, form geometries were also being explored. Past experience with parametric tools enabled us to generate designs applied to a surface with a great capacity of control, but we faced great difficulty in creating these fundamental surfaces using similar methods. Thus an analogous approach was taken, from which there was significant increase of control, and though exaggerated, the intended experiential effects can be easily represented through sketch.

2 PART SWEEP 2 RAIL + TRIM

3 PART LOFT

2 PART LOFT

LOFT 4 CURVES

2 PART SWEEP 2 RAIL

2 PART LOFT +REBUILD

SINGLE SWEEP 2 RAIL

LOFT 2 CURVES RHINO MODELS WITHOUT USING PARAMETRIC PLUGINS

LOFT 2 CURVES + REBUILD LOFT

Thereon, sketched forms with potential capacity to satisfy the design proposal was digitally recreated. A variety of methods were used to broaden range in generated outcomes, each considered and critiqued in reference to the internal volume and potential experience of users.

2 CURVE

COMPOSITE 2 CURVE

TWISTED 2 CURVE

MODELS GENERATED FROM MINIMAL SURFACE PLUGIN FOR GRASSHOPPER

DOUBLE CURVES MINIMAL SURFACE EXPLORATIONS

4 CURVE

TWISTED 4 CURVE

Though digitising sketched geometries without parametric tools was successful in creating an array of outcome, they were still, in a sense, manual due to lack of ability to reflect real time changes to base geometry, such as in Grasshopper. This created drawbacks in generative scope. In response to this problem, our group used the Minimal Surface plug in for Grasshopper to explore similar geometries. It was convenient discovered that the plug in produces tensile surfaces between two or four bounding curves similar to the hyperbolic paraboloid, thus potentially align with our search for geometries processing duality, which we attempted to reflect though the explorations via torsion and symmetry. The process we have taken from ink to Grasshopper in form finding arguably can be compared to computerisation, but the validity of outcome remains in two ways. Firstly, the generative process was accumulative not rejective, progression from one media to another was to explore further potential instead of dismissal of previous concepts. Staying true to our goal of employing a nonneglective, non-discriminative

design process. Secondly, during the selective process, outcomes were critiqued in terms of design not methodology, as researching, testing, and questioning the limits of architecture occurs through a multitude of media outside building alone2. Hill expressed that "in discourse of architects, older meaning of design, as drawing ideas, and newer meaning of design , as drawing appliances, are both in evidence".3Though I agree with this statement, I also believe design media in themselves do not hold superiority over each other, while Hill shows distaste at the apparent promoted "superiority of the intellect and denigrates the manual, material and experiential". It is true that computer aided design processes have an edge in expressive output, but they are in no way reflective of design integrity nor value. The age continues moving towards technology as society calls for it. Thus as architects, digital aid should be embraced where they are needed to form effective, efficient design solutions.

2. Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 51 3. Moussavi,, 2006, 51

FORM PERSPECTIVE

WITH A TWIST SELECTED BASE FORM

relaxation d u a l directions compression

interior

exterior

With further fine tuning, our group decided on a 4 curve base form created by the Minimal Surface plug in to develop into our project proposal. The form was selected as it processed many aspects of implicit and explicit duality in combination with an interesting aesthetic. Compositionally, the twisted surface creates both separation between two directions of the freeway and envelopment over

each road, simultaneously dissecting and creating space, acting as both division and connection. Structurally, the form depicts obvious compressions and relaxations, though in reality enacted forces could be drastically different in accordance to construction method. Single surfaces of the form undergoes change from interior

to exterior, thus surface and space are dealt as reciprocal and codependent entities, providing a gradient of enclosed and exposed experience. It is important to note that these aspects of duality and contrast are self referential, thus we are confident they will persist despite future changes made. Selection from a large scope of previous explorations also help validify the form's value.

2.05 TECHNIQUE PROTOTYPING THE NUTS AND BOLTS Our first encountered problem with the selcted base geometry stemmed from the Minimal Surface plugin itself. Surface torsion has created a kink within the middle section which creates chaotic effects when geometries are applied. We were unable to eliminate the kink as Minimal Surface only allowed us to change the boundary curves. Initial explorations of solution were to create small experimental meshes using the Weaverbird plugin. The theory was that planar faces of the mesh would make the kink constructable, or even straighten it out if mesh grids were large enough. It was also thought that extracting meshes would introduce new interesting results as the surface will be in effect formed by the negative space between extruded edge members, introducing new possibilities in fabrication approach while still integrating pattern geometry with form.

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WEAVERBIRD MESH

However, the meshes were unable to produce a plausible solution as it was unfabricatable, predominantly due to elements tapered to the center point being miniscule in size, thus still responding to the twisted kink, similar to the selected example. (left)

The problem was eventually solved by rebuilding the surface using two curves, However, the mesh explorations prompted us to research relevant precedents and their fabrication methods.

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FIG. 18 MELIKE ALTINISIK, MERCEDES 30 POROJECT

FIG. 17 BASHEBA SCULPTURE,GYROID, 2008



CASTING

WIRE TENSION

The Gyroid, a triply periodic minimal surface, is transformed from tension into compression through metal casting. The form becomes structurally sound, but all attributes of a minimal surface is eliminated but the shape.

Wires are bent to form curves which, when arranged densely enough, allude to a pseudosurface. However the effect of tension will be lost and curvature of the pseudo surface will also be in effect cast just as the Gyroid.

