Final journal 540254 john duong by John Duong

Architecture Design Studio: Air 2013 Journal

John Duong 540254

Contents

Expression of Interest A Case For Innovation 6 1 7 1.1 10 1.2 13 1.3 16 1.4 16 1.5 17 1.6

About Me A case for innovation Favorite Projects Computing in Architecture Parametric Modelling in Architecture Summary Learning Outcomes References

Algorithmic Thinking

Design Approach 23 28 32 34 36 38 40 45 48 49

2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10

Design Focus Case Study 1.0 Case Study 2.0 Algorithmic Challenge 1 Form Exploration Algorithmid Challenge 2 Techniques Development Matrix Fabrication of Prototype Technique proposal Learning Objectives

Project Proposal 50 3.1 Design Proposal 52 3.2 Form Finding 66 3.3 Orthogonal Drawings 68 3.4 Construction Drawings 72 3.5 Model Fabrication 78 3.6 Complete products 82 3.7 Reflections

Architecture as a discourse is a fascinating thought. With so many different aspects of a building which can be read, parametric design opens up even more variety into the field. It, along with newer construction techniques have allowed more expression within buildings, allowing curves and free form shapes to emerge. With so many possibilities suddenly available, a new architectural language is emerging as architects explore their new found methods of expression.

About Me

My name is John Duong. Iâ&#x20AC;&#x2122;m an architecture student studying at the University of Melbourne doing my third year in the bachelor of Environments. Majoring in architecture, I prefer simpler approaches to architecture and elegant solutions to technical issues. I enjoy architecture because of the possible discourse of buildings. Exploring the different solutions designers had to the issues at hand whilst stil conveying their design intent is fascinating. When thinking about design, I use an approach similar to that of people in animation: working out how to reduce something to the simplest possible form while still conveying our intent, simple and clear curves and structures as well as creating focal points at which to draw observers towards. Liking the use of colours, visuals are just as important to me as function is.

1.1 Favorite Projects A personal project undertaken while in my first year of University explored the three dimensional qualities of a structure. Instead of a building though, it was to be a structure which sat on the human body. Producing a complex geometrical shape with inspirations from nature, the end result was made to play with light whilst also exploring the possibilities of computer design. Images Below: The model I produced whilst in first year

Such a project explored how we can produce forms to sit on odd surfaces, namely the body, and how they would remain there during movement. On top of this the fabrication of the design was also explored and the methods of which the parts would remain together and in place. Such skills may be useful when designing the Wyndham Gateway project, as it is something which could possibly be used to explore space, form and fabrication in urban design.

A movement in architecture which I like is that of the Italian Futurists. Thisgroup of young artists looked to the future, attempting to move away from architecture as it was in the early twentieth century and design structures which would be built in the future. With a focus on the raw qualities of a building, the group looked to create a new architectural language for the youth of Italy.

This is much like us today, where even more precise manufacturing and the ability to design with a computer is possible. The same thoughts should still permeate our designs though, with the artistic potential of out buildings taking over the built form, exploring how we can create something functional whilst still being able to illicit an emotional response.

Admiring passion, speed, the people and the car, the futurists designed stripped back architectural statements, relying on the emotional response of a building to convey its meaning rather than ornate decoration. They also wanted, as stated, to go against tradition and do something out of bounds with the architecture at the time as new technologies arose.

One aspect of their ideals which I feel stands out is this deep emotive response mixed with the rushed passion of design. Such a feeling could be used in the Wyndham Gateway Project, creating a sculpture which is stripped back to its raw materials, designed in a rush of passion to create a swift emotive response as our audience moves quickly by it in their cars.

Above, top right and right: Designs of Italian Futurist Antonio Santâ&#x20AC;&#x2122;Elia

Above and right: Pixel Building by Grocon

When thinking about architecture in Melbourne, it is clear that the Pixel building by Grocon is one of the most interesting ones. With the multitude of coloured panels the facade holds up, the building was in the forefront of environmental design when it was completed in 2010. Being the first building in Australia to receive a perfect score from the Green Building Council, the highest Greenstar Rating in Australia at the time of completion and scoring a 105 out of 110 by LEED, the highest score achieved by a building thus far, adding to the discourse of architecture by demonstrating it is possible to be environmentally friendly whilst achieving cutting edge design. In terms of computer aided design, the building employs the oddly shaped coloured panels help up on its facade as a shading device. Each of the panels have been shaped and calibrated as to be as energy efficient as possible in the Melbourne climate.

The properties which they have been designed to maximise include glare reduction, maximum daylight and shading. The colour and form of the building are a stark contrast to those of the immediate surroundings. Breaking up the horizontal and vertical lines produced by adjacent structures as well as having a strong contrast in colours, with vibrant reds, yellows, greens and blues Pixel stands out as an architectural statement. The Grocon building is interesting because of its ability to balance an expressive and eye catching facade while at the same time being environmentally friendly. These types of outcomes are one possibility of what I envision for the Wyndham Gateway project, an eyecatching, environmentally friendly structure, using colour as a method of drawing attention and expression.

