391587: Final Journal

ARCHITECTURE DESIGN STUDIO 3

Progress Journal Tim Nguyen tutors: David Lister, Marcus Fajl

A I R

1.

UNDERSTANDING PARAMETRICS - ARCHITECTURE AS DISCOURSE - COMPUTATION IN ARCHITECTURE - PARAMETRIC MODELLING

SON-O-HOUSE NOX

“A house where sound lives.�

This structure provides an architectural environment whilst being an interactive sound installation, allowing individual participation in the composition of the sounds being played within the musical structure. It appears as an arabesque array of intertwining curves generated into a three dimensional structure. It was based on a set of rules revolving around combing and curling, resulting in this complex design which includes interlacing vaults which lean on or cut into each other.

A range of sensors within the structure detect the movements of visitors, and allow continuous generation of new sound patterns based on the readings of the 23 sensors. The intent of the sound within the structure is to influence and interfere with the perception and movement of visitors, and provokes visitors to re-interpret their understanding and relationship with their immediate environment. The movement of visitors from one place to another, measured by these sensors, results in data maps being created, mapping the activity across the structure. The greater the movement in one location, the faster the sounds are able to transform in that area. The system has been designed to be able to attract or repel visitors from certain points dependant on the data fed into the system.

The 20 speakers within the structure can be used to facilitate two differing approaches. They can produce sound which can be heard individually from each speaker, or create 'sound fields' which comprise of 4 speakers. The sound interferences can be static or dynamic dependant on the movement which the sensors detect and can be synthesised in real time.

Visitors leave their traces in the structure as a result of their interaction with the sound. Computational design changes the way people can understand their environment and changes the relationship visitors have with their environment The Son-O-House certainly advances architectural discourse in that it is a design which is not purely about the form or about order, but is about creating an experience through sound. The true design of the Son-O-House is in the sound that is created based on the movement of the people. When we consider architecture, it is generally about form. The Son-O-House proves that form is not the only aspect of architecture, but further elements can be just as essential to creating a successful design. The idea of experience is applicable to the Western Gateway project, which asks for ongoing interest and reflection about the installation.

BEIJING NATIONAL AQUATICS CENTRE PTW ARCHITECTS

“It appears random and playful like a natural system, yet is mathematically very rigorous and repetitious.”

- Andrew Frost, Director, PTW Architects

The National Aquatic Centre, known also as the 'Water Cube', was constructed for use at the 2008 Summer Olympic Games and afterwards as a multi-purpose leisure and elite swimming centre.

The design was based around a common natural three-dimensional pattern, that being the way in which soap bubbles form and interconnect in order to fill a space in the most efficient manner.

Despite the structure of the building appearing organic and seemingly random, the geometries which are used in the design are highly repetitive and easily built. The structure of the building is based on a geometric cell which is made up of twelve pentagons and two hexagons which are three-dimensionally repeatable. Furthermore, the structure is ideal for the seismic conditions present in Beijing.

Ethylene Tetra Fluoro Ethylene (ETFE) foil cushions are used to form the cladding. There are three layers to the foil cushions, allowing thermal and acoustic insulation. The pressure within each of these bubbles requires maintenance with active pressure monitoring. The bubbles, fitted with LED lights, are able to glow during the evening and night. The cushions are able to resist wind forces, with outside wind loads are transmitted through to the internal layer by the internal air pressure, making use of the ETFE's strength in tension.

The ‘Water Cube’ is a design which encourages architectural discourse through its use of new material, unique design process and adaptation to the designated site. The use of ETFE sets the National Aquatic Center apart from other designs - it is a new material which has not been implemented throughout several buildings. The ‘Water Cube’ is indeed a groundbreaking development with the application of this material. This design also furthers the argument for parametric and computational design. Without digitisation, this design would not be possible.

Forces throughout the structure need to be measured, and this is possible through digital means. The concept of soap bubbles for the facade is itself undesignable without computational aid. This design can therefore be seen to make an argument for computational design.

The city of Wyndham asks for a eye-catching installation which enriches the municipality, enhances the physical environment and encourages reflection beyong the first sight of the design.