FIG 20. CRITICAL MASS, MINIMAL SURFACE PAVILLION, JAPAN, 2012

FRAME + MEMBRANE Green void and the Minimal Surface Pavilion both employ tensile membranes over framing to occupy or create space, providing an accurate model of minimal surface. Though Green void

is suspended from adjacent structure, unavailable on the gateway site, and span of the base surface may be too large for the Minimal Mass Pavilion to remain self supporting

FIG. 19 LAVA, GREEN VOID, SYDNEY, 2008

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FIG. 21 JAAP BASELMANS, MEMBRANE FRAME KINETICS, ROTTERDAM, 2005

FIG. 22 PAVLOS SIDERIS, MEMBRANE ARRAYS, LONDON, 2005

MODULAR FRAMING Membranes are stretched within specific structural boundaries which guide their form. Thus, they are shape adaptable to the degree of their boundary's flexibility, introducing formactive systems, the degree and direction of mobility informed by displacement of the membrane's bearing points. Membrane Frame Kinetics experiment this further by using low elastic membranes and re configurable framing to create multiple stable states. The modules are then joint together and their performative capacities are digitally analysed. In this way, the thin membranes can achieve stability with little support.

Membrane Arrays, also an AA project, possess aspects of duality as it combines two form-active tension systems in an integral manner- a layered cable net system and membrane patched suspended between, serving to achieve differentiated effects of "shading and self shading". Like Green void, it would be difficult to recreate such an effect on site due to the cable net's dependency on supporting structure. Another structural frame will need to be designed.

We then started to prototype potential fabrication methods. The method of tension is employed in attempt to recreate a minimal surface. The aim was to test ability of members in tension as means of expressing form rather than serving a purely structural purpose. Boundary curves were defined and fabricated with perforations, through which string was threaded and pulled taut before being fixed in place. As structure of the model rely on tension, the string runs linear between perforations instead of in curves as desired to form a minimal surface aesthetic, losing detail from our base form.

In contrast, another model was devised by reinterpretation of the effects of a structural membrane frame through this MDF model. Through stripping away the membrane and instead expressing curvature by extrusion of intermediate ribs, formed by application of our previous strip voronoi design onto the original surface. Thus we have created a form derived from and integrated with a surface pattern. Specific fabrication preparations included notching each point of intersection to accommodate the 3mm material thickness not represented in NURBS surfaces in order for the model to form an interlocking system. This method accurately recreated the surface curvature to an expected outcome, but there was concern regarding potential tectonic difficulties, as it would be difficult to represent torsion, integral to our base form design.

FIG. 23-25 ZAHA HADID, HEYDAR ALIYEV CULTURAL CENTRE, AZERBAIJAN, 2011

2.06 TECHNIQUE PROPOSAL As we felt the fabrication method was still unresolved in terms of recreating a minimal surface, new precedents were explored in on-going research. Ultimately, a metal frame truss was selected in reference to the Heydar Aliyev Cultural Centre as it held several major advantages in alignment with our design pursuit of innovative geometrical duality to create mutual experience.

d e f i n e a n c h o r p o i n t s

c r e a t e c u r v e boundary

tensile surface

r e b u i l d s u r f a c e

structuralise

The pivotal benefit in using the space frame is its ability to structurally resolve our base minimal surface, as its formal geometry explicitly represent and fulfil our design intentions. The metal frame is able to span large distances which provide structural rigidity for an open, curvaceous form with little ground contact. We are convinced of its performance as this has been exemplified in the Heydar Aliyev Cultural Centre, which use slender columised truss forms and pin joints to support the complex free-standing roof structure. The frame also hold geometric properties in its own right. In our explorations of frame structure, it was found that the truss members created patterns across the form, thus achieving the effect of structure developed from and integrated with pattern as previously explored and pursued. Curvature of the base form also induces a gradient of pattern size across the frame, inducing experiential variance for the user when passing through the gateway.

Upon approaching the gateway, high visibility allows the gateway's twisted form's contrast with the landscape to be observed from a distance and gradually develop as the user moves closer to the site.

create aesthetic interest while shadow curvature are indicative of direction towards, or on the opposite freeway, away from Wyndham, making the gateway site specific and thus holding place making ability.

Passing through the structure, truss patterns works in unison with its projected shadow to takes advantage of the flat, expansive terrain. A framing effect is created, complimenting the landscape to

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FIG 26-28 BRADY PETERS, THE WEST KOWLOON MASTERPLAN, CHINA 2004

Though employed as a structural solution, the frame system also possess flexibility and developmentally. As the physical structure is already resolved, panels can be arranged freely to meet design intents, whether to create aesthetic interest through patterning complexity or to meet specific functional ends in response to site conditions such as prevention of westerly glare during sunset. This can be seen in the West Kowloon Master plan.

We intend to push this effect further by taking advantage of assembly methods. A ball joint truss is devised to allow assembly of multidirectional members, between which 2D and 3D modules can be created within the truss frame itself, giving traditionally flat surface geometry volume by embedding it within the structure. The frame is partially exposed on one side to highlight transition between interior and exterior due to the twisted form. Although there are drawbacks within the design, such as panelling/ perforation dimensions being restricted by frame geometry, and the separate treatment of surface and structure, we strongly believe that the developed design will enrich the Wyndham municipality through conceptual and technical innovations in alignment with current architectural discourse. By compound geometric duality specifically drawn from and referenced to local values and parameters, the gateway design is inseparable from Wyndham culture, and will definitely provide the city with an iconic signature.

