ADS AIR WYNDHAM’S GATEWAY PROJECT BY SZE LIEW
EXPRESSION OF INTEREST: PART 1
PROJECT PROPOSAL: PART 2
- ARCHITECTURE AS A DISCOURSE
- FOREWORD
- COMPUTATION IN ARCHITECTURE
- PRECEDENTS
- PARAMETRIC DESIGN
- ARGUMENT
- EOI ARGUMENT
- PRECEDENTS
- EOI PRECEDENTS
- CRITERIA
- EOI CRITERIA
- SITE PLAN
- EOI MATRICES
- IDEAS AND EXPLORATIONS
that have emerged over the past century on how things are per-
- EOI CASE STUDY- REVERSE ENGINNEER
- MATERIALS AND CONSTRUCTIONS
ceived and can be perceived. Indeed, it is the utmost appropriate
- EOI IDEAS AND EXPLORATIONS
- MODEL ON SITE
means for an artist to express and engage his work with the world.
- EOI FABRICATION
- CONCLUSION
- EOI CONCLUSION
- REFLECTION
- EOI REFLECTION
- PANELS
“ARCHITECTURE IS A BICYCLE SHED.” - NIKOLAUS PEVSNER
week one reading
Today, architecture is not merely a form of building or a style that an architect used to express his artistic vision, but it is of something more meaningful - a discourse. A series of critical approaches
- REFERENCES
INTRODUCTION
content
EIFFEL TOWER BY GUSTAVE EIFFEL PARIS, FRANCE
01
THE ONGOING ARCHITECTURAL DISCOURSE Built after the French Revolution in marking the centennial celebration, the Eiffel Tower was once referred as an eyesore by the public. Now, standing at 324 metres high is this iconic monument at the centre of Paris where millions of visitors gather every year just to get a picture with it. Being the tallest building in Paris, the Eiffel Tower is considered as architecture breakthrough as the whole structure was constrcuted solely on puddle iron, one of the purest form of structural iron found, along with milions of rivets joining these structures together. As simple as the design may look, the risk of constructing this work of art was great because it is an open frame building with no intermediate floors except the two platforms. The reason for its simplicity was for easy dismantlement as the building only had a 20 years permit. However, it was found more useful than its original purpose of building it, which it was used as a military communication during the First Battle of the Marne. Thus, Eiffel Tower was allowed to remain till today.
WEEK 1
02 A big contrast to the Eiffel Tower, the La Tourette is a heavily masseed concrete monastery. Unlike the openness the Eiffel Tower portray, this building is fully covered with thick walls in the form of regular repeating grid to show its deliberate harshness and ruggedness. Defying the designs of ordinary religious buildings, this simple yet modern design of the monastery reveals an empathy with the life of the monks. Many would argue that this is too simple but to me it is an avant garde design whereby Le Corbusier defy the norms of religious building design such as the Classical to create this abstract composition which seems appropriate. Religious or not, today this building has become the site of pilgrimage for architectural students.
LA TOURETTE LE CORBUSIER
WEEK 1
LYON, FRANCE
03
ABU DHABI PERFORMING ARTS CENTRE ZAHA HADID ABU DHABI, UAE
Living in the era where organic architecture is classified as modern architecture, this Performing Art Centre captures Frank Lloyd Wright’s idea of architecture as an organism where the building, the structure, the environment and everything else is seen as an integrated whole. This centre is envisioned to be one of the five major cultural centre institutions on the new 270-heactare cultural district of Saadiyat Island in abu Dhabi. Quoted from Zaha Hadid, “the design of the Performing Arts Centre [is] a sculptural form that emerges from a linear intersection of pedestrian paths within the cultural district, gradually developing into the growing organism that sprouts a network of successive branches”. Indeed, this building has taken design into the computational world where complicated buildings are no longer just a thought or an imagination. from these three examples, the combination of simple designs and the use of technology can be further explored to create the design for an eye-catching gateway for the Wyndham City Project.