The ‘Water Cube’, through its complex ideas and execution, certainly provides enrichment to its municipality in Beijing, and can certainly be a precedent for a design for the Western Gateway.

STUDLEY PARK BOATHOUSE TIM NGUYEN

This design for the Studley Park Boathouse was a design influenced by the works of architect Mario Botta, but not designed in his style.

This design took some of Botta’s favoured design concepts - that of sunlighting, of the materialism and of geometry, before implementing them into a new concept which was suitable for the chosen site.

The process of studying the concepts and ideas of another is a common feature throughout history. Taking ideas and understanding how a previous style or design was successful can be a positive influence on design process.

Progression or improvement is often based on the analysis of the past.

The past or existing are the benchmarks for which improvement must be made on. Discussing and developing ideas based on previous designs is a pathway for progression, and it certainly furthers the architectural discourse in discovering and advancing ideas of form, function and conception.

Then again, it may not be the opinion of the professional or a direct evolution from a existing idea that determines progression. The untrained have the purest and most uninfluenced view - a completely new design might also be the key.

THE CASE FOR PARAMETRICS AND COMPUTATIONAL DESIGN

There is no precise definition for parametric design. It is, however, about setting parameters, about having rules set to create a system. It must be remembered that parametric design is another tool for designers, just like any other.

Parametric design can be influenced by any formula given to it, be they complex algorithms applied to complex shapes or surfaces, or simple repetition. It can be used to generate form from a small base or it could be used to avoid tasks such as individually designing floors or rooms at the same scale by hand or by regular computational techniques.

This new design technique provides a new way to ‘generate’ forms, to modify components of a structure to find precise solutions.

It allows greater efficiency. Parametric design allows for more seamless transition from computer to fabrication. It also allows faster generation of forms, quicker means of experimentation with various forms, connections and fabrication techniques.Through experimentation with various forms and using the methods of Kalay, a suitable form for the Western Gateway Project could be discovered. This suitable form can then be combined with fabrication techniques which will then allow construction to take place.

Greg Lynn’s Blob Pavilion uses a strange shaped brick as its main form. The blobs are designed to be able to easily connect together. The ‘bricks’ of the pavilion can be mass produced, as they are the same shape, and they are cut using robotic means, using data straight from the design program.

THE GROWTH OF DIGITAL MODELLING DESIGNING THE CONSTRUCTION PROCESS

The growth of digital modelling and computational software has opened new territories for formal exploration in architecture.

Generative processes can develop new shapes and forms based on various ideas and concepts such as topological space, dynamic systems, parametric design and genetic algorithms.

The new forms being created or ‘generated’ by these modelling programs influence not only the design process, but also the construction process. Digital technology has allowed convergence of the representation and production processes, it has changed the nature of design and construction - digital technology allows the design information to become the construction information.

Most material products in the world today are created and produced through processes (involving design, analysis, representation, fabrication and assembly) which are solely dependent on digital technologies.

Cars, aircraft and naval vehicles are generally digitally conceived and produced through digital processes. The building industry, however, is yet to join this process.

Complex designs, which are commonplace with digital modelling, often require the architect to become more involved with the building process - allowing greater control of the building process. Digital programs need to be developed to allow the fabrication of more complex elements. The ‘ultimate goal’, according to Kolarevic, is to be able to develop a digital model encoded with all qualitative and quantitative dimensional information for design analysis, fabrication and construction. This model should contain all the information required to have it constructed.

The ability to digitally generate and use that information for manufacturing redefines the relationship between conception and production.

With increase in the performance of digital technology, there is not only just an increase in methods of digital fabrication, but the entire process from design to construction becomes more efficient as well.

Models can be capable of consistent, continual and dynamic transformation, replacing the static nature of non-digital processes.

The design of highly curvilinear surfaces, a prominent feature in contemporary structures, raised the question of how they were to be designed. Certain spatial and tectonic complexities had to be overcome. Contemporary computational techniques allow data to be formulated in order to make fabrication a reality.

Whether a form can be made or not is still up to which instruments of practice can be used to take advantage of the ever improving digital mode of production.

The innovation of digital architecture is not just in the form-finding, or the design concept. It is also about the design and construction process, and developing the computational ability to create a process which will allow ‘complete’ digital fabrication.