2.07 ALGORITHMIC DATA EXPLORATIONS

A simple definition but one which informed much about particular data list arrangements. Evenly distributed points on a circle are cull patterned into 2 separate lists and joined into lines in alternating pattern. These alternating lines are then re-arranged into an arc series of increasing height which lofted into a double surface, jittered to create spatial variety.

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A voronoi pattern controlled via changing UV grid size, using cull pattern and performing pattern region unions via panel input also. These patterns informed the various ways which points are, and can be connected to each other as well as how distance between grid points can influence these connections ( i.e a variety of line work) I then connected two point charges to the script, one to attract and one to repel in order to create variance in pattern, thus gaining understanding of how associated distance influence the grid arrangement, in effect the distance between grid point themselves.

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2.07 FURTHER DEVELOPMENT

FIG. 29 MINIMUM COMPLEXITY, VLAD TENU, LONDON, 2010

FIG. 30, MELIKE ALTINISIK,SOMETHING DESIGNED, 2012

In response to the interim presentation feedback, we have felt the need to reassess our proposed design by making the following considerations:

3. Argue the specific contribution of metal frame truss as strategy to the Wyndham community. 4. Use site specific parameters within the design to create local relevance by associative techniques in Grasshopper. 5. Emphasise coherency of the form by concealing structural joints. 6. Consider materiality and how it can influence the structure as well as inform the theme of 'air'.

1. Analyse and clarify the specific experiences induced by the form, such as the compressive form and cast shadows, as well as differences when experienced in high speed. 2. Elaborate on linkages between the theme of duality and the Wyndham community, contrast between communal coherency and ethnic diversity.

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FIG. 31 MATTHIAS LOEBERMANN, THE PALETTE PAVILION, 2010

In particular, we chose to reconsider our method of structuralising the minimal surface, as ultimately there are many more elegant and intricate ways to achieve the intended effects. We have researched precedents dealing with minimal surfaces in modules and their method of conjunction, such as screws in Minimal Complexity and concealed wood nailing in the box pavilion.

FIG. 32 BOXEL PAVILION, 2010

There has also been interest in generating a second degree of patterning in addition to modular tesselation with use of different materials of varying light transmittance, as demonstrated in the Something Designed project, as well as using materials which has capacity to change over time, essentially with exposure to 'air', such as copper.

With these new directions, We have revisited previous design development outcomes addressing, or possess potential to provide solution to these concerns, especially the concepts within HEX[igloo, which we have applied to the base surface . It is notable that as predicted, the minimal surface still possess self defining aspects of duality despite the change in applied geometry. Thus indicating alignment with the aim of longevity in interest. Though there are still many aspects to resolve within the model, we can now begin to work toward solutions in increasingly unison with our design intents.

2.08 LEARNING OUTCOMES Within the course of Studio Air I have felt a definite engagement with digital design in sense that explorations of parametric tools have helped validify the theoretical research tasks and argument composition. Though I find them immensely fascinating, architectural theory has become increasingly, ambiguously abstract, especially as our design interest lies within the perception of juxtaposed elements and experience extracted from them. Without computation within the design process it would have been extremely difficult and also chaotic to even attempt to capture the intricate changes and their inherent effects. With aid of relevant parametric plug-ins and new found knowledge in both digital and analogue modeling technique, I am now capable of generating a range of design possibilities in a given situation from which to select and develop a possible solution. In the course of solution finding for the Wyndham gateway project, I feel the most valuable aspect in developing design ability was that our method of problem solving evolved throughout the design process, transitioning between different medias and ultimately gaining knowledge from each outcome to feed into the search towards a final solution.

'DISTRACTION'

DESIGN INTENT

POTENTIAL APPROACH 'DISTRACTION'

TOWARD SOLUTION

'DISTRACTION'

DEPTH FIRST APPROACH

BREADTH FIRST APPROACH

BEST FIRST APPROACH

BIBLIOGRAPHY Wyndham City Council,Wyndham City Plan 2011-2015, retrieved from http://www.wyndham.vic.gov.au/aboutwyndham/ planspolicieslocallaws/cityplan, 15 Apr 2013, pp 8-9. Wyndham City Council,Quality Community Plan 2007, retrieved from http://www.wyndham.vic.gov.au/aboutwyndham/ planspolicieslocallaws/qcp 15 Apr 2013, pp 30 Wyndham City Council,Wyndham City Plan 2011-2015, pp 25 McMillan, D.W., & Chavis, D.M. (1986). Sense of community: A definition and theory. Journal of Community Psychology, 14(1), 6-23. Hill, Jonathan (2006). 'Drawing Forth Immaterial Architecture', Architectural Research Quarterly, 10, 1, pp. 53 Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5 Caples, Sara (2005), AD magazine, Vol 75 No. 5 . pp 5

