DESIGN STUDIO
ST NAME: THEODORE TONG ST NO: 557523
AIR
CONTENT PART I EXPRESSION OF INTEREST I.I CASE FOR INNOVATION I.I.1 ARCHITECTURE AS A SCULPTURE I.I.2 COMPUTATION IN ARCHITECTURE I.I.3 PARAMETRIC MODELING
I.II. RESEARCH PROJECT I.II.1 CUT: DEVELOPMENT I.II.2 CUT: FABRICATION
I.III. GROUP EOI I.IV. COMCLUSION AND ACHIEVEMENT
PART II DESIGN PROPOSAL II.I DESIGN AMBITION II.II BRIEF II.III PRESPONSE TO SEEDS OF CHANGE II.IV DESIGN NARRITIVE II.V MATERIAL& TEXTURE II.VI SITE PLAN II.VII FABRICATION II.VIII GRASSHOPPER PROBLEM SOLVING II.IX CONSTRUCTION DESIGN II.X FABRICATION II.XI MODEL MAKING II.XII FINAL MODEL II.XIII CONSTRUCTION II.XIV RENDERING PART III. LEARNING OBJECTIVE AND OUTCOME III.I PERSONAL BACKGROUND & OBJECTIVE III.II LEARNING PROCESS III.III LEARNING OUTCOME III.IV FUTURE WORK PART IV. COMPETITIVE ADVANTAGE PART V. CONCLUSION
ART N’ ARCHITECTURE “This is architecture as art. The architect is a special kind of artist who works in three dimensions... works to enclose space as well as simply making objects in space. It includes elements of the other arts, but it is superior to them because it is a synthesis of them all.” (Williams, R.)
PART I. PROJECT PEOPOSAL
CASE OF INNOVATION
ARCHITECTURE
Architecture is an object that interacts with human life, and it is already part of daily life. For instance, the most eyes catching building would become a landmark of a certain districts due to the unique envelope; the iconic facade design is successful to build up a profound impression.
is an art a landmark part of human life a construction design need practice
However, architecture is not only focus a plane surface, also analyzing the social aspect to discover into spatial experience. New design methods and concepts will become a leader that introduce a new innovation and bring our life into next generation.
ARCHITECTURE AS ART
Aesthetic may become a serious problem for architecture after introducing Ancient Greece on aesthetic theory. Human expect higher appreciation of beauty, not only body shape, but also building art. Having a sculptural, aesthetic appearance will give a strong impression to human undeniably, however, even professional may over emphasis on tasteful perfect image, omit spatial organization and human comfort.
Starwood Hotels - Hotel Marqués de Riscal, 2006 Frank Gehry
PRACTICE
ARCHITECTURE VS SCLPTURE Arcitecture is different from sculpture, we must consider different perspective carefully as the scale of it relative huge when comparing with the other art, and we must need to consider human scale and the relation with them since it is the only art that interact with human in daily life.
SOCIAL ASPECT STRUCTURE MATERIAL
ENVIRO. ASPECT AESTHEIC
Aggregated Porosity Canopy, 2011 UNstudio and Zaha Hadid Architects
Curvaceous “S” shape panel was developed from right-angled shell, a typical bus stop element. The lower curve created a bench for sitting and the upper curve act as a canopy for shading purpose to reach human comfort. The canopy stands out from the society successfully because of the unique facade. The sculptural dynamic surface is formed by different shape of hexagonal panels.
LEFT: Design Development RIGHT: Structural system of the camopy
BALANCE BETWEEN AESTHETIC N’ SPATIAL PLANNING The building in Hong Kong is quite boring, a box dressing up curtain wall. However, Opus Hong Kong, the first residential project with Gehry signature (free form with billowing curves rising from platonic base), is a unique building in Hong Kong. Gehry is too emphases on aesthetic effect on the building, but seldom consider human comfort during spatial planning. It is strange that core become the centre part of a unit, but not living room. There is a weak connection between living room and the others. And resident would feel uncomfortable even it is a 600sq ft unit. As we know that the flat in Hong Kong are relative small and tiny, it is because high density of population and limited land use. It is reasonable that all of the buildings are in regular form since it is the most efficient way for spatial planning on a small site. But Gehry is just creating his own style’s building without concerning social issue in Hong Kong.
Swan Pavilion, 2011
Theodore Tong Studio Project
SWAN PAVILION
Opus Hong Kong, 2012 Frank Gehry
WEEK 1
01
THE SCULPTURE IN CITY
The site is a theme park that adopts the style of Chinese garden, where contain lot of vegetation, and the river and pool is the linkage with the whole site. And my design theme, swan, just come from it. A “SWAN” sits on the pool, it draws a connection with the surrounding and create a comfortable and peaceful condition for the user to take rest. The design is different from the traditional one, four columns with a roof. Creating
a unique sculpture will catch people attention rather than being “state of distraction”, people would discourse with the other whether it is beauty or not, and comfortable or not. It is the value of the architecture act as a sculpture.
project, I spend most of time on making physical model on finding shape, which waste more time than building the digital model, it just take a few second to form a new shape when twisting and compressing the surface.
DESIGN APPROACH The ECO pavilion project was my first year architectural studio project. I use wire to build up conceptual model for the further studying on the shape since I didn’t know any software. For this
However, I would prefer to make “a few” physical models. You can pick it up and view from different angle, it show the realistic and realtexture on the surface.
COMPUTING IN ARCHITECTURE “This is architecture as art. The architect is a special kind of artist who works in three dimensions... works to enclose space as well as simply making objects in space. It includes elements of the other arts, but it is superior to them because it is a synthesis of them all.” (Williams, R.)