F R A N K G E H R Y In the constant digitisation of the architectural and design world, there are leaders and innovators. Frank Gehry was an innovator, one of those to integrate the design and construction processes together through the use of computer based modeling.

Innovation needs to come through the process, and not just from the programming. The idea of amalgamating the architect with the fabricators and holding shared responsibility is an innovation which has arisen from the advance of digital fabrication. In a digitally driven process of production, where design and construction are conjoined as one, builders and constructors can become involved at an earlier stage of the design process, while architects remain integral throughout the entire design process.

FISH PAVILION, BARCELONA

Gehry’s ‘Fish Sculpture’ at the entrace of Vila Olimpica in Barcelona (1992), is one of the first examples of a digitally developed project. What was required for this design was; a program able to describe the complex geometry of the assignment, and second, a highly precise process to fabricate and assemble. This led to a process of solution finding. The answer: Computer Aided Three-dimensional Interactive Application (CATIA). This software, used for digital development and design of aeroplanes, was used to allow the three-dimensional digital design to be structurally analysed and be used as a source of construction information.

What this signified was a change in process, a new idea brought about from digital technologies already being used in other areas of manufacturing. One style of three-dimensional modelling has led to another, with programs such as Rhinoceros (allowing NonRational B-Splines) and AutoCAD providing new ways to digitally develop concepts and designs. Gehry’s use of CATIA was symbolic of the rapid rate of development in computation design techniques.

THE EXPERIENCE MUSIC PROJECT,SEATTLE

The Experience Music Project, Seattle (2000), by Frank Gehry.

Designed using a “paperless” process, where the digital model was created, the wireframe model extracted and used by structural engineers to develop framework, then digital model used to directly control production/assembly of components.

PARAMETRICS EXPERIENCE: AND

USING DIGITAL TECHNOLOGY TO CREATE AN EXPERIENCE FOR THE WESTERN GATEWAY PROJECT

Through exploring methods of parametric exploration and discovering parametric projects, the concept which stands out is the idea of creating an experience. Digital technology and parametric design has great value in generation of forms, of new methods of design, of faster construction or fabrication. Through exploring several forms and concepts, a potential form for a gateway could be produced which will leave those passing by to reflect on an ‘experience’ which they have just travelled through.

For the Western Gateway Project, we hope to create an experience, rather than a sculpture. We seek to challenge the idea of a monument as something that we simply witness, turning it into an experience which will be memorable and appropriate to the site.

To reach this goal, we will first explore form and digital fabrication techniques, before developing the concept to enhance the prospect of experience with the gateway’s design.

THE ATTRACTION TO SCRIPTING AND

PARAMETRIC DESIGN

Scripting is becoming increasingly attractive to designers, and is becoming more practical as well. However, the general approach to scripting in producing effects of complexity is becoming slightly redundant with the growth of knowledge in the scripting community.

Scripting can be described as being about computer programming at various different levels. Its base attraction is its efficiency - compared with traditional means, a larger amount of outcomes can be made for the same duration of time.

While scripting likely arose from the idea of efficiency, its attraction is also in that it constantly provides numerous new outcomes to explore in the world of designing. New principles can be explored and potentially implemented into design, generative processes can be explored, and ideas can be developed beyond the comprehension of the human brain.

Scripting allows the ability to work with large data sets, and work beyond human perceptual ability. Scripting allows forms to be generated in multiple directions, allows both simplification and complexification, as well as allowing easier access to eventual fabrication.

Scripting can be generated from concepts such as nature, or could be about finding new and unique forms. 'New’ scripts can be created to service new design ideas and forms. In this age where digital technology is constantly developing, more individuals are able to generate their own scripts, from the simple to the advanced. However. with the growing community of scripters and scripts, it is extremely rare that a completely ‘new’ script is ever created.

IIDABASHI SUBWAY STATION MAKOTO SEI WATANABE

“A seed, given water and light, extends its roots, grows leaves and comes into flower. It spreads its roots in search of soft soil and places its leaves so they recieve as much sunlight as possible.”

- Watanabe

The Iidabashi Subway Station truly is an expression of this statement. Its design begins with a tube extending out below the surface of the earth, intricately winding, self generating with the use of technology. Using this computer generated code to create the design, it is the first implementation of ‘Program Generated Architecture’ in the physical world.