IMAGE CREDITS Fig. 1: MATSYS, SG2012 Gridshell, http://matsysdesign.com/2012/04/13sg2012-gridshell/, 1 May 2013 Fig 2-4: Santiago Calatrava, NYC Ballet Company, http://www.e-architect.co.uk, 5 May 2013 Fig 5-6 James E. Forbes Milwaukee Art Museum, http://www.bandwmag.com/galleries/bw/contests/6/photographs/17313, 5 May 2013 Fig. 7 Melike Altinisik,Istanbul Kucukcekmece Masterplan,http://www.melikealtinisik.com/#ISTANBUL-KUCUKCEKMECE-MASTERPLAN, 5 May 2013 Fig 8-10 T_A_I, HEX[igloo pavillion retrieved from http://www.morfae.com/1006-hexigloo-pavilion/ 1May 2013 Fig 11-16 Goran Konjevod, Origami tessellations , retrieved from http://www.flickr.com/photos/23913057@N05/ 5 May 2013 Fig 17 Basheba Sculpture, Gyroid, retrieved from http://www.bathsheba.com/math/gyroid/, 5 May 2013 Fig 18. Melike Altinisik, Meridien 30 project, retrieved from http://www.arch2o.com/kartepe-30-meridien-landmark-melike-altinisikdaniel-widrig-melih-altinisik/, 5 May 2013 Fig 19. Lava, Greenvoid, retrieved from http://www.archdaily.com/10233/green-void-lava/, 5 May, 2013 Fig 20. Critical mass, minimal surface pavillion, retrieved from http://obuchi-lab.blogspot.com.au/2011/10/minimal-surface-pavilion_15.html, 5 May, 2013 Fig 21.Jaap Baselmans, Membrane Frame Kinetics, retrieved from http://www.achimmenges.net/?p=4429, 5 May, 2013 Fig 22. Pavlos Sideris, Membrane arrays, retrieved from http://www.achimmenges.net/?p=4385, 5 May, 2013 Fig 23-25. zaha hadid, Heydar Aliyev Cultural Centre, retrieved from http://urbanlabglobalcities.blogspot.ru/2011/03/under-construction-heydar-aliyev.html 5 May, 2013 Fig 26-28. brady peters, The West Kowloon Masterplan, retrieved from http://www.bradypeters.com/the-great-canopy.htmll 5 May, 2013 Fig 29 Minimum Cmplexity, Retrieved from http://www.archdaily.com/94612/minimal-complexity-vlad-tenu/ 20 Mar 2013 fig. 30, Melike Altinisik,something designed, Retrieved from http://www.melikealtinisik.com/#SOMETHING-DESIGNED 5 May, 2013 fig. 31 Matthias Loebermann, The Palette pavilion, Retrieved from http://blog.gessato.com/2010/08/27/pallet-pavillion-matthiasloebermann/, 5 May, 2013 fig. 32 boxel pavilion, Retrieved from http://inhabitat.com/boxel-pavilion-a-brilliant-use-of-beer-boxes/, 5 May, 2013

“ IT’S PLACEMAKING, NOT

PLACEMADE. IT’S A PROCESS. YOU ARE NEVER FINISHED

”

- PLACE GOVERNANCE WORKING GROUP

PROJECT PROPOSAL

3.01 LOOSE ENDS TECHNIQUE FINETUNING

After much discussion with our tutors and peers, our group decided to approach the dualrelationship of structural and surface geometry by exploring supporting members derived from Bezier curves. In effect, the script decompose mesh edges and recreate arcs by displacing points towards the centre of each mesh unit, visually 'pushing' edges towards the centre to form a series of triangulated modules which formed consistent tessellations across the surface. Advantages of this composition include centrally supported panelling with decreased possibility to deform; repetitive joints which can be dealt with in a systematic manner across the structure; and planar 'ribs' matching the flat panel fixed above as they are derived from the same polymesh. The main obstacle was to make edge ribs match at the vertices. With the help of our tutor David we were able to achieve this through evaluating planes and their normal vectors at each joint. A further goal was to thicken ribs according to their vertical inclination, making the structure wider at the base where it meets the ground. However as seen to the left there is difficulty in creating a smooth variation, though the jagged effect is visually intriguing.

When applied to our base geometry, there were clear technical challenges within the digital model even when dismissing physical realities. The strip components are in obvious duo-direction torsion as shown above and will be near impossible to fabricate without costing a fortune and simultaneously placing structural integrity of the design in severe compromise.

Chaotic members also occurred at other points of the digital model where heavy torsion occurred, such as the diagram below. Though they did not seem to buckle as those aforementioned, they present challenges even after attempts in manually deleting and recreating sections in Rhino.

torsion of the base geometry but mesh frames mapped onto the surface which has constant division in the U and V direction. Thus the most straightforward options are to either create a script allowing UV divisions adaptable to surface curvature , or reinvent the form so the decreased length:height ratio does not lead to such narrow division.

It is important to note these problems stem not from

VORONOI

LAPLACIAN SMOOTHED

b a s e s u r f a c e

r a n d o m v o r o n o i c e l l s

POP2D +VORONOI

TRUNCATED

BEZIER CURVE

smoothed polylines

LAPLACIAN SMOOTHING VIA STARLING PLUGIN

f i n a l p a t t e r n

MESH TRUNCATION VIA STARLING PLUGIN +BEZIER CURVE

Our first attempt at the nonuniform UV grid was a recursive subdivision script, but it was problematic as the mesh vertices did not match perfectly, thus the Bezier curves were unable to form joints. From this, we moved to a pattern derived from voronoi cells, the vertices of which all match each other. Though when created on flat planes the pattern's differing cell sizes create variation across the surface, when applied to a curved surface it creates distraction from the base form. When compared with a pattern generated from regular triangular surface subdivisions, it is clear that the voronoi derived pattern has a cloudy effect due to random densities of cells, whereas the triangular panels clearly iterates the base surface and allows instant comprehension of its topography though displayed in a two dimensional manner. This comprehension is equally important is the Gateway design as when travelling at high speeds, fine details often fail to be read. It has also been decided by the group that the regular division arrangement as it emphasise the geometric form, which is the primary vessel of duality which we use to fulfill the brief, will distribute weight across the structure more evenly, and can also potentially act as visual guide through the gateway to the users, highlighting the structure as point of connection between Wyndham and its surrounds. 99