“Art is a cultural process involving many participants within a discourse. This process does not unlock itself on first sight, but unfolds through encounter and engagement.” (Soma, 2011) The design achieve this goal by emphasising the envelope, the unique sculptural façade provokes attention and invites visits to excavate the know and unknow. A 2-meter long aluminum profile is arrayed to create oscillating spatial effects. The single sticks merge into a mass-like structure that changes its appearance during the day according to different light conditions. The speculative intention behind the “obliteration” of the pavilions structure is to prevent any conventional notion or cliché of “construction”. Instead the pavilion should appear arbitrary to invite visitors to invent their own associations and interpretations. To realize these conceptual ideas, conventional methods are not feasible. Contradiction of regularity and irregularity and interaction of single elements that perform together as a complex whole cannot be reconciled in a straight forward process.
“Architecture has to follow the diversity of society, and has to reflect that a simple square or cube can’t contain that diversity.” Toyo Ito
CONCEPT Ito reflects the theatrical arts (spatial arts which combine the body, art, music and performance) by using volumetrically continuous surfaces. It creates a connection between different level.
FUNCTION Different function will provide different treatment. Ito concerns the optimum settings for different types of performance that moves beyond the constraints of a traditional Opera House. He forage the suitable shape of curvilinear surface for opera house since different shape of surface will affect reflection of the echo directly, it is easier for him to produce sorts of study model by using computer.
FLUID CONTINUITY STRUCTURE
INFORMATION PROJECT NAME: ARCHITECT: LOCATION: YEAR: PURPOSE:
Music Pavilion SOMA Salzburg 2011 Pavilion
The design is an open structure which actively engages its surroundings in all directions and creates opportunities for myriad encounters between high art and popular art, artists and visitors, stage and auditorium, interior and exterior. Ito calls this space the Sound Cave. The computing program gives flexibility when designing the structural system. Designers can build up a complex three-dimensional structure for
their own building, which means that design might not have constrain on structure anymore. Ito takes vertical and horizontal structural elements from Sound Cave as a continuous network. It is perceived as a fascinating and flexible “acoustic space” before entering on of three theatres, which, in three dimensions, connects Arts Plaza, workshops, foyers, restaurants etc.
PARAMETRIC MODELING “The designer who wants to be completely in control to the results must be in control of the process. To be in control of the process, the designer must be in control of the tools, the designer must be in control of the tools. The tools are computation; therefore a designer who want to be in control must also be a scripter (or suffer the consequence of the unseen influence of using other people tools)” (Robert Aish)
This Mart Centre was designed and constructed by the Institute for computational Design (ICD). The design team using computer-based design and simulation methods with computercontrolled manufacturing methods for its façade design. The aim of this project was to develop an envelope system that both reinforced the building’s sense of permanence, but also revealed increasing levels of textural detail at various proximities. The use of precast concrete brings digital design and fabrication into full play of its flexibility and volatility. The team gave up the design of building form, but were inspired by its endless formal capabilities, and eager to develop a unique, sculptural facade system that would easily adapt to multiple contextual and programmatic requirements.
Parametric modeling process make it possible to explore lot of iterations in a rather short period of time, giving us a much faster feedback loop. Design options could be tested and compared quickly, and as a result we had much less attachment to any individual solution. We could validate a response based on how it worked, while keeping the rigor of this system completely intact. The final design would simply be a reaction to each parameter we clarified.
RETHINK The introduction of parametric modelling change the way of design work, takes Medical Mart as example, the team can try different image sample to form different pattern on the façade in grasshopper in the design stage, it will spend less of time on developing the façade by replacing another image into the image sample definition. Designers may need to spend more than triple time on rebuild the pattern in traditional approach. Moreover, they can just send the grasshopper files to construction engineer; it is much easier for them to read the design since the mode is in threedimension instead of drawing lot of construction document.“It turns out that this single change has far reaching effects on the way designers work, on what designers need to know, on what can be expressed and built and on the systems needed to represent designs.” (Woodbury et al.)
MODEL MAKING Building up a physical model proved invaluable in discussion with the others. Communication is important in architectural firms. It would encourage different people to give their own opinions that you haven’t thought about it. Some how, it is one of the processes to improve the design. In this case study, The 1/2” scale hydrostone panels were often used in meetings reviewing formal refinement for the casting and form-liner fabrication process. Architectural Polymers, form-liner fabricators, used the same Rhino file that was used to create the 3d prints for the model. A large CNC router was used to cut the full-size master from a piece of high-density foam. All of the panels sizes are derived from the largest panel. This allowed a single master-panel to be used as the primary casting surface for every panel type.
PART I. PROJECT PEOPOSAL
MATRIX
ATTRACTOR POINT
ARBITRARY POINTS
ARBITRARY POINTS
-un-userfriendly since it need to add lot of points to form the pattern
OVERLAPPING PATTERNS
-Curve take two close corners of polygon to be the edge points -Form amazing pattern
-un-userfriendly since it need to add lot of points to form the pattern
OVERLAPPING PATTERNS
SURFACE GRID
DATA DRIVEN ROTATION
IMAGE SAMPLER
-Effect is similar to overlapping (INPUT), but DATA DRIVEN ROTATION can rotate the image
-Easy to for different size of cubes due to overlapping effect
USING SURFACE NORMALS
DATA DRIVEN EXTRUSION Rotate from different angle and different size of circle - Orientation of the geometry alone surface - Flexible to form facade pattern
- Orientation of the geometry alone surface - Flexible to form facade pattern
- The brighter image is, the larger circule is - Flexible and easy to form matrix thought rearrange the color from image
SURFACE INTERSECTIONS
USING SETS
DATA DRIVEN ROTATION
DIRECTION - Z
DATA DRIVEN ROTATION
OUTPUT
DIRECTION - X
INPUT
- Copy the original geometry & place next to it - Create much complex matrix
INPUT
- Gemotry become smaller when it is close to the curve - Easy to adjust the pattern
ASSOCIATION ASSOCIATION
BOOLEAN PATTERN
ARRANGEMENT
- Show intersections points - Regular order
PART I. PROJECT PEOPOSAL
V. REVERSEWNGINEERED CASE STUDY
Gantenbein Vineyard Facade is used parametric design to achieve the functional need of the building with aesthetic aspect. The facade encourages not only the sun, but also the whole nature to the internal space.