1.2 Computing in Architecture

Above: Layout fo the Thomas Deacon Academy by Fosters + Partners Below: Interior of the Thomas Deacon Academy

The Thomas Deacon Academy, by Fosters + Partners, used a dynamic people flow simulation to determine the allocation of space. By removing the school bells, the architects of the Academy have tried to reduce the amount of students circulating around the building at any given time. Virtual simulations in this project have allowed the architects to predict the comfort level for students moving between classes as well as during breaks and movement between stairs. This has allowed the managers of the project to optimize circulation as well as reduce costs on the project. This academy is important in the discourse of architecture as it tries to reinvent the school layout. The use of computer aided design in this project to predict the comfort level of students is unique for a school and utilization of this technique in other high usage buildings such as large commercial skyscrapers could help maximize the efficiency of workers.

Computation in architecture is also having influence on other areas of architecture as well. With the ability to design create precise pieces for a structure, more organic shapes are possible. One such example of this is the Shell Star Pavilion, by Matsys design, created as a temporary structure for the Detour 2012 design exhibition in Hong Kong.

Computing in architecture has allowed us to explore forms which would have never been dreamed up fifty years ago. Allowing us to do precise forms and shapes, as well as being able to map out flow, the design and construction of built forms is streamlined with the advent of computing in architecture.

This pavilion is comprised of an organic form, taking influences from both the sea and the Hong Kong National Flag. The form was rigorously tested in computer simulation before anything was concretely set, another aspect of which computing in architecture is useful in design. After the simulations, a script was created, specific to the project to determine how the 1500 individual plates would be created. These plates have to hold the curvature of the form whilst also being made of a flat material. With the aid of more scripting, such goals can be met.

From these two buildings, we can see there is a link between computing and modern architectural design. Almost every design decision for a building, can be influenced or even decided by a computer with the right scripts and programs.

Above: Shellstar Pavilion Right: Process fo creating the Shellstar pavilion by matsys

1.3 Parametric Design in Architecture

A concept which is being rapidly explored in parametric design is the abstraction of nature into simpler forms, which are then used to form the basis of the form of the building. This such idea is realised in Zaha Hadid’s London Aquatics centre, built for the London 2012 Games. Drawing inspiration from its function and the local area, the form it takes is inspired by water in motion and is located to fit into the landscape. Taking the form of a wave crashing over the complex, the facade for the water inspired design is drawn from natural forms and shapes which occur in nature. The S-shaped curve of the building is a simplified representation of the movement of water, using parabolic equations to find the desired curves for the building. The roof was designed to appear as though it was floating above the stadium, something many modern architects explored. Such an expressive form would not have been possible if parametric design was not undertaken in the conceptualisation of this project. The design also had two temporary “wings” which were removed after the games. Clearly different to the smooth structure of the main body of the building, the “wings” were plain, angular and seemed out of place. Simply designed, the temporary seating was colourful when compared to the main colour scheme of the centre, Hadid “emphasises the permanence of the core” by juxtaposing the main structure and the temporary structure together. Even with such finely tuned buildings have their issues though, with a oversight in the design of the roof. For some 3000 seats at the venue, the view to the high divers was obstructed. This highlights the possibilities of there still being human fallacy in a design. This type of design is another interesting method of looking at design. With the simplification of natural forms into geometric curves, intricate details can be produced. These such outcomes could be something of interest when considering them for the Gateway Project. Left, top left and below: Images of the london Aquatics Centre by Zaha Had-

Below: Blobwall by Glen Lynn Below Left: CODA barcelonatech’s Jukbuin Pavilion

Architecture is a fast moving field. However, in the adoption of techniques architecture is usually slower than those of other industries. In fact, a term commonly used in architecture, NURBS, has its origins from ship building, with the S standing for spline or a piece of wood on a boat which holds a curve by way of pegs. This does not, however, mean that it is subpar in any way. With technology constantly being updated and new methods of expression being used, the programs themselves are constantly evolving to cater for an architect’s ever changing requirements. Parametric design opened up many new possibilities in architecture. Alongside new fabrication technologies, the ability for an architect to express themselves has improved greatly. In some cases, it could be a complete reinvention of a wellknown item, like Glenn Lynn’s blob wall attempting to reinvent a brick wall. Using curved forms, he created forms which join specifically to others to create the final form. Such attempts at such an organic form is only possible with the aid of computers and parametric design.