WEEK 1
WATERLOO TRAIN STATION NICHOLAS GRIMSHAW AND PARTNERS LONDON, ENGLAND
PARAMETRIC DESIGN: EVOLUTIONIZED ARCHITECTURE From scaled hand drawings to digitally produced drawings, one can see how architecture has changed in terms of design approaches and methods. A great example of how parametric design is used as a form generative tool is the International Terminal of Waterloo Station in London. The gradual change of the building design can be depicted claerly through stages of repertoire transformation almost like a metamorphosis as shown on Figure 2. Generating a design form no longer needs the conventional way of acquiring inspiration but by manipulating the control points of a curve, shape etc. The dynamic form of the building was based an motion based modelling where the effects of surrounding force shapes the building.
WEEK 2
In this case, the coordinates of parametric design are like the virtual forces from the environment shaping and moulding the form of the building. Also, with parametric design, details like the 36 dimensionally different but identically configured three-pin bowstring arches on the waterloo roof (Figure 1) could easily be created by assigning different values in the overall geometric model. Indeed, parametrics are exceptionally useful for modelling complex forms. Also, I personally think that architecture now has become more flexible and free as compared to architecture back when forms were restricted by our imagination. These new approaches to design has given rise to new possibilities and variations which can be used to design the Wyndham Gateway Project.
CONTEMPORARY SCRIPTING AND PROGRAMMING CULTURE Computers that were initially used as a drafting device is now a design medium with the ability to represent complex curvelinear forms. Parametric design in this case offer a variety of possibilities by modifying the mathematical data that will result in a different configuration of the design. Folding as an agent is parametric connections for separate entities which operate by itself while affecting the other like a “hetergenous continuos system”. Therefore, folding implies a formless architecture, for it deals with the process rather than the final result. It searches for continuity among objects and forms connections between them. In the Stranded Sears Tower project by Greg Lynn, consisting of nine office towers that are decomposed from a single high-rise tower. The changing form of the vertical office tower by elongating it in the horizontal direction is coupled with the multiplication of the tower through interlocking tubular structures. The distinctive geometry of the towers is achieved by external forces acting on the tubes. As Lynn describes,
STRANDED SEARS TOWER GREG LYNN
“The rigid geometry that dictated the exact parallel relations between tubes was rejected for a more supple description. Through a geometry that is more supple, the nine contiguous tubes accommodate themselves fluidly and flexibly to the multiple and often discontinuous borders of the site. The relations between tubes are not exactly parallel. These supple deflections allow connection to take place, which would have been repressed by a more rigid and reductive geometric system of description.”
WEEK 3
PRECEDENT LINKS week 2 readings http://glform.com/buildings/stranded-sears-tower http://www.aviewoncities.com/paris/eiffeltower.htm http://www.arcspace.com/architects/corbusier/La_Tourette/
“New skins can change not only their transparency and colour, but also their shape in response to various environmental influences” - Mark Goulthorpe/ dECOi
http://inhabitat.com/zaha-hadids-performing-arts-centre-in-abu-dhabi/
RESPONSIVE ARCHITECTURE Responsive architecture is known to measure actual environmental conditions via sensors, in order to enable buildings to adapt their form, shape, colour or character responsively; via actuators. Therefore, we aim to refine and extend the discipline of architecture by improving the relation between nature and design with responsive elements while also producing a design that reflect the technological and cultural conditions of our time. After doing some background research within the Wyndham District, our group found that the wetlands in Werribee are actually damaged due to excess grey water with no source of outlet. Responding to the issue arises from the extra waste water, we decided to explore the concept to raise the awareness for the recycled water and create a water inspired design for the Wyndham’s Western Gateway. Instead of being just a sculpture along the sidewalk of the highway, (we came out with the idea of creating a functional facade that works as a layer of filter in responding to the issue of overloading water. ) This design thus creates a whole new drive through experience for the drivers along the highway, as well as creating an awareness of the water issue which applies not only in Wyndham City in particular, but extends out to the whole of Victoria too.
ARGUMENT
OFF THE GRID: SUSTAINABLE HABITAT 2020
Interior and Exterior Interface WIND
Interior and Exterior Interface RAIN
Interior and Exterior Interface SUN
Interior and Exterior Interface WASTE
Based on the goal in creating sustainable housing for China in year 2020, this project strives to create a dynamic building that continually evolves in order to optimise the power of the sun, wind and rain. Off The Grid looks into the notion of constructing a sustainble living quality within the building by applying skin technology onto the buildign facade. Instead of serving only as a structural componet of the building, the skin is functionally ‘alive’ and act as a membrane to harness energy. This membrane is the strong link between the exterior and interior habitat in collecting and channeling air, water and light from outside feeding into the inside space supplying all the necessities to live off the grid.