PROJECT NAME: GANTENBEIN VINEYARD FAÇADE GANTENBEIN VINETARD FAÇADE ARCHITECT: GRAMAZIO & KOHLER LOCATION: FLASCH, SWITZERLAND COMPLETER: 2006 DEFINITION:
IMAGE SAMPLE ROTATION
Gramzio & Kohler introduce brick, the tradition building material, with special treatment to provide a new in novation, each of the brick elements with different orientation. Gantenbein Vineyard Facade is used parametric design to achieve the functional need of the building with aesthetic aspect. During the production, 20000 bricks are placed piece by piece accounting to the parametric program by using robotic arm (Change the orientation of the brick element that allow each wall to process the optimal light and air. The facade encourages not only the sun, but also the whole nature to the internal space. Gramzio & Kohler introduce brick, the tradition building material, with special treatment to provide a new in novation, each of the brick elements with different orientation form a three dimensional textural façade. The team create pattern on the brick wall by using grasshopper’s definition, image sample, to change the orientation of the brickwork. The degree of rotation of brick is proportional to the brightness of image. And it forms an interesting three-dimensional pattern and image on a simple surface.
The bricks generate an amazing light and shadow pattern insider the building thought rotating the brickworks, the small gap between brickworks not only act as a aestheic effect, but also allows the faรงade to act as temperature buffer and light filter, which ensure the wine will not deterioration under direct sunlight and create a confidence environment for fermentation. It is a successful that both contain aestheic and funcstion.
TRADITIONAL BRICK WALL
The orientation of each bricks retains different reflection and form different degree of illumination. The gaps between each element allow the faรงade to become a semi-transparency brick wall. The interior spaces are loomed at side view because of gaps.
ROTATION BRICK ELEMENTS IN THE SAME ANGLE
However, it become a solid brick wall when in the front side. Moreover, it have the some theory at night but in opposite way, the electrical light will be permeated to exterior space though the jointing.
DIFFERENT ROTATION FOR EACH BRICKWORK TO FORM 3D IMAGE
The case study model produces an amazing light and shadow effect on the surface after fabricating it. It has different texture and shadow due to the change of the orientation of each bricks. The model inspire us to have further development, the zip zap surface We have study a sort of conceptial models to study the effect from diffferent geomety with different change’s element. The panel which contain the change of orientation of pattern show the shadow from different time, however, it is not successful that the model only get a strong effect on shadow study. Here is the conceptual model that forms the shape of our final model. From the left photos, it showed that part of the model is block by the front panel. But you can see almost the whole part of the model on the other edge.
PART I. PROJECT PEOPOSAL
DESIGN DEVELOPEMENT
+
The sculpture act as a signpost which alarm the drivers that they are already leaved away city, and entering to the nature, Wyndham City.
CHANGE OF... DENSITY
MAN-MADE
NODE: Melbouurne City ANTI-NODE: Wyndham To represent the symbolic of a city, the driver will get a narrow view to nature because of the tiny gap between each panel when driving from Melbourne city, it is just like a semi-transparent screen.
NATURE
LESS-DENSE
DENSER
GEOMETRY
HEIGHT
HIGHEST: Wyndham
Drivers can only view the first few panels if placing the lowest one are placed at the front, they couldn’t release how long the sculpture is before passing thought it.
LOWEST: Melbouurne City
The shorter panels will create a feeling of pressure, on the other hand, higher one will give a feeling of freedom
On the other edge (close to Wyndham), it provide wider view to nature by enlarging the gap between panels, that bring the message “Welcome to Wyndham, welcome to wildlife”
INPUT: Using a simple plane rectangle form to be the basic geometry of panel
MATERIAL Reflective Road Aignages Material
FOOD
LIFESTYLE
NOISE
POPULATION COMMUNICATION BUSINESS SOCIAL RELATION HOUSING DENSITY
WIND
MONEY
ASSOCIATION: Force from surrounding Melbourne: Many pressure from city (noise, housing density, lifestyle, money, communication, social relation...) Wyndham: Only one force stress from nature (wind)
OUTPUT: Melbourne:Regular Wynham: Curvilinear
Driver can see the scuplture clearly even at night because of reflection of headlight from car NON-REFLECTIVE REFLECTIVE
DAY TIME
NIGHT TIME
The material will change gradually vertically, the scuplture will seem to be dissapear to the sky
PART I. EXPRESSION OF INTEREST FABRICATION DESIGN
PART I. EXPRESSION OF INTEREST CONCLUSION The difficulty of this project is the function of our design, we are not only to build an aesthetic sculpture without any social consideration for the gateway, eventhought using grasshopper can generate fabulist models. For the social consideration, the function of this project is quite special when comparing with the pervious projects. It is just a sculpture site on the site, which mean there is no physical linkage between the design and human, people can not touch it, smell it or stay inside for a few minutes. If only have a visual connection with the human who are in 100m/h on car, We need to think about the scale, pattern and shape that the driver can view the sculpture for a while. The function of the design is a signpost to alarm the driver that they are not in city anymore, but in another world, the nature, and freedom area. That’s why our team try to emphasis the change for this project, different location will create different feeling, at the same time, different treatment can project the change of feeling from mental to physical way. It is better than using the map of Melbourne to form the pattern on the façade, it is not the representation of Melbourne, but just the enlarged map placed on the site.
ACHIEVEMENT This studio force to use grasshopper to form the design, and I think we already achieve the goal since we all know the basic operation about the grasshopper. Furthermore, the innovation to change the program of this studio is to introduce the digital modelling, the design approach that is different from the original one. It is good for us to practice a new thinking style since we can compare which approach is much suitable for our own, and I find my own way finally, I would not use the computational method my design, but a tool to achieve the thing what I want.