In other cases, however, it can be used to express something with no relation at all to architecture. One such example is CODA barcelonatech’s Jukbuin Pavilion, a temporary wooden installation. This installation drew inspiration from basket weaving and then used that idea to create a self standing structure. The pavilion has a complex geometry which was able to be rapidly tested using the Rhino plugin Kangaroo. This program has allowed the architects to simulate the properties of wood, such as how it acts under tension and gravity through setting different parameters for how the individual components act in relation to each other, to find the most effective form. In addition to this, the Kangaroo plugin has allowed the rapid exploration of forms through rapid simulations, something which would have been difficult to do it the designer was making physical models for each iteration. The end result is a form which fully utilises the properties of the material

I feel these projects in parametric deisgn are mostly form driven with little concern for their environment or only create a superficial link to their location. Whilst they are interesting in appearence, these structures discussed in this section of this journal, I feel, have not been addressing and surroundings, as well as the vernacular architecture of their location, to the fullest extent. These three projects, as well as the Shell Star pavilion all have a natural curvature to their designs, something which is being used in many newer architectural endeavours by designers. Because of this, new buildings run the risk of becoming similarly formed structures, with a similar emotive response by those who view the structure, thus becoming something which is not new and exciting but just blends into the background. The London Aquatics centre has an tenuous link with it’s location with it being aligned with the river and having a form which could be interpreted as a wave. This structure, which is touted to be site specific could probably be built anywhere and still have the same appeal to it as where its current location stands.

The blob wall, whilse very creative, could be produced as a pavilion, but as a reimagining of bricks, it still has some distance to go interms of being a feasable building component. The complex forms of the components means that for each individual structure, a fine tuning of the “bricks” needs to be done, taking up much time and resources which could be dedicated to a different part of the design process. That isn’t to say, however, that parametric design is only for creative designs. As seen in the Jukbuin Pavilion, it has allowed for fast experiments with materials for a struture. That isn’t to say, though, that these aren’t still stunning structures in their own right. With the expression of the designer being one of the major features of architecture, these built forms certainly express it. Designed from a series of relationships between all the components of a from means having a unified structure where no piece is not playing its part in the function and form of the completed design. Parametric design is a rapidly developing area of architecture and with a bit more development, such issues can be addressed.

1.4 Summary Architecture is all about expression. Expression of the designer and their intent behind a building is everything. Being able to convey this is key. The design should still, however, be site specific and respond to the external factors which may affect it. Architecture is also fast moving. With a new language still being developed by architects, parametric design is opening new ways to break tradition by opening up the ability to graph out statistics of a building as well as parametrically design a facade. The Wyndham Gateway project should take all these things into consideration. To create something which will be eye catching yet still be relevant to the environment it sits in. The cutting edge of technology is currently parametricism and the opporunity to add to the future language of architecture is possible within this project.

1.5 Learning Outcomes

Through these three weeks, Iâ&#x20AC;&#x2122;ve learnt much about the discourse of architecture and the effects we can achieve on this discourse. Previously, I was indifferent about parametric design, but after delving into it more, the lure of the opportunity to create something which hasnâ&#x20AC;&#x2122;t been built before or even dreamt up by others is exciting. It should not, hoever, detract from the teachings of the past, as many people have said to do. To create new and exciting things, it is important to look to other influences which have already developed much more than architecture, such as origami and fine art. Parametric design is a great new facet of architecture which can be explored further.

1.6 References Arena, L ‘Green Storeys find favour with employees’, Financial Review (2012) <http:// www.afr.com/p/special_reports/sustainable_business/green_storeys_find_favour_ with_employees_M0UBVoMLXApmJlwT1XsQOM> [Viewed March 20, 2013] Grocon, ‘Pixel, Carlton’, Grocon (2013) <http://www.grocon.com/view/?gallery_ name=Pixel% 2C%20Carlton&gallery_id=35&gallery_image=390> [Viewed March 20, 2013] Arch Daily, ‘London Aquatics Centre for 2012 Summer Olympics / Zaha Hadid Architects’ Arch daily (2011) http://www.archdaily.com/161116/london-aquatics-centrefor-2012-summer-olympicszaha-hadid-architects/ [viewed March 21 2013] Peters, B, ‘Thomas Deacon Academy Peterborough, UK, 2003-2007 Foster + Partners’ Brady Peters (Unknown Publishing Date) <http://www.bradypeters.com/thomas-deacon-academy.html> [Viewed March 24 2013] Matsys Design, ‘Shellstar Pavilion’ Matsys Design (2012) <http://matsysdesign.com/ category/projects/ shell-star-pavilion/> [viewed March 24 2013] Mayer, A, ‘Style and the Pretense of “Parametric” Architecture’ (2010) <http://adamnathanielmayer.blogspot.com.au/2010/06/style-and-pretense-of-parametric.html> [viewed August 8 2012] Sharma, S, Fisher, A, ‘Simulating the User Experience: Design Optimisation for Visitor Comfort’, Architectural Design, Issue 2 (2013), pp. 62-65 Piker, D, ‘Kangaroo: Form Finding with Computational Physics’, Architectural Design, Issue 2 (2013), pp. 136-137 Solar Flare Studios, ‘Futurist Movement’ Solar Flare Studios (Unknown Date) <http:// www.solarflarestudios.com/demosites/architecture/futurist.htm> [Viewed March 30 2013] Image Sources: Page 8: Italian Futurist projects, Antonio Sant-Elia, <http://rustnconcrete.wordpress. com/tag/italian-futurism/> Page 9: Pixel Building, Grocon, <http://www.grocon.com/view/?gallery_name=Pixel%2C%20Carlton&gallery_id=35&gallery_image=390> Page 10: Thomas Deacon Academy, Fosters + Partners, Architectural Design, Issue 2, page 162-65 Page 11: Shell Star Pavilion, Matsys design, <http://matsysdesign.com/category/ projects/shell-star-pavilion/> page 12-13: London Aquatics Centre, Zaha-Hadid, <http://www.zaha-hadid.com/architecture/london-aquatics-centre/> Page 14: Blob Wall, Greg Lyn, Architectural Design, Issue 2, page 136-137 Page 14: Jukbuin Pavilion, CODA Barcelona Tech, Architectural Design, Issue 2, page 136-137