Development in architecture has seen an increase in computation, and for good reason. The scripting style of Watanabe in creating the Subway is just one way of expression using scripting.

The ‘Induction Cities’ program is set to only generate ‘good’ plans (not an endless number of random forms to pick from). Values are set in advance to someone restrict the generations. The plans proposed are plans which are set to meet the criteria set, or be as close as possible to them.

This design uses computers as a design tool not just to replace the hand, but to enhance the mind. Computers can be used as a tool for thinking - this design sees it as an extension of the human brain. Furthermore, it can be seen as an

evolving design, just like a regular city or a living creature.

This design philosophy is unique, in that it uses genetic algorithm, yet still demands it to be tied to the human restrictions.

It is a generative form still tied to human understanding. Architecture is more than just about finding form. It is about understanding the process and understanding the requirements needed for a specific site. The design process that Watanabe uses addresses all these concerns, and presents a new understanding of scripting, and that it can be used as a tool to further the methods of design people can reach.

Compared to other self generative processes, it is unique in that it allows greater control for the human mind. The form may be generated by computer, but the computer is being used as a tool to create a design to desired restrictions.

Scripting, while it can comprise of several levels of computerisation, should be controlled by the design concepts of the person using the technology. The Iidabashi Subway Station had conditions which needed to be solved, and scripting used to solve those conditions.

The Iidabashi Subway Station is unlocking a potential within parametric design which is not often seen. Scripting is a design style of the future. Many are keen to disagree, stating that scripting or parametric design completely disregards the traditional means of design thinking. Of creating concepts and solving solutions. The Iidabashi Subway Station design proves that scripting has the potential to answer and solve questions that are asked.

Scripting is still not a completely understood design process, however, the progress being made, and the potential of it is undeniable. In the end, scripting is a tool that will be able to assist design in multiple fashions. Of course, with further practice, techniques will become more advanced, and more actions will be able to be completed. At this early stage of scripting and computational design, it is unfair to criticise scripting as useless and having no place in design.

2.

EXPLORATION AND

EXPERIMENTATION - MATRIX OF ASSOCIATIONS - EXPLORATION OF PARAMETRIC DESIGNS - DESIGN EXPERIMENTATION / DEVELOPMENT OF IDEAS

A SS O C IA T IO N S

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EXPERIMENTATION: EXTRUSION In order to advance the concept of experience, we considered it necessary to explore extrusions as a means to elongate form and thereby extend any experience through form.

Extrusions go beyond the idea of perforation in more 2d planes. They provide more solid substance to analyse, so we can conceptualise on several scales rather than just the 2d.

EXPERIMENTATION: LAYERING In order to advance the concept of experience, we considered it necessary to explore the idea of layering, as a way to produce illusion and different perceptions from different locations and angles of vision.

The idea of layering works well when considering the idea of experience, and the site. As any proposed sculpture on the site would be viewed from a car, with quick transition between viewpoints, the idea of layer could potentially provide a means of creating illusion or experience.

In this experimentation, we use two layers of circular geometries.

Through this we can understand how the view we have of a layered structure could change, particularly if those layers had openings in them.

The matrix was an opportunity to explore new definitions in a structured manner. However, in terms of our concept, that of designing an experience, it did not immediately produce any definitions that would certainly enhance that concept. As a result, exploration was performed across a range of various definitions in order to obtain a series of different ideas which we could then upon further review implement into any potential design.

It is important to do this organised exploration when considering parametric designs. It allows a programmed response to any solutions that require solving, and makes room for human judgement of what is necessary in the design.

D I O R B U I L D I N G

OFFICE OF KUMIKO KUI

Through the use of overlapping layers and the use of the image sampler, the pattern created on the Dior Building could be replecated.

The use of multiple layers and the use of light make this building a relevant precedent to our emerging concept, where we seek to create a visual experience through use of layers and light. However, compared to the Dior Building, our concept will not be about seeing the plain facade but seeing light transfer through a material.