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In order to test these assumptions we again used Grasshopper to apply these various patterning onto a base geometry with an element of duality in its twisted form. However, learning from previous experience, we recreated the form with elongated curves to decrease torsion created from the length:height ratio. Curves from which we lofted the surface were, coincidentally, derived from the current Wyndham logo.

From the mapped polymesh it is obvious that observations made on smaller curved surfaces were similarly applicable. The voronoi pattern (above) depict lacing in random density separate from its constricting boundaries, appearing to be 'cut off' whereas those with a regular pattern induce a sense of direction which can be used to amplify the user's movement and enhance spatial experience.

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We experimented with Bezier curves using a variety of materials and joining methods to gain a better understanding of its performance. A double notch system was first created to ensure the rib curvature, but was only successful in the plastic model due to material performance. The boxboard model began to buckle and tear, after which the ribs ceased to maintain curves. Advantage of this joint is that curvature can be controlled by changing distance between the notches, but this joint is only structurally possible in thin and flexible materials, as it does not take in account material thickness.

We further tested structure by adding variations such as different rib thicknesses (far left) and continuous ribs between Bezier components (left). The latter was unsuccessful as the tight curvature requires soft materials which lack in structural rigidity, and that the extended members eventually all formed rings. Varied thickness placed a point of weakness on the component, but we found this can be used to our advantage if the component is orientated strategically to carry loads (as shown).

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Using identical ribs, we tested structural performance using different composition of Bezier curves with boxboard. It was found that triangular modules deformed the least under torsion, and that smaller modules had greater rigidity.

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t r a c e d c u r v e s e t

RE-EVALUATED +LOFT

APPLY RANGED SCALING p l a n a r p a n e l s

b a s e s u r f a c e

WEAVERBIRD OFFSET

REMAP POLYGONS

generate t r i g r i d

DECOMPOSE

exchange x y f o r u v

WEAVERBIRD OFFSET

SHIFT POINT

With amendments made to the surface geometry (mostly to fit the site topography), we have settled on the final form of our gateway design. Though far from the group's initial concepts, we have maintained a strong design intent to incorporate a theme of duality in the integration of surface and

b z s p a n c u r v e s

GRAFT + LOFT

structure. The surface panels, shifting to the opposite side at the central twist, are not derived from the rib structure nor vice versa, but both parties are created from the same polymesh. This similarity, but independency in root, has great potential in a structural integration to be explored. Furthermore, I believe we are working towards not only combining structure with surface geometry, but by exposing it, reinvigorating structure with an elegant aesthetic element through progressive engineering. In this way, definitely achieving Wyndham's goals of becoming a city at the forefront of design.

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TRIAL,ERROR, COMPROMISE TECHTONIC PROTOTYPING

The first prototype was constructed of laser cut polypropylene ribs and perspex panels. The first to achieve the curve geometries designed and latter to guarantee planarity and rigidity of the structure, as sheet metal was not available in this instance. The components were designed to be joined by notches manually created in Rhino, and a complex numbering system was devised to ensure the correct fitting of members. However we found the model required much additional support which we provided with staples and various adhesives, either due to material performance (panel was too heavy) or fabrication technique (polypropylene can only be cut in strips then assembled, the junctions proved to be structural weak points for which tabs were not enough to hold together.) 106

The second prototype used the same materials and a similar numbering system, noting all panels, ribs, corners in assembly sequence and orientation, but worked with manually created slots instead of notches. For assembly, the ribs were assembled together first using staples before applying panels in attempt to recreate a more realistic construction sequence. From this, it became obvious exactly how far the polypropylene was from imitating the structural performance necessary in constructing out design. However, the benefit of such a flexible structure was the potential points of failure were also more obvious. Our most pressing concern being the central joint, it was extremely difficult make all the ribs fit tightly together as the ribs kept pushing each other apart.

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This joint issue became exaggerated when panels were placed due to additional weight. Other problems identified in prototype 1 such as slipping panels and flopping ribs were significantly improved due to long slots imposing more restraint on the structure's composition, though it is still not fit for fabrication.

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After much consideration and debate over possible joint methods, we decided to use a welding technique in combination with prefabricated holes in which to insert temporary metal rods to hold the ribs together while builders weld the joint, and removed after the structure is secure. This simple method is beneficial in many ways, but most importantly guarantees a simple, repeated assembly process for the builders who are not educated in interpreting architectural design, and therefore require such straightforward systems to achieve efficiency, if not fabrication of the design at all. It is efficient in terms of minimal construction time on site (important as it interferes with traffic), structural rigidity, and is also economically beneficial in terms of material requirement and construction, as holes can be easily prefabricated to a universal dimension for which it will be easy to acquire suitable rod sections.