2 Algorithmic Thinking

In the first two weeks of the course, we were given a task to complete. In the first week, it was to arrange a series of shapes from larger to smaller. This task proved to be difficult as to complete it, the shapes were to be placed side by side touching each other but no over lapping. To attempt to solve this, I tried making the spacing of the midpoints of the spheres be placed apart the diameter of the last spheres. The curvature of the arrangement, however, proved to be an issue. In the second week, we were set to create a pavilion from a lofted surface with randomised pipes. In the picture below, I attempted to gain an interesting form from this but ended up creating a confusing one.

Not everythign turns out as you would expect. Here is our task from week 3. We were to create an origami structure using grasshopper. My first attempt included using a long tree of shapes to try and create an origami wall. This, however, ended up wrong somewhere and the result was not as desired, see above. The grasshopper file, left, was so messy and unplanned that when I tried to go back and search for the mistake, it was difficult to determine which components were conected. Using a simpler build, with help from friends and the internet, hoever, a simpler solution was acquired and the result is below.

2.1 Design Focus

When starting this project, we searched for inspiration. With an interest in tessellation my group went online to search for influences for our project and stumbled upon M.C Eschers Sky and Water. We were attracted to this because of the polarising forms of the birds and the fish coming together to produce a pattern in which there were no gaps. This integration of irregular shapes interested us and thus began our pursuit of a complex tessellation. Tesselation in architecture is a common occurence in modern architecture. With the rise of computing, more and more complex forms are being desired by designers and tessellation of basic shapes to produce these forms is just one method of simplification to allow for fabrication. Computing in architecture has also allowed for more complex tessellations to occur,extending beyond basic, planar shapes, with projects such as the Shellstar Pavilion being an example of this, where more complex forms are packed together to create one single form. The use of tessellation has allowed structures to span over large distances whilst also expressing a complex form. We believe this should be the route the Wyndham Gateway Project should take as there are still many possibilities tessellation can take beyond being a method of creating complex forms.

Source: http://www.incredibleart.org/lessons/middle/images/escher_sky_water.gif

One of our inspirations was the polyp.lux by softlab. This project uses tesselation and L.E.Dâ&#x20AC;&#x2122;s to create a sensitory experiece within users. The shift in the tessellation creates a feeling of weight as the structure approaches the ground, even though it is light weight and moves in the wind. The movement, combined with the L.E.Dâ&#x20AC;&#x2122;s are supposed to allow users to interact with the structure itself. These types of ideas should be used in the Wyndham Gateway Project: User interaction, sensitory experiences and complex tessellations.

Image Sources: http://www.designboom.com/design/softlab-polyplux/

The voussoir cloud by iwamotoscott. architecture is another example of tessellation. This structure uses curved shapes and openings to create a tessellating structure. The components of this structure grow closer together as they approach the base of the points, simulating compression in the components. Such an expression of a morphing, un-uniform tessellation is a possible path for our design to take. This pavilion was made using lightweit materials and each individual componentâ&#x20AC;&#x2122;s shape was dependant on that of those adjacent it. In the proposal for the Wyndham Gateway Project, such a change in the components could be made, allowing the expression of the materials in which we create our project with.

A similarity between these tessellating projects is that theyâ&#x20AC;&#x2122;re almost all pavilions. One thing which our project can do to set it apart from these precedents is by attempting a new type of form which can be enjoyed by people moving at high speeds whilst also being able to be read as a tessellation.

Image

e Source: http://static.plataformaarquitectura.cl/wp-content/uploads/2011/06/1307120294-isar-vc-3248jt.jpg

2.2 Case Study 1.0

For this study, we were given a definition of the VoltaDom in which we are meant to reverse engineer to explore what aspects we value in a tessellating structure.

Number of points of insertion: The definition begun with a series of cones with openings cut out at their peaks. The first change we made was the number of insertions, which modified the number of cones in the definition. We settled on 20 because it was a number in which we could see the tessellations occuring without it becoming too muddled by the number of cones.