A I R SPACE

TOKYO F A U L D E R S S T U D I O The voronoi pattern of Faulders Studio’s Airspace Tokyo presents an artistic yet rational design. The organic voronoi patterning demonstrates the ability of scripting and parametric design to develop a pattern which reflects an organic form. The use of layering in this situation is to create a barrier to allow shade, privacy and to some extent, a barrier against sound and wind. For a form such as a voronoi, there would most certainly have been experimentation to explore the numerous variables that could be possible.

The idea of organic form is appealing, as it generates an experience which is diverse and appearing to not be so static. The idea of layering also makes sense, not just for potential functionality, but for the increase in complexity of design, creating illusions and forms with different perspectives.

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The BANQ RESTAURANT is appealing in its use of several simple layers in order to create what appears to be a complex form. What may initially appear to be a complex curving roof is actually a combination of a series of panels which represent the contours of a polysurface. In breaking the surface down into simple elements, it creates a complexity beyond its original form.

We consider the BANQ RESTAURANT as an ideal base from which to further develop our concept. Each panel tells its own story, and with an aim to create an experience as part of our design intent, the use of several panels in this manner appeals as an effective way to develop this concept.

The grasshopper definition for the reverse engineered designs (next page) involves the use of a polysurface generated from an image map as the base form. From here, the surface is split and extruded to create the panels which when placed next to each other, will recreate the original polysurface with added complexity.

DE YOUNG MUSEUM HERZOG & DE MEURON The de Young Museum, through the use of image mapping, is able to create a facade of panels with preforations in a manner so as to represent the image. Each elevation has a seperate image map assigned. These images were created through preforations which varied in size and in depth as a result of a range of materials being used. The images have been reparametralised to work on the various panels.

HILLS PLACE A M A N D A L E V E T E A R C H I T E C T S

This structure is fabricated from curved aluminium profiles. These profiles can be generated in digital programs by generating curves and having them extrude out to points. Those extrusions could then be applied for use as a surface on a structure like this. This building takes advantage of the computational process, applying a digital design into fabrication.

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The Articulated Cloud is the facade which envelops the Children’s Museum of Pittsburgh. The appearance of the ‘digital cloud’ changes dramatically with changes in light conditions of the day, and moves accordingly with wind. Each panel is a seperate component on the facade, presenting the idea that a holistic beauty can arrive from the duplication of several individual components.

The complexity of nature is presented through this facade which is dependent on the changes in wind and light nature provides it.

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The surfaces of this restaurant take the form of an organic membrane, with perforations in the surfaces, which are based on images of trees. The holepattern continues through the entire membrane, which is intended to create dialogue between the interior and exterior. As we consider various forms of fabrication and forms, it can be noted that there are several ways to view one object. The perforated thin steel surface is shown as a way to create multiple dialogues through digital fabrication.

ANDRE DE GOUVEIA RESIDENCE

VINCENT PARREIRA & ANTONIO VIRGA ARCHITECTE

It can appear like a translucent wallpaper. The facade of this building allows vision of familiar figures and allows lighting effects to occur. The natural light causes shadows to occur in the interior of the building. The layer on the inside is influenced by the outer skin, but the outside skin is not influenced by the interior layer.

There are several ways in which we can have layering.

C A R ABANCHEL SOCIAL HOUSING FOREIGN OFFICE ARCHITECTS The de Young Museum, through the use of image mapping, is able to create a facade of panels with preforations in a manner so as to represent the image. Each elevation has a seperate image map assigned. These images were created through preforations which varied in size and in depth as a result of a range of materials being used. The images have been reparametralised

J O H N - L E W I S DEPARTMENT STORE FOREIGN

OFFICE

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The patterned and layered assembly works to create an architectural fabric that reveals exterior to interior, interior to exterior. Mirrored components in the patterning create shifts in the facade as the sunlight changes direction and strength throughout the day. Double glazed facade system provides privacy whilst allowing the effects of layering to show through.

Using six hexagonal geometries, the Spanish pavilion of 2005 was created. The hexagonal geometries were made in such a way that when placed with one other in a certain pattern system, generated through digital means, they will fit together to form a solid surface, Using individual components does not necessarily mean that all the components need to be the same shape. However, to create a wall system such as this with several different geometries, using digital technologies assists greatly.