PART II. PROJECT PEOPOSAL
PART II. PROJECT PEOPOSAL II.1 DESIGN AMBITION
- Exciting and eye catching visual impact - Memorise the past of Wyndham - Imagine the bright new further of Wyndham - Harmonic with the city development “public art centre” - Interacting with drive thought form finding - Upgrade the condition and aesthetic of the streetscape on site - “Sculpture” as an architectural discourse - Iconic and become a new landmark of Wyndham City
II.II BRIEF
Scale of the sculpture is also one of the considerations during the design process; the design with suitable scale is the only way to fulfill our achievement, a repaid pleasing interacting communication with the drivers.
visual arts
HIGHWAY
iconic
sculpture
In response to the design brief, sculpture as a landmark that driver can experience and interacting with the sculpture while driving thought it in a short period of time. Exciting, iconic, eye catching visual impact will be addressed when situating a grand dynamic sculpture along the road. The dynamic sculpture will be placed through the sites where is next to Prince Highway in different approach to create a new atmosphere, the form of the sculpture is a platform to present the development of perpetual changes of Wyndham City, and imaging its brand new future.
a eyecatching e s t h e t municipality i WYNDHAM CITY c
exciting
speed
d i s c o u r s e
It will be a discourse in the architecture discussion as it a contemporary scripting with unique and functional feature. The dynamic panels with organic form create an interesting and amazing experience for visitors driving though it.This will be an architectural discourse as it allows viewers to interfere with the architecture in highspeed movement.
II.III.RESPONSE TO SEEDS OF CHANGE
Wyndham city is keep developing in a continuous succession phases and the former was often wiped off in the exercise of growth. ‘Dynamic Seed’ is an attempt to recall the history of Wyndham, which is a collective of past, present and future in a single rapid context. In this, we adopt “growing seeds” as our theme to evocate the memory of green land and respect to existing immediate context for envisioning urban fabric of Wyndham in the future.
DYNAMIC SEED
WYNDHAM GATEWAY PROJECT
“A purposefully designed monuments, in built form will never separated from ornamentation because a building itself is essentially a careful and deliberate assembly of chosen materials.” (Massavi and Kubo, 2006) We believe that our sculpture itself can become ornamentation and build in site as the sign of Wyndham city. Which is a meaningful, functional mechanism that allowing architecture becomes a media to connect the culture of city and visitors. Architecture are simplified that ornamentation become the body of a building in the new generation. It is an art form that that beyond the idea postmodernism that connect nature, built form and humans. In Gateway project, our design are aimed at creating a sculptural symbolic art rather than a building that incorporate the cultural characteristic of Wyndham City timeline, and leads to exciting the imaging of yet to be know of the driving experience towards Wyndham City.
PART II. PROJECT PEOPOSAL
II.IV. DESIGN NARRITIVE
WYNDHAM CITY Wyndham City, a residential and rural municipality, is located on Melbourne’s southwestern fringe and 12-45km from CBD. The site of this gateway project is located on the side of the highway called “Prince Highway” from Gelong toward Wyndham city. The rapid residential and population are growing in Wyndham city continuously since 1960s. However, Wyndham City start being on the horns of a dilemma as the current natural environment area is declining due to the rapid growth of urbanization nowadays.
SITE B
SITE A
VIEW The shape of road will guide drivers’ scope visually. Prince Highway from Melbourne City to Wyndham City is a path that concave upward. The driver will view the site in different angle at different part. 1. Mainly Site A 2. Mainly Site B 3. Both Site A & B
LOCATION & SIZE Drivers just take a few seconds to pass thought the site. Thus the sculpture should be large enough for reading, and developed in horizontal direction to maximize the experience time along the site. The sculpture is 80m long and divided into 4 main parts (more detail will be discussed later) to create and dynamic interaction with drivers rather than extrude the surface along the Prince Highway.
WIND ANALYSIS
Why ornamentation? Why sculpture? Why picturesque approach? Why not Mimetic Ornamentation? Wyndham City’s Art in Public Buildings and Places policy supports the development of a high quality art collection with regional significance. Our primary public art acquisition strategy is called the Per Cent for Art Scheme. This ensures that one percent of the budget for Council’s major capital works projects is set aside for a related public art component. Artworks have also been acquired as part of Council’s support of the Helen Lempriere National Sculpture Award between 2002 and 2008, as well
as through Council’s Mayor’s Commission program which operated between 2001 and 2006. (Wyndhamcity, 2012) This effort of creating cultural city of high value in art appreciation becomes our drivers in finalising our EOI in creating rapid architecture of public art, signifcantly inform the identity of city, creating sense of fun , exciting place welcoming drivers towards the city.
In order to communicate with the site context, the orientation of the panel are analysed to sit perpendicular to the wind direction, which allow wind pass thought the sculpture rather than disturb the environment.
WETLAND DATA IN VICTORIA
WETLAND IN 1788 2012
Based on data from Melbourne Museum, the size of grassland are decreased gradually after European Settlement in 1750s. Wynham City is one of the few cities that still contain relatively large wetland in Victoria.
FORECAST RESIDENTIAL DEVELOPMENT
The seed is metaphorically depicting potential of Wyndham city that is growing continuously from past, a small villa, and forecast to be developed.into secondary metropolis after Melbourne City in Victoria. FORECAST POPULATION
PAST BEGINNING OF DEVELOPMENT
NOW TURRNING POINT Nature VS Urban
FUTURE ? Forecast: Balance between urbanization and natural environment
DATA OF WYNDHAM DEVELOPMENT The graph shows the past, present and future development of Wyndham city. The development of Wyndham city will slow down in future although the population will keep on growing,
DEVELOPMENT NATURE
URBAN
PAST
TIME
PRESENT
FUTURE
FORM
According from the research, we find that there is an inverse relationship between natural environment and urbanisation in Western Suburban of Victoria from the past to now. At the present time, Wyndham is struggling with the imbalace relationship of urbanisation and natural environment. The forecast data shows that the development will slow down at future time; and we predict the development will become stable as the balace between natural environment and urbanisation in Wyndham. As stated on our design ambitions, we wanted to create a sculpture that enables the drivers to experience while driving thought it. With the design, we successfully achieve it by creating individual dynamic panels that continuously changing as one driving through it.