Radius of Occulus: The next tranformations we experimented with was the radius of the occulus of the cones. As the occulii grow, the shapes resemble cones less and less so the radius was kept at 0.2 as to not draw away from the main area of interest: the intersections of the cones which form the tessellations.

Attractor Points - Cones: Here, we replaced the voronoi tessellating pattern with something more regular. The points were placed onto a regular grid with a point attractor modifying the size of the cones. Here, we selected the attractor point in the bottom right hand corner because we decided it would express the morphing intersections the clearest.

Changing the Polygons: For there, we began to experiment with different shapes and seeing the result which came from those. Unhappy with the tessellations they produced, we went back to the original base shape of circles.

Attractor Points - Density: Finally, we experimented with attractor points, using them to change the layout of the cones. From this, however, we decided that the regular patterning of having a structured grid was accentuating our concept the most so we did not use any of these results.

Attractor Points - Occulus: Here, we experimented with the size of the occulii. We placed an attractor point at the top left of the grid so that the smaller cones had the largest openings, exaggerrating the shift in size of the cones, thus pushing our idea of a shifting tessellation.

Here is the end result of our exploration. We modified the heights of the cones so they grow as the cones get smaller using attractor points. We believe that that would further accentuate the changes in the tessellation that we desired in a 3 dimensional perspective.

2.3 Case Study 2.0

We then proceeded to reverse engineer a project by the Philidelphia University Architecture and planning Department: the Tesselion. With a focus on planar surfaces and playing with light, we were attracted to this project because the goals were similar to our own. To re-create this project in Grasshopper, we first created the base curves in rhino and proceeded to loft it in Grasshopper.

Next, we panelled the loft using the Lunchbox plugin to create square panels.

Then we mapped out various rectangular incisions into the corners of the panels. Finally, we culled the incisions using Attractor Points to create a definition which results in a product similar to the tesselion. Differences that exist between our definition and the original is the shift in size of the incisions into the panels as well as the Tesselion being a completed work, meaning it has considered fabrication and has components such as tabs and steel joints to connect it all together. From here, however, we did not continue with modifying this project further, as we felt we were not going to get closer to our own goals so we begun on the creation of our own definition. This process helped us develop our understanding of how grasshopper works and how to create incisions in our own project, a path which could be undertaken when working on own proposal for the Wyndham Gateway Project.

2.4 Algorithmic Challenge 1 A challenge set to us by our tutors was then to create an algorithmic sketch which made a transforming tesselation. the studies we had already completed had informed us of different techniques we could use for this task, but we felt none were able to create what we desired: a seamless shift between one shape to the next. Finding example definitions online, we had a definition which could be easily modified as well as expressing our desired outcome for this project.

We begun our explorations using a graph mapper to create a steadily changing definition.

We explored further changes which could be done with the graph mapper.

Not being happy with the tesselations the Graph Mapper was creating, we began to experiment with an image mapper to create more interesting forms within our tesselations and the possibilities possible with it.

2.5 Form Exploration

After doing these explorations, we began to think about fabrication of our model. Knowling that we had to create some form of interesting 3 dimensional representation, we started with something simple: mapping out our definition onto a curve.

When looking at this shape, however, there were issues when it came to fabrication. Because we were only making a prototype, we wanted a simpler curve to work off. On top of that, the links between the stars were too fine for us to fabricate well using the resources at hand so they had to be resized.

The shapes used there, we felt, were not a strong enough statement of how tesselation could be used, as well as being odd to fabricate with corners meeting straight edges. From here, my group proceeded to move in different directions. One member was working on making the forms possible to fabricate, another was trying to create interesting forms with the tesselations and I was trying to planarise the tesselation on the curve so that it was possible to fabricate.

I began by trying to flatten the pieces on the curve by creating rectangular panes for the shapes to sit on. To do this, I had created a series of panels which followed the curvature of the curved surface. Then I proceeded to project the tessellation onto the panels to try to flatten them. While it would make it easier to fabricate, it was still not possible as some of the rectangular panes were still not planar.

I then proceeded to cut the panels down into triangles to create a planar surface which we could fabricate. Then I projected the tesselation onto the panels. I successfully did this but then ran into issue using these shapes to split the panels into smaller parts. Taking too much time to complete this task, there was too little time to begin to create tabs to fabricate this iteration of our project. I was disappointed as I thought this would create a captivating visual when completed. As a team, we decided to move on with another definition which my teammate had created.

2.6 Algorithmic Challenge 2

At this point in the project, we were tasked with another algorithmic sketch assignment. We were to place notches onto a series of diamonds which had been rotated from one another. Whilst we were able to get the diamonds to be adjacent one another, we were unable to notch them and produce a structure in which wer could fabricate.

2.7 Technique Development: Matrix Exploration

Using this, we proceeded to experiment and created a matrix to record the transformations our design undertook.

Left, we tested different iterations of panel numbers. We tried to select the one which most exemplifies the chifting tesselation.