EOI PRECEDENTS
BLOOMING TOWER The Blooming Tower with a kinetic facade, opens and closes due to environmental changas to to collact dew throughout the day. During the day, the sail cloth is closed and sarves to provide protection from the sun. While the flaps are dosed, a chimney effect is created in the tower and hot air rises up and out, drawing in cool air. Each flap also has the ability to move, and as it vibrates with the wind an attached piezo-electric device generates power for the building. At night, the sail doth flaps opan like the patals of a flower and collect dew from the night air and store it underground in a reservoir.This dew collection system is expected to capture enough watar to accommodata the antire building’s needs.
EOI PRECEDENTS
THE KIEFER TECHNIC SHOWROOM The Kiefer Technic Showroom is an office building and exhibition space with a dynamic facade that changes to outdoor conditions, optimizing internal climate, while allowing users to personalize their own spaces with user controls. A pure example of reactive architecture, with the buildings skin responding to nature’s forces. The building is an example of reactive design. It presents a new facade as the day progresses, defining it as a dynamic sculpture that regulates the internal environment of the building. The sun screen operates on electronic shutters of performated aluminum panels. When occupants want to adjust the light or temperature in a room, they don’t pull on shades or twist a little rod. Instead, they can control any or all of the 112 metal tiles that grace the exterior of the showroom by means of 56 engines.
EOI PRECEDENTS
WATER BUILDING RESORT: FORMS FOLLOW FUNCTION Designed to look a water drop, the Water building aims to be the first building in the world to generate water from the atmosphere using solar power. This building also focuses on helping people to develop a btter understanding and appreciation in the natural environment as well as renewable energy. In order to achieve the sustainable outcome, the building uses a new technology developed by TeexMicron™, an alliance with TEEX© (Expansion European Technological) and WaterMicron Industries, Ltd, specializing in the design, manufacturing and distribution of Atmospheric Water Generators. Making use of the natural condensation of humidity within the air, daily evaportaion and nightime condesation, water is produced. As for power, photovoltaic glass makes up the entire southern facade to capture solar energy while the northern facade has TeexMicron™ equipment to allow natural ventilation. The captured water is then purified through the equipment incorporated in the base of the tower. I find the idea of water generating through solar power very interesting but only to an extent because the overall idea and design of the building is too literal and it makes the project slightly dull. A more abstract protrayal of this design would be better to create some design dynamics for the building.
EOI PRECEDENTS
DIGITAL WATER PAVILION This digital pavilion comprises with only a floor, supported columns, a roof platform and sensors all around it. When it closes, the roof will lower down and the entire pavilion will disappear, when it opens, the water will fall from the edges of the roof to create water curtain walls. Those water walls are controlled by motion sensors and computer programs. The sensors can display images and pattern by computer and furthermore, they can detect approach of any moving objects and open the ‘water curtain’ up and let the objects go through and close up. It works exactly the same way how Moses opened the Red Sea. By applying this technic to the Wyndham project, we couldcreate a construction that reacts to the surrounding environment to perform it function automatically and minimise the maintainance.
EOI PRECEDENTS
GLITTERING METALLIC PAVILION This construction reacts with temperature and sunlight to expand the size of those 14,000 pieces of bimetallic material and also control them to curl up and down. Considering to apply this environmental response to the Wyndham project, we can create a facade with these bimetallic material to perform a visual effect according to the temperature on site and to project shading to the ground by the sunligh density, furthermore, it is also possible to create shadowed patterns on the ground by those bimetallic elements.