SHADOW
The sculpture is divided into three main parts: Part A: Half-canopy The drivers experience the shadow casted by canopy, the darkest part of the whole sculpture. They will experience the change of form to be more vibrant and intense as driving thought it.
Driving Apex-
creation of space of unseen and unexpected
Edge Apex-
PART C
Part B: Tunnels It is a semi open space since the panel are not connect to the ground. The change of dynamic form allows the viewers to experience the vigorous change. Part C: open space The panels become less intense, where the sculpture is separate in both side of road. The transformation from tunnels to an open space, which emphasis strong message that the feeling of brightness and openness. It is represent “welcoming to the dynamic Wyndham city�.
creation of space of non-transparent blocks intended to enrich perception of drivers
START
MIDDLE
END
PART II. PROJECT PEOPOSAL II.V. MATERIAL & TEXTURE
PAST
“Materials and surfaces have a language depicting the narration of a built form, informing its durability, inherent symbolism, existences which informs the designers’ intent and thinking through the public general impressions and experiences.”(Branko Kolarevic & Kevin R. Klinger, 2004)
TEXTURE To represent the past of Wyndham, panel’s form are referenced from the material of heritage, brick, but presented in dynamic way.
Traditional brick wall (FLAT)
Change brick’s orientation (dynamic)
Brick with different orientation to form 3D image
Bricks are the traditional local material in the context of Victorian region, which give a feel of historical heritage, thus it is the representation of the past. However, in relevance of deliver out idea of the transition of past toward future, the “ bricky’ pattern is developed in dynamic form by rotating the form of each brick, which give a new interesting texture on the bricky surface.
NOW
MATERIAL
TEXTURE
MATERIAL-METAL During the design process, the consideration of the sculpture materials was discussed carefully among our group. A dynamic form sculpture with 800m long on the sider of the Prince highway, light weight aluminum panels is the best material to be applied on the façade, it is the representation of modern architecture to create temporary façade for the sculpture as we want to emphasis the modern dynamic feature of Wyndham City.
Part A: PAST Wyndham started to developed. The curvy shape is taken from the analogy of seeds.
Part C: FUTURE
Part B: PRESENT
Sculpture opens up to show the success of Wyndham in the future. Sculpture is seperated into two parts as a representation of balance between nature and urbanisation.
Wyndham is struggling its rapid urban development and the loss of natural area. They are still finding the balance points between nature are urban planning at the present time. Thus the shape is a tunnel, where it is intense to represent the struggle and at a standstill.
II.VI SITE PLAN The final design is divided into three parts that represent the growth of Wyndham City from past, present and future.
PART II. PROJECT PEOPOSAL
II.VII. FABRICATION
Light+ Structure + Space + line = FORMS 1.
Simple surface are reference from site boundaries which allow flexible geometry for development
2.
Development of undulating surface specific to site landscape and analogous diagram
3. Curve is added and manipulated according to design ambition of creating exciting experience, creating unexpected visual experience 4.
Further development on the form to fit with design narrative which is about past, present and future (refer to design narrative)
PART II. PROJECT PEOPOSAL
II.VIII GRASSHOPPER PROBLEM SOLVING
1) IMAGE SAMPLE
ISSUES
SOLUTIONS
Difficult to be adjusted for long surface
Divide the surface into 4 part and use different image for each panel one
ISSUES 2) NO. OF RECTANGLE PER PANEL
SOLUTIONS
The V values of sub-divide component control the number of rectangle per panel. Difficult to apply one definition for whole surface; different length of panel require different number of rectangle
Curve surface difficult to display 3D image
Slider replace image sample Use slider to control the rotation of each vertical rectangle
Divide the surface into different part and make a varied definition with different V values
PLAN VIEW
PLAN VIEW
PERSPECTIVE VIEW
PERSPECTIVE VIEW
Use a simple image with less colour change rather than using the complex one
Panels with different colour represent they are applied with different V values
Retangles are overlapped
Some rectangles are isolated from others due to the sharp rotation
Avoid use of white colour. The Brighter image are, the greater value rectangles rotate
The shortest panel
The tallest panel
Set the V-value as 38 It can’t use the same V-values for the whole surface, since each panels get different height.
IMAGE SAMPLE V VALUE
ISSUES 3) RUNION
SOLUTIONS
Join and combine all overlapped rectangle to a continuous surface
Finally, it still doesn’t work even I asked our tutor to solve the problem.
Combine the panels manually by using ‘BOOLEAN’ component before putting it back to grasshopper to do fabrication model.
The following may be the reasons that grasshopper cannot display the entire dynamic panel: No intersection between rectangles
BOOLEAN RHINO COMMAND
Change the size of rectangle
Rectangle size: 1000/300mm
Rectangle size: 1600/600mm
PLAN
PLAN Increase number rectangle per panel
20 rectangles per panel
40 rectangles per panel
ISSUES
SOLUTIONS
Panels are missing when the starting or ending point of panels are not X=0.
Seperate the surface into two part
4) MISSING PANEL PLAN
PLAN
The surface grid of the missing panels are not perpendicular to reference curve
Rebuild the surface & its’ grid are perpendicular to the reference curve
REFERENCE CURVE SURFACE GRID It doesn’t work when dividing the surface along y-axis
Divide the surface along x- axis
PART II. PROJECT PEOPOSAL
II.IX CONSTRUCTION DESIGN
Some of the panels get a 10m long span length, they will fall down without supporting since it contain huge dead load.