Right, we modified a graph mapper to create as much of a shift in the tessellation as possible. As we increased the scale of the tessellation, the shapes would become more star like but too far and the lines would begin to move unexpectedly. As we decreased the scale, the shapes became more rectangular in nature.

We then begun to experiment with different fabrication techniques. The one above follows our experiments into a tabbed structure. By extruding the edges of the shapes, we wanted to create a larger exaggeration of the shapes and the transformations they undergo.For this, we were searching for an interation which exaggerated our tessellation as much as possible. (Left)

A ribbed structure was then tested. We didnâ&#x20AC;&#x2122;t like this as much as it didnâ&#x20AC;&#x2122;t do much for the tesselation and had the possibility of getting in the way of our forms and muddling up the tessellation. (Right)

Finally, we explored different possiblities with notches to connect up the pieces. This hit similar issues as the ribbed structure, though less extreme. Because of this, we decided to go with a tabbed structure when it came to creating our prototype for the Wyndham Gateway project.

The final computer model: Our tesselation and the extruded tabs together.

2.8 Fabrication of Prototype With the prototype laid out onto card, we begun our creation process.

We knew that we had to create a structure which we could build so using Rhino, we created tabs onto out structure so we could put it all together.

When put together, we get a series of cells which will be connected to each other to create our final form.

The most difficult part to put together would have been the corner of the shapes. We overcome this by creating clasps which join the the structure to allow us to join the strips of cells together.

After the strips have been joined together, we end up with out final model.

2.9 Technique proposal

From here, we wanted to experiment with more complex curved surfaces, allowing us to create more visually stunning pieces. Tessellation should be explored on the Wyndham Gateway project because with the current direction of modern architecture, complex forms are still being explored, and different methods of articulating these forms is still underway. Tessellation, particularly more complex iterations of tessellation can be used to further the discourse of architecture and this project can highlight this by doing something new and exciting. Tessellation should also be favoured because the nature of tessellation means simpler forms to deal with. Because of this, the fabrication of the materials will be simpler, thus allowing cost efficiency whilst also retaining complex forms. Such a proposal would add to the landscape of the area and make a lasting visual impact on the users of the freeway. This is advantageos because it is one of the entry points into metropolitant Melbourne. Because of the nature of our design, it represents a modern movement in architecture, creating the impression of the modern city upon visitors. Our specific application of tessellation creates opportunities for further readings. With the ability to map out different forms and rates of change, we can pick and choose what arrangement helps create the most dynamic and complex structure we can while at the same time reading as something simple at first glance. Another is the lightness which we can achieve with our jointing technique. Difficult to spot, it makes the shapes look as if they â&#x20AC;&#x153;floatâ&#x20AC;? on top of one another, creating a sense of flow between each panel. From the road, the drivers would require multiple trips to determine how the shapes form the structure.

2.10 Learning Objectives

From the mid semester presentations, it was clear we needed to further our investigations into our design. We need to look into materials for fabrication, since up to now we have prioritised exploring forms and having a rough idea about materials. We also have to work on justifying our work as much as possible, rather than just create something which looks nice but has no context at all. This was caused by us not fucussing on what was important with the project, answering the brief, but rather exploring what could be done in grasshopper and itâ&#x20AC;&#x2122;s positives and negatives. And finally, fabrication. How will the model be fabricated. It is all fine with card and glue, but when we begin to look at real world materials, it all wouldnâ&#x20AC;&#x2122;t come together in the same manner in which we build our card prototype. During this part of the course, we have developed a better understanding of how to handle a brief as well as consider real world applications of our designs.

Working out how to create a real life model whilst also making a definition on grasshopper was a challenging task. Considering how things would work in real life and not just making something interesting and looking nice was a nice change of pace for us, as until now, alot of the design work we had was to just create interesting forms. Building our model on grasshopper has allowed us to quickly change and develop our ideas further by just adding some functions or by moving a slider. An issue with this, though, is that because we have not been working with grasshopper long, we are still learning what certain functions do and our understanding of them is still developing. In the future, we expect to develop our understanding of these things further and create a model which will be able to answer the Wyndham gateway project brief successfully.

2.11 References

Imag Sources: Page 23: Escherâ&#x20AC;&#x2122;s Sky and Water 1, Incredible Art, <http://www.incredibleart.org/lessons/middle/images/escher_sky_water.gif> Pages 24-25: Polyp.lux, Softlab, <http://www.designboom.com/design/ softlab-polyplux/> Pages 25-26: Vossoir Cloud, Iwamotoscott, <http://static.plataformaarquitectura.cl/wp-content/uploads/2011/06/1307120294-isar-vc-3248jt. jpg>

3.1 Design Proposal

In the last part of this proposal, our design was critiqued for the simplicity it held. Because of this, we tried to add more to the design, attempting to heighten the complexity the design possess as well as explore more ways in which we could create a reading which held more reference to the site. With Wyndham as the fastest growing locale in Victoria, the Gateway we designed was to become a visual abstraction of the growth which the area is experiencing. The growth which the shapes take in the morphing tessellation, we realised, would represent this growth well. Our design focusses on gradual change. With a morphing tessellation taking the forefront of our design, we aimed to have a construct which would read as simple at a glance, but becoming increasingly complex as people travelled passed it over long period of time. Taking our definition, we could apply it to create a structure which flowed with the landscape whilst at the same time highlight the changes which are happening in the area. Our intent was to apply our definition to a surface to which we would then use to formally express evolution, mirroring that of the Wyndham area, from simplicity into complexity. By applying it to a complex form, we can take our seeming simple definition, and produce a dynamic form.