EOI PRECEDENTS
PRECEDENT LINKS http://www.designboom.com/weblog/cat/9/view/12139/ernst-giselbrecht-partner-kiefer-technic-showroom.html http://openbuildings.com/buildings/digital-water-pavilion-profile-4083 http://www.treehugger.com/green-architecture/bloom-responsive-thermobimetal-paviliondoris-kim-sung.html http://www.snegidhi.com/2009/11-7/water-droplet-resort.html http://www.core.form-ula.com/2007/10/27/off-the-grid2020/ http://inhabitat.com/blooming-dubai-tower-collects-dew-and-generates-energy/
After looking at the previous six precedents, one common feature found in the precedents of responsive architecture is a mechanism that functions to receive, channel, and reproduce. Setting that as the main criteria for the Wyndham Gateway Project, our technique is to use grasshopper to explore the relationship between the idea of “receive, channel and reproduce� by creating a series of open patterns, that can potentially be used to create an awareness for the highway drivers.
CRITERIA
MATRICES
MATRICES
MATRICES
AIRSPACE TOKYO Airspace Tokyo strongly displays the design approach of mixing voronoi, layering and lighting. Built of laser- cut aluminium and plastic composite, the facade not only produces a unique outlook, it also has a purely functional purpose- to hide an integrated ventilation system and to diffuse exterior light falling into the galleries.In relation to the gateway project, this building explores the idea of a functional facade which is our group’s design intent for the Wyndham Gateway Project.
AIRSPACE TOKYO FAULDERS STUDIO TOKYO, JAPAN
CASE STUDY
PRECEDENT LINKS http://faulders-studio.com/proj_airspace.html
Voronoi 1
Overlayed voronoi
Voronoi 2
Voronoi 3
REVERSE ENGINEERING
CHOSEN MATRICES In order to create a series of uniform and individually controllable openings (filters of the form), we started looking into creating a few attractor points, so that each hole size can be altered as the attractor point changes. We were also able to control distance between each hole by applying multiple math functions onto the patterns formed, so that water can flow through each individual hole instead of converging into one direction, which will be shown in the model experimentation. By thsse techniques, we managed to come out with a few matrices that can potentially become the pattern on the functional facade.
matrices
Non-uniform voronoi shapes
Uniform circles
Diameter of the openings (mm)
Pace of water flowing down (sec)
2.73
10
4.91
8
9.73
6
11.09
3
EXPERIMENTATION WITH MODEL In order to create a flowing water design, the openings of the form’s facade has to be uniformly shaped. Unable to maintain a series of uniform openings, we decided not to use voronoi patterning, instead we started exploring circles for the openings of the facade. Here are some of the exploration patterns with different diameters of holes. We wanted to test the relationship between the diameters (size) of the holes and the pace of water flwoing through the openigs.
IDEAS AND EXPLORATIONS
EXPERIMENT OUTCOME After a few experiments, our group found that the distance between the holes has to be at least 0.05 mm apart from each other. This is to prevent the water from concentrating the water into one direction like the second picture. Also, we found the diameter of the hole is directly proportional to the speed of water flowing through the hole. Therefore, in order to control the water flowing pace, a water pressure system needs to be installed to comtrol the speed of water.
Water flowing through individual hole with a minimum distance of 0.05mm apart.
Pattern developed for experimention. The holes are too near each other thus water is unable to flow in individual direction as shown in the picture above.
IDEAS AND EXPLORATIONS
MODEL PICTURES Pictures of model taken when water is flowing and after the water is fully drained.
FABRICATION
REFLECTION
CONCLUSION The exploration of creating a functional facade for the Wyndham Project is a respond to Wyndham’s issue of overloading waste water in Werribee. Combining this idea with the research which we have done, we manage to create a design which features a series of openings/ filters for the water to flow through thus creating an awareness for the locals as well as the public outside Wyndham District.
CONCLUSION
In the process of exploring the design whereby the water has to flow through a series holes to create different designs, I noticed that it is very difficult to achieve the desired outcome with the limited sources our group has. Our group’s intention was to make use of the openings to generate patterns as water flows through the holes, but we cannot solve the issue of controlling the water pressure and manipulating the sizes of the openings. Therefore, I have decided to approach this design in a simpler and more practical way, which is looking at how patterns can be derived by channelling the extra waste water away from the wetlands. Grasshoper will be used to generate an effective system of patterning to drive the extra water to the site, thus creating a possibly unique landscaping pattern or form which not only reflects on Wyndham’s environmental friendly image, also, forming a water awareness to the public.