SELF LOAD
SELF LOAD
WIND
SUPPORTING LOAD (TOO WEAK)
After tutor comment on our structure design, we pierce that it is impossible to follow the structure system from cause study, which just use steel angle to connect to the platform, since it is a weaker supporting force when comparing with self-load. It is danger that the panel will vibrate because the sheet panels do not contain supporting to against wind load.
SELF LOAD
Singing Ringing Tree in Landcashire, 2006 Tonkin Liu
SUPPORTING LOAD
Steel bar play an important role for supporting the sculpture, against self-load and wind load. it would be installed in every panel and extend it 8m below ground to create a large back supporting to versus self load.
The foundation of the “TREE” is exposed from the ground and steel angel is the joint that connect between it and ground.
Connection between sculpture & ground 1. 114.3mm Galvanized steel tube 8. 75/50/6mm Galvanized Steel Angle 9. 100/65/10mm Galvanized Steel Angle 10.1.65m Galvanized Steel plate 25mm thk. 11. 25mm Leveling Bed of Mortar 12. 4mm Steel Plate 13. 3.25m reinforced concrete slab 14. Threaded Bolt with 100/100/5mm anchor plate welded to 12
Tutor feedback: Foundation of our design shouldn’t be exposed from ground. It is quite strange that a huge visible platform underneath the sculpture and which is only work for small project, just like the case study.
CONSTRUCTION DESIGN
SECTION
6 steps to install of sculpture on site: 1. Shovel the nature soil from site 2. In-suite reinforced concrete slab and pipe 3. Fill in the mortar to create a flat surface on concrete slab 4. Galvanized steel Plate place on top of the mortar and fixed with steel bolt 5. Install the steel bar and fixed on steel plate with steel bolt 6. Soil filled on top of the foundation 7. Install the panel following the step on the right picture
ISSUE (RESHAPING MODEL):
PROBLEM SOLVING:
Computer will lag because of the regeneration of number automatically when changing the values on the model, since we get more than 300 panels.
1) Set Toggle (Show the fabrication model on screen) to false when editing the surface, which mean turn the toggle off and the fabrication model will not show on screen 2) Use Tag to preview whether the size or location of the number are right or not
153 117
PART II. PROJECT PEOPOSAL
II.X FABRICATION 66 65
Panels are overlaped
Huge gap between panels
LEFT: BEFORE RIGHT: AFTER
I got a huge problem on the arrangement of the panels by using fabrication definition since the panel will get the same separation between the others when using the fabrication tool to break the three dimensional model into two dimensional plane.
However, the model contains different scale of panel, from large to small, which mean some of the panels would overlap. I need to rearrange the location of each piece of panel manually.
Each of the panels were installed two led light. We got a troble during installation since we need to keep the panel clean and neat. Thus, parallel circuit must be designed to keep the cables neat and clean. Another issue was the trial when light instalatition was finished. As we need to connect all panels’ lights to one electricity source, some failure happens due to movement of the cables inside. Thus, detailed fixing of each light needed to be done carefully. For 1:50 model, we need to stick over 400 rectangles on the dynamic panel, which create a heavy loading on the penal itself, and we can’t use just simply use white glus to fix the panel of the site model, but need to use hot glue gun to fix the panel.
PART II. PROJECT PEOPOSAL II.XI MODEL MAKING
I. CARD MODELING (THICKNESS & TEXTURE + PATTERN) II. PAPER MODELING (JOINTS & STRUCTURAL ELEMENTS TESTING) III. MATERIALITY STUDY (LIGHTWEIGHT METAL SHEET)
PHYSICAL PROTOTYPES
I. CARD MODELING
II. PAPER MODELING
-Draft model - joint between retangle panel and dynamic panel
PART II. PROJECT PEOPOSAL
II.XII FINAL MODEL
III. MATERIALITY STUDY -Show the actual texture -Simulation of actual reflection on surface
BIRD EYES VIEW
LIGHT & SHADOW
1:500 MODEL
SHADOW AT DAYTIME
LED LIGHT AT NIGHT
We proposed to design light inside our panels as to make the sculpture visible during nighttime and to create a distinct view of the dynamic form of the panels. Thus it still can operate its function as a signpost even at night, which is just like Wyndham City welcomes the tourist every year, every day and every moment.
LED lights are installed inside the panel that give the glowing effect from the hollows of each panel. The light will be reflected and displayed on the surface of the panels rather than using direct light, which is danger that the direct light would disturb the drivers.
PART II. PROJECT PEOPOSAL
II.XIII CONSTRUCTION MODEL
The Study model of the construction design which show the joints between each panel, and fixture between panels and ground.
PART II. PROJECT PEOPOSAL
II.XIV RENDERING
Driver experience on the Prince Highway from Gelong to Wyndham
PART III. LEARNING OBJECTIVE AND OUTCOMES I. PERSONAL BACKGROUND & OBJECTIVE
In my two years architecture study life, I have tried to use a number of digital modeling and fabrication tool when I was in first year semester B in Hong Kong. Digital design becomes an important tool in architecture in this new decade. That’s why I try to learn the software as soon as possible even it is self-learning and lack of technical skills or knowledge. I have learnt rhino, auto-cad, 3D MAX, revit, sketch-up before coming to study final year. It was a great shock when attending the lecture; we must use parametric design for the studio. I just heard the name of grasshopper once before, which is totally different from the previous software that I have learnt before.
I really thought that this studio project should be a kind of easy task when looking the learning objectives in University handbook, which is similar to my previous project: develop skills in various three-dimensional media. However, it is wrong because of the grasshopper technique. The other skill: further develop an ability to make a case for proposals. This is what I lacked the most in the face of the course at the beginning of the semester.