3.2 Form Finding

With the gateway being a welcome to the area, it has to be site specific. A structure of dynamism, we should have our structure make sense in the context of the site.

To create our overall form, we went with a lofted shape, creating a doubly curved structure reflecting a ribbon like motion. The shapes were controlled through control points, allowing us to manipulate the form to our liking.

Next, we looked at an aspect of Wyndham which we could use for inspiration for our form. We found this in the population growth graphs for the area, eventually using it to map out the shape of our structure.

Finally, we put these aspects together, creating a form which expresses dynamism and movement, perfect for the site and purpose; a representation of Wyndham whilst also being exhilarating when viewed by drivers.

To create the morphing tessellation, we first mapped a grid out onto the surface we wanted to divide which we created by lofting two curves together. this was done by gridding the surface, finding the normals of those points and then projecting them out and gridding them together to create a new grid. From there, we divided the grid up, as per the number of sides we wanted the tesselation to have. With that information, we created a definition which allowed us to offset over a gradient, whether by using a graph mapper or an image mapper, to allow us to create a change over an area. To create the extrusions, it was a simple extrusion along an axis and then applying the definition to the tabbing program provided to us by the course administrators. We believe that this definition, although seeming sinplistic in explaination, provides an interesting method of exploring distillation of form through tessellation whilst also being feasibly buildable.

4X10

Above are some explorations of the capabilities of the definition, when a graph mapper is applied to it. Using the mapper, we have complete control over the rate of change, areas of change and magnitude of change. The linear mapper highlights a straight change and reflects motion, giving the illusion of a moving shape, while being stationary. The sin and sinc graphs produced a muddled change, being unclear about what is actually going on within the form itself.

20X6

40X10

Next, a change in the size of the graph we mapped the form with was varied. When the number of panels was increased too much, as seen in the 40 x 10 set of examples, the definition would not function as intended and become unbuildable in some places. on the other hand, when the number of panels were reduced too much, such as in the 4 X 10 set of examples, it they would become too large and difficult to construct at the scale we wished to build. Thus we settled on using 20 X 6 panels for our final proposal.

From there, as I have stated before, we extruded all the shapes along an axis, as seen in the top figure. This was done because it meant that all the sides would still remain beside each other while also expressing qualities which we desired, namely giving the structure a bulk and to hide the jointing which we had decided to use. This gave the form a ribbed structure, which we found gave the model strength in the last part of the assignment. We also tried to extrude these by finding a normal and then extruding so that the points still met but the rubs were perpendicular to the shapes instead of just a straight extrusion. Whenever we attempted this, however, the CPU of our computers ran out, crashing rhino and our computers. We then capped the extrusion to produce the panels which we were going to use to construct the structure with. Finally, using a cull, we alternated some faces so that they would be placed on the other side of the structure, once again giving the feeling of depth from a structure essentially built from planes. We feel that these intricate components fully express the desires of the Wyndham gateway Project. Designed to mimic the viewers speed, the changes, while subtle, should cause drivers to want to know more about the structure, paying attention to it more and more as they pass it on their daily commute.

To try to increase the complexity of the project, we looked for inspiration. We got this from the EXOtique installation, bottom left. Using a radial pattern, we then modified it using an attractor point to make it more interesting to observe. Finally, we culled some part of the graph to create a pattern which we were happy with and, when applied to our design, would create feelings of movement by the deformation of shapes, right, middle left.

We then mapped the perforations out onto the surface of our design. With it on every panel, it became messy and the perforations became the main attractor of the eye. Because of this, we tried many different stratergies to reduce the number of perforations in the design, such as culling and trying to use an image map, which ened up crashing our computers. In the send, we settled on the random reduce function, being out of time and struggling to complete the project.

Following the presentation, we decided to give ourselves more control over the perforations so we mapped out a grid of circles on top of the structure. From there we tested different methods of changing the size of the perforations; using a point attractor, top left; using a curve attractor, middle left; and using an image mapper, bottom left. They all had very similar end results so we used the point attractor, placing points in places which would exaggerate the form of our structure, heightening the dynamism of the overall form.