REFLECTION
design development WYNDHAM’S GATEWAY PROJECT BY SZE LIEW
FOREWORD In the reflection section of the EOI, our group mentioned that the previous design was difficult to achieve due to impracticality and limited resources. Therefore, in the developmental part of our design, we decided to approach our design installation for responsive architecture in a different way. Starting by responding to the issue of extra grey water found at the Werribee Wetlands, which I have mentioned in the previous argument, our group is still keen on creating a water featured installation for the Wyndham Gateway Project. Hence, we looked into different precedents with water related design to come out with a new argument for our new design.
THE ASKIM MUSEUM Located at a sloped terrain. the Askim Museum is a design created responding to the site condition. ‘The design proposes this derelict quarry to be an alternative building grounds rather than the original site, as the existing topographical changes and the resulting voids within the hillside lend themselves almost ideally for the museum’s functional spaces.’ In this case, the design of the buidling is merely follwoing the orientation of the site’s landsacpe. Similarly, to derive the patterns for our design, we can look at the site’s contour to get an initial pattern which can be further developed as the design progresses.
RE-IMAGINING THE HOOVER DAM YHEU-SHEN CHUA
PRECEDENT
UNITED KINGDOM
GUANG ZHOU OPERA HOUSE Guangzhou Opera House reflects the new approach towards the idea of responsive architecture by trying to establish an interrelation between nature and architecture. Able to accommodate as many as 1804 seats, this cultural theatre was inspired by the undulating topography of natural landscape whereas the design of the building’s interior is fully based on the formation of river valleys through erosion. Instead of mimicking the pattern of the soil eroded paths like the Guangzhou Opera House, our group decided to apply the erosion concept literally by creating water channels onto the form, thus allowing water to corrode the surface of the form into different unexpected shapes over years.
GUANG ZHOU OPERA HOUSE ZAHA HADID GUANG ZHOU, CHINA
PRECEDENT
NEW ARGUMENT Responsive architecture is known to measure actual environmental conditions via sensors, in order to enable buildings to adapt their form, shape, colour or character responsively; via actuators. Therefore, we aim to refine and extend the discipline of architecture by improving the relation between nature and design with responsive elements while also producing a design that reflect the technological and cultural conditions of our time. After doing some background research within the Wyndham District, our group found that the wetlands in Werribee are actually damaged due to excess grey water with no source of outlet. And so, in order to create an awareness of the existing issue at Wyndham, we decided to explore ways of channelling the extra water from these wetlands to the current site, thus creating a water inspired design for the installation of the gateway. In this case, we are particularly interested in how water flows in an unsystematic way, creating paths and patterns of its own over time. The progressive changes of the water flowing pattern will be the main approach in achieving an evocative design which shows a time lapse of a changing form. In order to do so, our group is using grasshopper to create patterns that mimic the flowing paths of water by applying attractor point at parts we want them curved. These patterns will then be applied to a simple form that sculpture the design into an unexpected form- a dramatic change from a simple geometrical shape to different dynamic forms that would raise awareness of the power of nature, in particular water and how important it is to people, not just in Wyndham City, but everyone in Australia who drives pass this gateway design.
WHAT?
to measure actual environmental conditions via sensors, in order to enable buildings to adapt their form, shape, colour or character responsively; via actuators.
HOW?
we aim to refine and extend the discipline of architecture by improving the relation between nature and design with responsive elements while also producing a design that reflect the technological and cultural conditions of our time.
ISSUE?
damaged wetlands in Werribee due to excess grey water with no source of outlet.
SOLUTION?
to create an awareness of the existing by to explore ways of channelling the extra water from these wetlands to the current site, thus creating a water inspired design for the installation of the gateway.
FORM FOLLOWS EROSION Upon looking at the Zaha Hadid Opera House design, our group looked into different ways of erosion in nature. There are wind, water, heat, etc. We were particularly interested in water erosion based on the site condition. These are pictures of already eroded stones, and canyon, either by wind or water or both. Hence, we want to incorporate this effect into our design form which is form changing through erosion..