PART III. PROJECT PEOPOSAL
II. LEARNING PROCESS
WEEK 1 “What is architecture?” I remember that it is first question the tutor asks us when I was a first year student in architecture studies. And I answered that architecture is to design a unique envelope that have no one to think about it before. However, I keep asking that whether architecture is just needed to consider the outlook or not after finished the weekly reading. “Architecture as discourse” means that architect is not just design a building, but also considers the relation between human activities and spatial planning of the design, and it affect our daily life directly.
WEEK 5 I started to know the basic operation of using grasshopper after doing the case study (Gantenbein Vineyard Façade). It is an enjoyable and funny thing to learn and create the grasshopper step by step even thought it is just like a puzzle solving, need lot of time on developing grasshopper definition. It is an easy definition to understand how’s work. I just got a problem on it, but after asking in the studio facebook, I just need to spend a few seconds to development the definition by click re-parametric on the surface sub-divide. I think it is the most suitable way for me learn a new software, I can learn a lot since I need to try different way to solve the problem.
WEEK 8 I am interested in this week lecture, which is about “Kinetic Structures and Motions”, and it is one of the categories of our achievement on gateway project, especially the Bolte Bridge as the ornaments make driver aware the motion itself. We try to adopt the feature of this project into our design.
WEEK 2 It is my first experience on using digital design in this week. It is totally different from what I have learn before, using site analysis to do form finding. And I feel excited that I just need to spend a few minutes to draw some simple geometry and grasshopper can generate a complex surface, and which give a huge flexibility by editing some values in the definitions. In this stage, I absolutely agree that design process can be form follow concept. Someday, computation will become a real business to generate the most suitable design considering to cost and efficiency automatically. Architecture can be art/design anymore, but like an enginerring consideration need to be calculated.
WEEK 6
WEEK 3 “Serendipity may play a part ( in the scripting design process) but a possible surprising influence rather than as a driver” (Burry, 2011, P.15) I agree that results got from scripting are pleasant surprises because we just need to enter some data without any preconceived idea on the result that I want. However, is it benefit architect a lot? They might forgive what we should consider during design stage when using scripting as a design tools, it is because the might spend most of time on building a complex form by editing the grasshopper definition. In the realistic, parametric might need to consider budget, site boundary and structural system as an equation when they get the design brief and site content, and it is not a design anymore.
NON TEACHING WEEK
We need to learn data tree for this week exam lab tutorial, as it is one of the important element in grasshopper even it was a difficult and confusing command. We can change the data tree structure and each of the branches “cell” can be extracted which create variation.
I find the track after fabricated a number of study model before, and we are mainly focus on the texture and my group mates quite agree with the result what I’ve done. Unfortunately, it is difficult and no reason to adopt weathering into our design.
This week lecture, Stanislva’s mentioned that modern architecture had their owns ornament but express in other way. I quite agree with this argument since modern architecture is not wearing ornament, but it is part of their body. Building itself is an ornament.
Weathering give a high uncertainty on the result, and it is not what we want, reflection and echo the culture of Wyndham City.
WEEK 9 The gust from McBride Charles Ryan in talk about architectural practice of the integration of industries, the most important is the effect on the budge for a project. I am agree that money spend on the project is one of the consideration when designing. (the minimum cost to pay, the maximum result to get) Architects must provide a good building design for the clients since they expect the high expectation from the architects when paying for the surface of archutects.
WEEK 10 I am interested in the stop motion videos showed in this week lecture. We have designed to make an animation about forming the mode after the lecture, which is by the video called “Lotto Architecture Concept”. We would like to take the photos one by one during the model making time. However my groupmats think that we don’t have much of time to build up the model. Thus we forgive this idea and try to make another stop motion latter on.
WEEK 4 I had no idea to combine definition in grasshopper, since I don’t have this technique before. I spent lot of time on understanding the operation of this software. But, I am not sure whether this week lecture is useful for our project or not, the projects are not related to grasshopper. Is it just transfer the meaning of the project into the design directly, like “WW” design (Welcome to Werribee)? But I still enjoy the presentation from guests, they really show the relation with site geography, they use visual aspect as a support for choosing a specific location to place the sculpture. It is very useful for our project since they have mention that what is the major concern around the site.
WEEK 7 I find the track of my design after fabricated a number of study model before, and we are mainly focus on the texture and my group mates quite agree with the result what I’ve done. Unfortunately, it is difficult and no reason to adopt weathering into our design. Weathering give a high uncertainty on the result, and it is not what we want, reflection and echo the culture of Wyndham City.
WEEK 11 This week I start felt nervous about the physical model, since I haven’t finish the material for the model as some problem occur on my grasshopper definition and my friend said that we can’t print in the fab lab because above 20 people were in the waiting list. Luckily, the problem was solved finally. I need to thanks our tutor, Dave, help us to fix our grasshopper definition. Moreover, I have already finish the construction part about the jointing between panel and ground, which save us lot of time and I can concentrate on the other part.
WEEK 12 I must have a big thanks to our groupmate, Nadiah, who Help us to fabrication the model outside, and the other two gropmates, Jessica & Beng, start to make the models with me. It is crazy that we need to glue more that 200 piece of panels on the 1:500 site model and 400 an-made rectangles to fix on the 1:50 model. We are stupid to find that huge trouble to ourselves (having that complex design) However both of us (Theodore, Beng and Jessica) are quite happy with the final result, a grand iconic model. This week, Stanislav explained a detailed purpose of the course in this week. I am quite agree with what he has said about “ I had not give too much clear cut instructions before the clearer they are, the more limitation we get.” But the problem is that the students do not have the skill on self learning and we haven’t reach the lever that can produce a series of design process without guideline yet. I feel excited after week 12 as I am still survived. I have learnt a lot when struggling on the grasshopper as we always as that we will learning nothing unless do something wrong.