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ASSEMBLY & TRANSPORTATION

Cold-rolled steel ribs drilled, shaped ,welded and treated in factory, delivered on site as elliptical components. Max length 5m so can be easily transported to site.

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Rods= 200CHS by any steel section manufacturer, inserted during on site welding process.

Light weight aluminium panels (non-reflective) bolted on cleats welded to ribs which further restrains structure in its bent form, thus creating an interdependent assembly. Max dimension 5m so can be easily transported to site.

PRODUCTION

cold-rolled strip sections

e l i p s e sections

TREATED +DRILLED +WELDED

ASSEMBLY

DELIVERED ON-SITE BY TRUCKS

p a n e l s cut&treated

m e t a rodshol e l i p s i n p l a c

l d e e

WELDED

f i n a l structure

WELDED

p a n e l c l e a t s

BOLTED

DELIVERED ON-SITE BY TRUCKS

PREFABRICATED OFF-SITE

ON-SITE CONSTRUCTION

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3.02 RE-EVALUTION The gateway design thus far satisfies many parts of the brief requirements, such as an "invigorating" and "exciting" proposal at the "forefront of design" which holds an element of "longevity"1. But the most important goal is to create a design which addresses Wyndham specifically, to represent and stimulate the city , promoting it in a captivating way to users, transforming the city from an interim to a destination.

Themes of duality are found on the site, being both urban boundary and connection, and captured within the design, but to become an unique communal signature as we aim to achieve requires further connections with Wyndham beyond the exclusive experience which the structure itself creates. 1.Wyndham City Council, Western Gateway Design Project v02 commented by Stanislav Roudavski, retrieved from LMS, 10 Mar 2013

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TRANSLATION & RECEPTION

WYNDHAM

Architectural validity is a reciprocal process. In which, a design is not only allocated to its setting, giving it local identity as Wyndham City aims to achieve, but continually accumulates identity from its cultural setting via climatic and social interactions after its completion. In this sense, connection to the local setting in placemaking architecture relies on both aspects of Wyndham identified within the design, and the way which the Wyndham population identifies the structure, and in turn change their self-definition

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in acceptance of the gateway as part of Wyndham culture. Therefore the challenge is not only to build physical correlations with Wyndham city, but to make it comprehensive to the masses. In previous design processes we have identified Wyndham's strong ethical stand in communal spirit despite a multicultural populace, capturing this non-discriminative, nonneglective culture in a geometric structure. However, we require much more direct correlations with the public to achieve immediate understanding.

The gateway's form derived from the logo, hence current self-depiction, of Wyndham acts as a direct linkage, yet as a plan view it cannot be comprehended by the user past subtle curvatures. However, the sense of direction induced by regular panelling enhances the user's experience of speed and 'accelerates' them towards or beyond the physical location of Wyndham city. We have also incorporated our parametric parameters into these explicit linkages by composing the structure with 1500 panels, in representation of

the 150,000,and some, Wyndham population as last officially documented population count in 20102. Though arguably these correlations lack architectural sophistication, but they are in no way less valid as ultimately it is the users, not the architect, who will be responsible for the design's ongoing developable validity, identity and meaning, and it is in their perspective we must re-evaluate the structure. 2. City of Wyndham population profile, accessed 6 Jul 2013 http://profile.id.com.au/wyndham/population-estimate

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EXPERIENCE Duality is expressed as a twisted over aching form over both parts of the Prince's freeway to and from Wyndham, but experienced most explicitly through the panelling components, gradually decreasing in size (in direction shown by green line) and diminishing at the centre point to reveal the structural ribs. This creates the Mobius effect within transition from interior to exterior in a single, coherent gesture.

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We have taken into account the speed at which the users will travel. The structure measures 200m in length, 50m at the widest point and 12m at its peak. At a speed of 80kph, the user will experience approximately 9 seconds directly beside the structure, 4 of which directly under the panels, excluding additional time in which the structure will be clearly visible from afar. This is more than enough to create a solid, lasting impression.

The form's double curved surface is also elegantly subtle in its various changes in panel size, structural height and distance from the road in order to create a dynamic, not chaotic, experience when passing through, inducing subtle juxtapositions as Hill prescribed to be the key in experiential longevity.

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From the user's perspective, the structure's interdependent Bezier components hold very much aesthetic qualities of a surface skin via patterning, demonstrating our successful merge of form and surface geometries. Distance of the structure from the road gradually change throughout its length, due to the curvilinear form. This induces soft oscillation within the user-structure relationship, eventually leading into the arch with inside panelling, creating a complimentary element of surprise.

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Shadows create differentiation in form of a section band across the road, acting as 'boundary' between Wyndham city and the surrounds. Light penetrating between the panels lie in parallel with the road, enhancing directionality

and speed within the user's experience, accelerating them towards or beyond Wyndham. Thus, depicting the dual properties of the site and structure both as boundary and connection.

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ANIMATION STILL FRAMES

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THE FUTURE

FIG 1 ALUMINIUM TARNISH

In consideration of the design's further development for years to come, we have decided to coat the panels unevenly with chemical treatment to achieve a surface tarnish over time (fig 1). Though unconventional, this effect can be easily achieved with oils and traditional aluminium power finishes. NEW PANEL

TARNISHED PANEL

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Performance benefits include retained structural performance, unlike rust, as the panels are also integral to the structural assembly; and natural colours gradually blending with that of the landscape, unlike bright orange hues of Corten which may streak when exposed to rain. The treatment is nontoxic and can be integrated within the prefabrication process, or even completed as a community exercise.