PRECEDENT
DELTA PATTERNS To get an initial pattern for the water channels on the design form, our group looked at pictures of delta. Delta is natural water channels formed at the mouth of a river. As time passes, the water flowing along these water channels will erode the river banks, forming more water paths, hence creating a series of random patterns over the years. As mentioned in the previous precedent, our group wanted to create a design form which would evolve over time along with the force of nature. In this case, we are using the water channeled from the Werribee Wetlands as “the nature�, which shapes and molds our design sculpture into unexpected and evocative forms in many years to come. As the result of erosion would only be obvious after a long period of time, the sculpture would raise awareness about sustainability and how prevention of water wastage is a lifelong habit, not short term.
PRECEDENT
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CRITERIA
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1.
A design that successfully portrays water awareness not only to residents in Wyndham City, but the whole of Melbourne.
2.
Creating a simple form/ shape to allow an obvious change in design through erosion.
3.
Creating patterns to be applied onto the form which will effectively allow the ongoing process of erosion that will eventually mould the initial form to different and unexpected forms.
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GATEWAY INSTALLATION
SITE POSITIONING Based on the first criteria, our group decided to put the sculpture at the west end of site A because: a) There is a drain where the water flowing from the sculpture can be collected and possibly recycle. b) It is the intersection whereby all three highways converges to a point which enables all drivers from all three directions to see the sculpture. Therefore, raising awareness not just for people going to Wyndham City, but also to people who are driving to and fro Melbourne/Geelong and Geelong/Melbourne.
CRITERIA
site plan
DESIGN FORM The second criteria for our gateway design is having a simple design form that will show obvious change in shape after a series of water erosion. We decided to explore different simple geometrical shapes that could possibly be used for the final design installation. Therefore, we chose a cuboid as our design form because its symmetrical sides and angular ends will show the distinct change of shape as erosion takes place over the years. At such, the curviness and smoothness seen on the eroded parts will be more obvious than other shapes like sphere and cylinder that are already curved.
IDEAS AND EXPLORATIONS
PROGRESSIVE CHANGE OF WAX MODEL FROM AN EVEN SIDED CUBOID TO A MORE REFINED AND SMOOTH FORM THROUGH MELTING WITH TEH USE OF FIRE (SYMBOL OF EROSION).
DESIGN FORM This is an experimental wax model that our group used to show how the form of the cuboid changed after melting with fire, which in this case represents erosion of the form. There is a clear change in the smoothness and the angularity of the cuboid after a series of heating and melting.
SHADOW CASTING OF THE WAX MODEL
IDEAS AND EXPLORATIONS
PROGRESSIVE CHANGE OF SAND BED AS WATER IS FLOWING ALONG THE WATER PATHS.
DESIGN PATTERN Based on criteria three, our group started experimenting with water flowing through water channels created on a sand bed. These pictures proved that water will flow through etched paths and as it flows along these paths, it will slowly erode the sides which eventually become less apparent (comparing the first and last picture). Trying on another material, we carved a small block of candle (pictures at the bottom of the page) to test if water would flow through these randomly carved channels like the experiment with the sand bed. It turned out that, the water flowed more smoothly as compared to the sand bed because of the verticality of the shape which allowed stronger gravitaional pull, allowing the water to flow more efficiently from the top to the bottom of the wax model.
WATER FLOWING THROUGH CARVED PATHS
IDEAS AND EXPLORATIONS
DESIGN PATTERN To get an initial pattern for the water channels on the design form, our group looked at pictures of delta and simplified the picture of a delta into lines as shown. We started using this as an image for ‘image sampler’ along with multiple maths function to recreate the curves for the pattern. However, the lines end up curving into a uniform direction either on X, Y or Z- axis. Therefore, we started using another method which is creating curvy lines using attractor point and vector path. And the result is as shown on the pictures.
SIMPLIFYING DELTA PATTERN
FIRST ATTEMPT IN MIMICKING THE DELTA PATTERN USING ATTRACTOR POINT
SECOND ATTEMPT IN TRYING TO RECREATE PATTERNS USING VECTOR PATH TO CREATE MORE CURVY EDGES
THIRD ATTEMPT USING VECTOR PATH AS WELL TO CREATE A SMOOTHER FLOW OF CURVY LINES
IDEAS AND EXPLORATIONS
FIRST PATTERN
SECOND PATTERN
FINAL FORM WITH PATTERN
DEFINITION FOR FIRST PATTERN
DEFINITION FOR SECOND PATTERN
IDEAS AND EXPLORATIONS
For the final pattern and form, our group decided to choose these patterns (first pattern and second pattern) to be applied onto the the cuboid. We chose to use the first pattern because it looks similar to flowing water, whereas the second one looks similar to contours. Combining these two together, they represent flowing water contouring the cuboid that will eventually evolve into different evocative shapes.