PART III. PROJECT PEOPOSAL
III. LEARNING OUTCOME
WYNDHAM CITY GATEWAY DESIGN
WEEK 12
EARLY SEMESTER
GRASSHOPPER
DESIGN NARRATIVE (Exploration)
EARLY SEMESTER
WEEK 12
STATIC PASSIVE STAGNANT
DYNAMIC ORGANIC MOTION
STATIC PASSIVE STAGNANT
DYNAMIC ORGANIC MOTION
Definition for the final design The expression of concept is one of my weaknesses. I was confusing when drawing diagram to support our design narrative. Moreover we couldn’t produce a strong story even finished the final presentation.
We thought that lack of information might be one of the reasons that we can’t produce a story for our design after presentation. From week 13, I started to do more research about the Wyndham with my groupmates, Beng and Jessica. We were too focus on the representation of “dancing dynamic grass”. The problem can be solve if we stand back and adjust the theme into right track.
PHOTOMONTAGE
EARLY SEMESTER
WYNDHAM CITY GATEWAY DESIGN
Photomontage of day view with physical model
Photograph of final model for Eco-pavillion project: Swan Pavilion Can’t reflect light effect worked on the design (Year 1 semester A)
Photograph of final model for Air-Studio It show the texture on the surface and the interaction with the light on the surface and the shadow cast on the road. (Year 3 Semester A)
STATIC PASSIVE STAGNANT
Photomontage of day view with rendering DYNAMIC ORGANIC MOTION
The scale of car is wrong which give a wrong message that the sculpture is very huge. And there is no shadow cast on the road, which make the image unrealistic.
Showing the scale of the sculpture by using the suitable size of car with suitable color tone on the image.
WEEK 12
EARLY SEMESTER
WEEK 12
CONSTRUCTION DESIGN
STOP MOTION
EARLY SEMESTER
NON
This is my first taste on making stop motion for physical, It is the most interesting and funny part in the whole design process. We were just giving life to the model when taking stop motion. It is much easy to explain the actual motion and the change of light and shadow by capturing a series of photos and combine it as a movie. And finally we produce four movies to show the motion (texture in elevation, experience on road and shadow) of the model and have already upload on my wiki in studio air.
Besides using the vector drawing for construction drawing. I build up a 3D diagram to show the construction stage about the installation of the sculpture. It is much clear to understand the jointing between each element.
PRESENTATION SKILL
MENTALITY
Little information about the concern about the self load of the panel and the connection to the steel plate. (Detail of the jointing between ground and panels in Vertor drawing)
For the EOI submission, we just use the same material (Card board) to make the model, we had not try materials study on finding the most suitable material for the design.
We try to apply different sort of material on the surface for texting the texture during the last few weeks in this semester. (card board, metal wire with plastic fabric and steel sheet)
I try to memorize all the script and this is my first to do the presentation with model. I think that it is the most easy way to let the others understand what I am talking a bout.
I try to memorize all the script and this is my first to do the presentation with model. I think that it is the most easy way to let the others understand what I am talking a bout.
It is a good experience for me to practice the presentation skill, which is the most important thing that I must need to practice a lot. In the real life, clients will not understand the design if we can’t present well even thought did a excellent work on researching or design.
It is a good experience for me to practice the presentation skill, which is the most important thing that I must need to practice a lot. In the real life, clients will not understand the design if we can’t present well even thought did a excellent work on researching or design.
PART III. PROJECT PEOPOSAL
IV. FUTURE WORK
To make an overall review of this semester, what I have leant in this studio has been valued, which open up my sign about design process, which is not just contain traditional design process, form follow function, but also a brand new digital modeling, form follow program. Which pave a new path for my further career. However, grasshopper is not a common, popular software for architectural firm in Hong Kong as they are mainly focusing on efficiency of gloss floor area. Thus I may not have any chance to apply it for my further career.
Grasshopper are much efficient to produce a full set of submission drawing which is faster than using traditional method, auto-cad, to draw vector drawing one by one and make 3D digital model become easy and flexible. Take our design as a example, it will take lots of time on tracing the line one by one if we build it in traditional method. We no longer need to worry about drawing this complex diagram anymore. Parametric design is already started in Australia, and it will become the new trend of digital tool for architecture in the world from my opinion. All the skills and ideas I learnt in this studio definitely benefit me a lot to achieve my dream career, Architect.
PART IV. COMPETITIVE ADVANTAGE The Seeds of Transition has successfully satisfied the Wyndham City Gateway Project Brief. It is an iconic and eye catching sculpture that let the viewers experience while viewing it in motions. Furthermore, with the grasshopper scripting, we are able to design dynamic panels that allows flow of change when one is driving through it. Thus, as contemporary design technique was used, it could be an architectural discourse in future discussion. Through the translation of Wyndham perpetual change in development, our design has the message to the viewers about Wyndham municipality. Unlike the ‘Seeds of Change’, our design allows viewers to experience the ‘message’ of growing city.
PART V. CONCLUSING
1. CONSTRUCTION DESIGN i. It might necessary to have analysis on the actual loading of the panel, which is the most important data for further construction development as we just make assumption that steel bar can support the panel but haven’t proved it. ii. If the loading is larger than our expectation, steel truss construction might be one of the alternatives that form a rigid light-weight structure. dripping into the road.
2. ELECTRICITY SUPPLY i. We do not put the installment of electricity into one of the consideration for the project since the site has no electricity connection currently when we go thought the design brief. ii. The amount of LED light in each panel need to be counted carefully, especially in the middle part(tunnel) as to prevent over illumination at night.
3. RAINWATER SYSTEM i. Rainwater might be a problem in realistic, as the water will drop down onto the road thought the surface of the sculpture ii. Flooding inside the sculpture may be another issue that we need to consider, since the sculpture has not be installed on gutter, waterproofing system
REFERENCE Ben. P, ‘Gantenbein Vineyard Facade’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 178 - 183 Burry.M (2011). “Scripting Cultures: Architectural Design and Programming (Chichester: J.Wiley). pp. 8-71 Hill, J (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 Kolarevic, B, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. Moussavi, F and Kubo,M. eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 The Singing Ringing Tree 2010, Detail