S P A N I S H P A V I L I O N FOREIGN OFFICE ARCHITECTS

G A N T E N B E I N VINEYARD FACADE GRAMAZIO, KOHLER, BEARTH & DEPLAZES

Working with digitally guided robotic assembly techniques, the Gantenbein Vineyard Facade is heavily integrated in a digital design process. With use of rotation to present the data from an image map, a facade is created with a unique texture to present the data. Through digital means, calculations can be made as to where each brick will be placed, and how many are needed. Created in sub-panels, the facade is also functional; it works as a sunlight filter and a temperature buffer as well.

EXPERIMENTATION: L I G H T

The use of perspex was highly influential. With a translucent material, we were able to experiment with light not just on the surfaces, but light through the surfaces. This helped us to generate the idea of a ‘light show’ as an experience.

There are developments which need to be made if we are to use light in this manner. The form of the panels must make sense in the context of Wyndham, and make sense in the context of our concept of ‘designing an experience’. Thought needs to be put into how light should travel through a material, what kind of ‘light show’ could happen, and if made in a real life situation, how it would capture the ideals sought by the design brief.

EXPERIMENTATION: PERSPECTIVE

Perspective is extremely important when considering the site on which we are designing. People driving past the location will see the design from several angles, and see it only briefly due to the speed at which they would be travelling.

As such, a way to capture the eye of drivers-by (in a non-dangerous manner) would be necessary. Thought needs to be put into how a design should be placed to take advantage of the perspectives of the design which will be most prominently seen.

When related back to the concept of ‘experience’, certain things must be considered. Does changing perspective ruin the story of the design? Would it be better to create a design which would look different from different angles and have the changing nature of it relate into one whole experience? What form would create an experience suitable to the design brief and to the site itself.

EXPERIMENTATION: M V S

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Experimentation was done with voronoi patterns with the use of different materials. Using wax created a solid form with baubles jutting out from a solid background. We can consider the use of this sort of form with the idea of layering. To increase the effect, it the material would need to have more transparency - hence the use of perspex to create a light show through use of layering.

Voronoi patterns were also used with wood panelboards, to capture the cut-out parts, and also the frame, from which we could analyse shadows. On reflection with using voronoi patterns to create shadows, and to create illusions, we considered it to work, however, we felt to make the greatest use of light, and to create a greater experience, the idea of having flat panels was more appealing. With flat translucent panels, it would create the greatest effect for light possible.

Applying the voronoi patterns to translucent material such as perspex was not successful, as it took away from the quality of the openings, as well as the shadow. Lighting those panels did create interesting effects, however, those could be applicable to more plain facades as well.

CLIENT ASPIRATION: INSTALLATION ENRICHING INSPIRING

EYE CATCHING

LONGEVITY IMPACT

ACTS AS A PART OF AN ONGOING DISCOURSE THE NEW IMAGE FOR WYNDHAM

OLD NEW FORMALDYNAMIC RIGIDRICH HISTORICALRECREATIONAL

RURALFUTURE

WE AIM TO CREATE A MONUMENT...

...BUT CHANGE THE TYPICAL TYPOLOGY OF A MONUMENT.

WE WILL CREATE AN EXPERIENCE AS OUR MONUMENT TO WYNDHAM.

NUMBER OF LAYERS CONTOURS

EXPLORATIONS of FORMS THICKNESS OF MATERIAL CHANGING IMAGES

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FURTHER EXPLORATIONS TO CREATE A MORE HEIGHTENED INTENSITY OF THE EXPERIENCE

We developed the definition further to create a figure which would greater target the concept of experience. A tunnel system would draw vehicles and their drivers and passengers into an experience.

The experience becomes more targeted and individual in this way.

CHANGES IN TIME NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

DAY TIME: IMPOSING PRESENCE OF CONTOURS

IDEA OF CONSTRICTION OF SPACE, CREATING A CLIMAX THROUGH THE DRIVEWAY AS A DIFFERENT EXPERIENCE

LIGHT INTENSITY

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE DEVISED TO CREATE AN INTRIGUING AND MORE EXCITING EXPERIENCE.