MATERIALS EXPLORATION 1 The first few test models we used to make was wax, therefore we wanted to see how different materials will result in different outcomes. The first material we used was ivory paper which we used laser cuter to fabricate the patterns. We tried twisting and turning the paper to create different ways of casting patterned shadows to see how these patterns would look like at different angles. We were also using these ivory papers to get inspirations for forms and shapes for our design at the initial state of the project. Even though the pictures turned out great, but this material cannot portray the idea of an erosive form. Therefore, from using ivory paper, we moved on to using wax again.
IDEAS AND EXPLORATIONS
MATERIALS EXPLORATION 2 Following the success of previous experimental wax model, our group made our final 1:50 model using wax using perspex as the mould for the form as well as for the patterns.
MODEL MAKING PROCESS
IDEAS AND EXPLORATIONS
MATERIALS EXPLORATION 2 (FINAL MODEL) These are pictures of the final model when light is shined through it.
IDEAS AND EXPLORATIONS
MATERIALS EXPLORATION 3 On top of the wax, we made another perspex model at 1:50 as well, to clearly show the patterns on the cuboid.
IDEAS AND EXPLORATIONS
GRANITE
MATERIAL CONSTRUCTION SANDSTONE
MUDSTONE
materials and construction
From the experiment our group did using the sandbed as well as the precedents we found on rock erosion, we decided to use rocks as our final material for the actual design of the Gateway installation. From the rock research we did, we also found that different rocks have different erosive rate. Therefore, we decided to use mudstone as the outer most layer due to its fast eroding nature, followed by sandstone and lastly granite which takes the longest to erode.
MATERIAL CONSTRUCTION Rocks can be cut into different sizes just like bricks. Therefore, to construct this sculpture, we decided to use the brickwall stacking method to build each layer of wall starting from the footing as shown the foundation drawing.
materials and construction
CONCLUSION
DAY VIEW
This design may not be very ‘parametric’ in the sense that only the patterns are derived from grasshopper definition. However, I personally think that the combination of parametric design and the conventional way of experimenting through model making, is the way to bring out the best potential of a design. I have to admit that using parametric design is much easier in terms of visuallising the design form as well as model making, but to be able to make model without laser cutter or any other digital fabrication method is a skill one developes through experience and numerous experimentaion. Therefore, with the use of digital and hands-on skills, our group manage to create an evocative design which evolve through water erosion. This is a design that would last a life time with its slow change of form reminding people the importance of water in years to come.
NIGHT VIEW
model on site
CONCLUSION
REFLECTION LEARNING OBJECTIVES
LEARNING OUTCOMES
Studio Air has been a very different design studio from what I have had for past two years. It was different because of the use of parametric design is compulsory in this subject, which is a program that I have never used till this semester. Design Studio Air has taught me how to make use of digital programming as a design generative tool and not just a documentation device. The idea of behind the use of parametric design is for limitless designin, which is to design without the worry of technology limitations or having difficulty in visioning how a design would look like even before it was built. However, in my opinion using parametric programs to a certain extent is limiting because one has to be able to function and understand the program well enough to make full use of its potential. For example, I admit I am nowhere near to having great skills in using Grasshopper. I am merely using it because I was asked to but not because my design requires so. Although I think learning how to use digital programs is good because we are living in the era of machinery which requires us to be able to use technological tools to a certain extent. However, this should be taught is a progressive way and possible an optional studio for people who are really interested in this field of designing. I personnally prefer the conventional of designing, like making models, drawing, etc because I feel that I will be more engaged to my design process and understand it better in terms of texture and experience. Indeed, I feel that the use of digital programming is good but the art of conventional methods should not be disregarded.