3.3 Orthogonal Drawings

Front

Left

Right

3.4 Construction Drawings

Constructing the structure is simple. As seen to the left, the panels are made to fit onto the ribbed structure perfectly, so construction is simple. To do the folds required and achieve the lightness we desired though, materiality had to be considered. Where we used paper in our Part 2 submission, it isnâ&#x20AC;&#x2122;t feasibly possible to create a monumental structure from it. As a group, we quickly agreed that plastic would be the best material to fulfil our desires. Posessing a thiness whilst also the flexibility required to do the bends we have in our ribs, we designed our process to be easily done with a plastic material. The plastic is planned to be melted together at the joints, creating a welded joint. Because this cannot be replicated with plastic, we have created paper brackets to represent this as well as to make it buildable. The images above and below highlight the explorations with plastic which we attempted. Because the design will have to be built, as mentioned previously, the simplicity of the design will allow this. With the pieces seperated into a size which a truck would be able to carry onsite, transport and construction should not require a large amount of time.

Ultimately, the structure we produce will have to stand and be able to withstand the loads which it will encounter through its lifetime. To do this, we would connect the base of the structure to a concrete pile using L bolt steel anchors.

Below, the image displays hypothetical cabling which we would require on our model. Reaching a height of 4m and a length of 20m, the structure would be subjected to lateral wind loads. To counteract these, the cables are to be positioned as to remain in tension whilst wind blows on the structure, hopefully causing it to remain in place in even the windiest conditions of Melbourne.

3.5 Model Fabrication

First, we split the card we were using for the project into strips. These strips would glue together to form our ribs. We had 120 faces, 42 ribs and over 400 tabs to cut out.

Next, we glued the faces onto the ribs.

This produced strips of shapes with the ribs attached. At this point, the strips are still flexible.

We then proceeded to cut out the tabs which imitate a weld between the plastic. We slit the ribbed shapes so that the tabs could be slipped through and glued on. Putting them all together, we end up with our final form.

We also produced a 1:10 test model using polypropelene. This gave us insight into the materiality of plastic and helpd us confirm our selection of materials. Using a dash dot cut score line produced in grasshopper, we were able to easily and cleanly fold the material at the required points and angles. Slits were placed in the centre of these cut lines to allow a plastic joint to be placed in the middle, much like the paper joint, due to the limitations of what we could achieve in the time we had.

3.6 Completed Products

To City

4 3 2 1

To Geelong

Because the gateway is to be placed by a highway, highspeed viewing of the structure is the only way the design can be viewed. So a fast and memorable experience needs to be conveyed to drivers as they spend less than one second next to our design due to the speed at which they are travelling. It should still, however, be a representation of Wyndham, Melbourne and even Victoria.

3.7 Reflections

During our presentation, a point brought up was the simplicity in our design. Due to a lack of sleep, and a negative attitude toward the project, due to the model not being able to be fabricated in time for the presentation, much of the commentary towards out project was unable to be commented on at the time. In response to the simplicity, we argue that from simplicity stems complexity. Conceptually, the idea would be simple to create, design and execute. But due to the nature of the design, the morphing tessellation, application of our proposal is actually more difficult than it appears. Another aspect which was criticised was the use of randomness in which panes became perforated. Although the creation of the perforations was through randomness, we had set a series of checkpoints which they should achieve. It was all still a subjective result though, so we went with the attractor point perforations as set out above. If more time could be spent on this project, a better method of perforation could easily be achieved. Finally, as a general response to the critiques given to us during the presentation, we accept much of it, but we believe that our design is anything but simple. With many different elements coming together in one structure, most having been thought out and tested for feasibility, we have a complex and dynamic structure which would make an extrodinary design for the Wyndham Gateway Project.

Within this subject, I have developed a further understanding of the discourse of architecture and how, even as students, we can further it. Working towards an eventual unified concept through a single prompt, tessellation, we learnt to respond to a brief. As this was the first time many of us was exposed to parametric design, it was a new experience for us to grasp. The approach the class took was also a difficult angle to approach design from; developing techniques which would later be applied onto a site rather than being site driven. The program taught, Grasshopper, was one which, at first, felt as if it made yielding results was simpler than just modelling something on Rhino. However, over time, we realised that we could obtain, with a lot of work, more complex designs. On the other hand, there were many times which we wished we could resort to manually fixing something on Rhino. Avoiding this, we further developed our understanding of how to handle situations, and appreciating an understanding in the limitations of both programs. Although the above is true, we have learnt a lot about to change form within Grasshopper, allowing us to have quick reactions to a brief using a similar definitions. Changing the definition, however, has led to some issues, such as using simple functions and then unexpectedly, due to the complex nature of our own definition, our computers have crashed due to running out of RAM. Another aspect which we explored thoroughly was the overall construction and how our project would be realised. Looking at some of the other projects, we question how feasible some of their explorations have been. All the way through the design, fabrication was on the forefront of what we were doing. We limited our design to something which we believe to be within the realm of possibility, from the size to the jointing, to the ground connections. Finally, the model. Much of the hassle we had with the model could have been avoided if we had been able to grasp things better. Whether it be Grasshopper, design or something as simple as scale, we could have saved alot of time and grief if we had been able to spot incoming disasters and have responded promptly.