NEW PANELS

TARNISHED AND REPLACED PANELS

As the panels are bolted onto cleats, they can be easily maintained and replaced. Thus, the structure is not only manifesting but regenerative, making each encounter with the gateway unique to its own temporal framework shaped precisely by the immediate Wyndham microclimate, in essence, air. With this addition we create a not a stationary sculpture but a narrative. Though certainly possessing artistic qualities, the gateway reach beyond sociocultural commentary, transforming alongside Wyndham and so embedding itself in the city's history as a permanent fixture.

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3.03 FINAL MODELS PREPERATION As a 1:500 model was too intricate to be manually fabricated, we decided to use 3D printing. The preparation for this required us to separate the model in halves, transform the Rhino models into meshes and use programmes 3D Coat to thicken, and MeshLab to smooth the meshes in order to reach the standard size and detail requirements for the FabLab's polymer machine. These procedures meant many lost details of our model, especially in the center portion where members are smaller than the 2mm printing limit. However, as we wish to use the model to display our general form, it is not a critical disadvantage.

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S4186

S4185 F751

S4187

A3755 S3755

A3754 S3754

A3753 S3753

A 1:50 model of a tenth of the design was made to depict materiality and experiential effects created by shadows. This was more complicated to prepare. Though we managed to use Grasshopper to tag each piece and panel according to their arrangement and orientation, they had to be individually nested from a string of 600 unrolled components. Then they would be joint in reference to the digital model, as the panel numbers did not correspond to the strip numbers.

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FABRICATION & ASSEMBLY 1: FABRICATE RIBS AND PANELS WITH BLACK 300GSM CARD USING CARD CUTTER This was not a challenge as the components were nested within the card cutter's workspace, and the components themselves were simple geometries without tight curves or intricate details. A black card was chosen to depict the realistic coating finish of structural steel for the ribs.

2: MANUALLY TAG EACH COMPONENT This became an unexpected and tedious task, as the card cutter blade was too blunt to make etchings of such small text, and we have found the nesting to be not in numerical order.

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3: JOIN EACH BEZIER COMPONENT WITH CRAFT GLUE Was again a challenge due to the nesting not in order. We also could not assemble the components as we join them, as the Grasshopper tagging system numbered components in order running diagonally across the digital model, thus numerically adjacent components did not touch each other. The components

4: APPLY FINISH TO PANELS USING SPRAY PAINT, TAG WITH MASKING TAPE were placed according to The uneven coated aluminium numerical order panels were depicted by using chrome spray paint splatters. The components were placed Due to the silver finish, masking in numerical groups until all tape had to be used for tagging. 150 components, a total of 450 members, were joined.

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5: LAYOUT COMPONENTS ACCORDING TO ASSEMBLY ORDER ON DIGITAL MODEL Was much more efficient due to numerical placement, but was still time consuming as we needed to refer back to the digital model for laying out each component.

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6: JOIN 2 ROWS AT A TIME USING HOT GLUE

7: CONCEAL JOINTS WITH BLACK SPRAY PAINT

Glue was used again as bonding agent in order to depict welding techniques to be used in actual fabrication. After testing with many adhesive types hot glue was used due to rigid joints.

A disadvantage in using hot glue is its opaque appearance once dried. To conceal them we spray painted the ribs in black.

7: APPLY PANELS AND JOIN STRUCTURE USING PAPER JIG The panels were placed also using hot glue to help maintain curvature of the ribs, before joining the entire structure with hot glue. Curvature is maintained by using a paper arch support below.

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Joining the polymer model was straight forward yet surprisingly tedious. Gel for super glue was used to join the two halves together but there were many problems in the assembly process. Firstly, the model itself was extremely fragile due to lack of glue coating as strengthening finish, preventing heavy forces to be imposed, making it difficult to hold the model in place while the glue dries (a 30 minute process). Secondly, super glue melted polymer particles and created slight distortion in the model, though we managed to fit it on the desired location on the site model, created by laser-cut black perspex.

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FIG 2. 1: 50 MODEL, COURTESY OF DAVID LISTER

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3.05 FEEDBACK & REFLECTION The criticism our group received in the final presentation was predominantly addressing details within our design in which we can optimise to improve realistic feasibility of the gateway proposal. ENGINEERING Footing system The current design meets the ground vertically in every point of contact to enable potential development of deep footings- the exact detail of which we did not have the engineering knowledge to elaborate on. It was suggested to us that with resolved strength and rigidity of the arch structure, this did not necessarily need to be the case. This would bring us back to analysing pin joint connections as seen in Zaha's cultural centre. However resolving structural physics would first require us to optimise depth of the ribs, which can be evaluated on simulating Grasshopper plugins such as Karamba and Kangaroo.

Assembly The structural aspect of our panel assembly was acknowledged but suggested to be improved, potentially to restrain the rib structure further, as elliptical components have the capacity to 'bounce', even if bent within the prefabrication process. The ribs were also suggested to incorporate an intermediate node element as the jury was sceptical of their joints. DESIGN DETAILS Aesthetics of our proposal was questioned in terms of inconsistent elegance found at the teethed edges of arch openings, and the smoothness within our form which need to be fine tuned. Though arguably the 3D model was deformed slightly, and we did not pay much attention to the opening finish as they were not visually obvious from the user's perspective, these concerns are definitely valid, and additional curves can be introduced to improve visual coherency of the design.