For this subject, we have to design a gateway installation for Wyndham City through the use of digital programs like Rhino and Grasshopper. Through the use of these programs, our group managed to create an evocative design which erodes over time with the use of water. I actually really do like our design because I think it is different from other groups’ idea of an installation. Many groups talked about creating an experience when drivers drive past the installation. Ho ever, our design is about raising water awareness which is an issue that has been in the whole of Australia for many years. Coincidentally, there is also water issue in Wyndham district which gave us an opportunity to create a design that would not only influence residents of Wyndham City but as well as the whole of Melbourne. We have taken the approach of responsive architecture which is to design in response to environmental triggers. In our case, we decided to create an installation which reminds people about the importance of water by actually using water as a tool to erode our initial design form into evocative forms over the years. In fact, the erosion will take so long that the installation can be considered as a sustainable design.
LEARNING PROGRESS Throughout the semester, we were given videos and digital guides to learn how to use Grasshopper and Rhino. I found that I actually learn better when I learnt through watching videos because it is more practical when you are able to see what the tutor is doing. Learning through digital guide I would say is not helpful at all because we were merely just copying what the guide asks us to do. We do not truly understand why this definition has to be connected to another definition. As a result, I would not say I do not know how to use Grasshooper because I know how to connect definitions when I am told to, but when I actually want to create a design, I do not even know what definition I should use to begin with. Therefore, I would say the learning progress was poor and not effective at all.
REFLECTION
FUTURE WORK My first ever encounter with digital programming was in year one semester one. I did a subject called virtual environments which I had to create a hat using Sketchup. I had alot of fun designing my hat because I had a great tutor who was willing to teach us Sketchup during studio times. For Design Studio Air, I was very lucky to have two tutors who were very willing to help us as well, unlike many tutors in other studios. I managed to learn a fair amount of Rhino and Grasshopper techniques which I think is sufficient for me to look for a job but maybe not a professional is parametric designing. At such, I will continue to use these two programs to design my future work but similarly I will incorporate conventional methods like sketching and model making so that I can push my design with the benefits of both ways of designing.
WYNDHAM CITY GATEWAY RESPONSIVE ARCHITECTURE WHAT?
GUANG ZHOU OPERA HOUSE, ZAHA HADID
to measure sensors, in their form, sively; via
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uangzhou Opera House reflects the new approach towards the idea of responsive architecture by trying to establish an interrelation between nature and architecture. Able to accommodate as many as 1804 seats, this cultural theatre was inspired by the undulating topography of natural landscape whereas the design of the building’s interior is fully based on the formation of river valleys through erosion. Instead of mimicking the pattern of the soil eroded paths like the Guangzhou Opera House, our group decided to apply the erosion concept literally by creating water channels onto the form, thus allowing water to corrode the surface of the form into different unexpected shapes over years. Here are some pictures of forms and pattern created through years of water erosion on rock which is also the material that our group is using for the design.
STUDIO AIR
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actual environmental conditions via order to enable buildings to adapt shape, colour or character responactuators.
MODEL DEFORMING PROCESS
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we aim to refine and extend the discipline of architecture by improving the relation between nature and design with responsive elements while also producing a design that reflect the technological and cultural conditions of our time.
ISSUE?
damaged wetlands in Werribee due to excess grey water with no source of outlet.
SOLUTION?
to create an awareness of the existing by to explore ways of channelling the extra water from these wetlands to the current site, thus creating a water inspired design for the installation of the gateway.
PATTERN CUT ON PERSPEX
CONCEPT IDEA- DELTA
CONSTRUCTION DIAGRAM
ANTICLOCKWISE FROM THE TOP: FINAL PATTERNS TEST WAX MODEL FINAL WAX MODEL
RENDERINGS OF THE MODEL: WEST BOUND FROM PRINCES HIGHWAY EAST BOUND FROM PRINCES HIGHWAY
PATTERN DEVELOPMENT
PANELs
PRECEDENT LINKS
REFERENCES Burry, Mark (2011), “Scripting Culture: Architectural Design and Programmin”, Chichester: Wiley.
http://www.evolo.us/architecture/the-askim-museum-moh-architects/#more-12097 http://urbanlabglobalcities.blogspot.com.au/2011/03/yheu-shen-chua-with-its-re-imagining. html http://www.guardian.co.uk/artanddesign/gallery/2011/mar/01/zaha-hadid-guangzhou-operahouse-in-pictures
Kolarevic (2003), “Architecture in the Digital Age: Design and Manufacturing”, New York: Spon Press.