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EFFECT It was noted that our presentation images were all of day shots and perhaps the group need to consider night time effects and introduce artificial lighting. During the course we were informed the site does not have any existing electric works, and linking power will require a considerable portion of the budget. With such a large structure, it was from an economical perspective that we rejected the incorporation of lighting.

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During discussion after the presentation, we maintained the current design, but due to lack of strategy to conceal the service lines. However, the night time effect does need to be reconsidered. In the image above we attempted to recreate the effect of headlight hitting the panel surface from the user's vehicle and vehicles from the adjacent freeway. There was interest in dynamic change of light penetrating between panelling as the latter drives past, but this was an serendipitous effect which cannot be created by the user alone.

POTENTIAL DEVELOPMENT Though feedback comments and suggestions all worked to create an improved design, there is concern that the changes made to our proposal in order to implement them, such as intermediate elements between ribs, lighting etc, has a tendency to complicate the construction. With so many unique connections, even small changes will exponentially increase cost by increased labour and customised components. We attempted to reduce variation across the structure by creating as many modules as possible, specifically, making panel sizes along each diagonal row the same size. However the structure heavily deformed and failed testing in Kangaroo. This reflect 2 factors in the parametric design process, the first being design is constrained by programme knowledge, as many obstacles we faced are technical due to our lack of experience in using Grasshopper. Secondly, the importance to incorporate interdisciplinary expertise, as time and effort would have been much more efficiently managed if we were granted engineering knowledge to determine feasibility of structural concepts.

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3.04 ALGORITHMIC SKETCH

One of our abandoned concepts was to create the structure by weaving for which this script was used. The main strategy was to first create a single interpolated curve through a row of points and their vertically offsets, alternate the cull pattern used to create the first curve, then rotate these two curves by 90 degrees to create curves in the opposite direction. With this script I was able to freely control volumes of space between the weave by amplifying offset distance

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of interpolated points, and can even apply different patterns of amplitude for curves in both directions. I wish to use this property to create different widths across the form, wider at the base and thin at its peak for structural support. However, the major set backs were that there were no points of actual contact between the weaves, and that the script only applies on an orthogonal surface.

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While considering developing potential for Wyndham's architectural future in parametric design, I attempted to create less abstract buildings with Grasshopper. I found that commercial buildings were significantly easier to generate, thus first attempted to recreate Foster's Swiss Re Headquarters. Its composition was separated into the skin, the diagrid pattern and the floors. With my current Grasshopper, the

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knowledge in structure was

quickly made, and many similar sketch models can be generated even more efficiently, but I came to realise Grasshopper was inefficient in fine-tuning details, such as making the floors follow the facade curvature, much easier to do in Rhino. Grasshopper also lack the scope to deal with construction realities such as service systems, therefore can only be incorporated within the conventional architectural design process and not replace it.

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I then moved on to creating another sketch building design with more component variations, including weaverbird meshes, remapped custom panels and voronoi surfaces. Though the structure is significantly more complex, the building still had a clear commercial aesthetic, predominantly due to repeating

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elements for which Grasshopper is especially efficient in creating. Thus, I have concluded that perhaps Wyndham is not quite yet suited for a parametric driven architectural scene.

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3.06 LEARNING OUTCOMES During the course of this semester I feel that I have definitely fulfilled all of the Learning Objectives prescribed in the subject.

and approaches in multiple medias, and furthermore, gain insight of their specific advantages and shortcomings in given situations.

The most gratifying aspect of Studio Air is not specifically the developed software skills as imagined in the introductory week, but the change in perspective in which I view parametric design. Perhaps not yet completely confident in my proficiency in various introduced techniques and media, but with current knowledge I am definitely more connected to digital design in a positive way unimaginable previous to this subject, and am excited by the new realms of design I am now capable to venture.

In terms of my interest in architectural theory, the studio assisted me to not only learn to appreciate the complicated processes involved in parametric generative design and understand concepts previously seen as convoluting, but also to dissect intents and technique behind these designs. To interpret and utilise them within my own design to form a cohesive and convincing argument as potential architectural solution. This acuity in design theory has progressed my education to new heights by enabling a deeper and broader scope within my own concepts and creations.

There were of course, moments of frustration within the course. Most notable are long hours spent in attempt to solve technical difficulties, often resulting in compromise or deviations from the original concept, only to find much simpler solutions afterwards. I have come to accept these frustrations as part of the learning process, and channel them as the driving force to explore further possibilities, as in hindsight, it is these deviations which allowed us to explore a multiplicity of techniques

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With new knowledge come even more undiscovered challenges, but I now welcome them with anticipation.

BIBLIOGRAPHY Wyndham City Council, Western Gateway Design Project v02 commented by Stanislav Roudavski, retrieved from LMS, 10 Mar 2013 City of Wyndham population profile, accessed 6 Jul 2013 http://profile.id.com.au/wyndham/ population-estimate

IMAGE CREDITS Fig 1. Aluminium tarnish, accessed 6 Jul 2013 http://www.flickr.com/photos/therealmarxz/7001375350/ Fig 2. David Lister, Final Presentations, S1 2013 accessed 6 Jul 2013 https://fbcdn-sphotos-g-a. akamaihd.net/hphotos-ak-frc3/970419_10152917178850503_776404828_n.jpg

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