CREATION OF A POLYSURFACE TO INHIBIT AND OPEN SPACES

ITERATIONS AND EXPLORATIONS WITH PARAMETRIC MODELLING

TIME SPAN DURING NIGHT TIME

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Pollution is a major factor in the area of Wyndham, with several factories located within Wyndham and in nearby locales. The factories which pose the greatest problem are the oil refinement factories located in Altona, nearby to the Wyndham area. The quality of the air is substantially lowered as a result of these factories in the area.

Pollution is a huge factor in the Wyndham area. We aim to present a critique on the issues of pollution in the area.

Using the previous ideas of light, monument, experience and having a tun-

nel form,

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we seek to capture the idea of air pollution in a physical form.

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Capturing the idea of pollution in a physical form.

Air pollution is generally invisible to the naked eye. In order to create a reprsentation of air pollution, the 3d voronoi system can be implemented to create a ‘visual pollution’. Although we classify it as pollution, it can be beautiful, and inplementing the ideas of light, monument and experience, a design can be developed which will provide a unique appeal which will encourage reflection and serve as a critique for the issue of pollution in Wyndham City.

Using the ideas of light, monument, experience and having

a tunnel form, we seek to capture the idea of pollution in a physical manner in order to present a critique of the site.

3.

D E S I G N P R O P O S A L The installation must enhance the physical environment through a visual arts component.

The installation must have longetivity in its appeal.

The installation must encourage further reflection beyond a first glance.

The installation must make a significant impact.

We propose a design which will become a monument of Wyndham.

We propose a design which uses parametric script to create a complex structure which will be unique to Wyndham.

We propose a design which will make use of lights to present an image for Wyndham during day and night.

We propose a design which will serve as a critique for pollution in Wyndham.

We propose a design which is a critique for monuments.

SITE PLAN

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IDEA 1

POLLUTION “CRITIQUING POLLUTION THROUGH INNOVATIVE PARAMETRIC REPRESENTATION TO PROMOTE WYNDHAM’S EMERGENCE.”

In this design, air pollution is presented as a visual pollution through the use of many complex interlocking panels. The creation of this design is only possible through parametric means. During the night, a series of interacting lights envelops the structure, creating a magical beauty - rememniscent of a twenty-four hour factory at night with its lights shining bright. Pollution forms the base of the design, but it has been adapted to create a beautiful and complex design which also is highly intellectual and a critique of Wyndham’s current situation.

A large portion of Wyndham’s air pollution is caused by the oil refining process. For this design, we create a system where it is not oil that is being refined, but the people that pass through.

IDEA 2

MONUMENT “A CRITIQUE OF THE REGULAR MONUMENT, THIS DESIGN CREATES A NEW INTERPRETATION OF THE TRIUMPHAL ARCH.”

This design is a critique of regular monuments. Its base form is that of a TRIUMPHAL ARCH, but the meaning behind it is somewhat different. The Triumphal Arch is seen as symbol for success or triumph.

This design presents an image of visual pollution to capture the idea of air pollution. Shaped in the shape of a triumphal arch, it suggests that upon passing through, a cleansing has been achieved. Moving into the tunnel system, pollution is entered.

Upon leaving, the pollution has been escaped. The design suggests that there are still elements of the past, but that there is potential for a ‘cleansed’ future.

IDEA 3

EXPERIENCE

We aim to manufacture an experience that will be remembered and serves as a true representation of Wyndham. The box form serves as a way of internalising the experience of the design, creating an experience that is all the more intense and spectacular, and also serves as a critique of the monument. We aim to create a monument that is about experience rather than purely about form.

The proposed lighting system will create an amazing effect, with light travelling throughout the translucent panels comprising the design. The lighting can be controlled to create ‘light shows’ the experience becomes even more unique and exciting. The complexity and large scale of the design result in a monumental experience which will present the ideas of pollution and monument in an experience which will be unique to Wyndham.

THE

CONSTRUCTION

PROCESS:

ISSUE 1

MATERIAL

The base material for the panels which comprise the design will be structural glass. Structural glass will provide the key qualities of translucency and transparency, whilst remaining a structurally strong material. Contemporary glass production methods have reduced the weaknesses of structural glass, rendering it a material which will be able to withstand forces from weather or from collision.

Structural glass has been used in contemporary designs such as the Basque Health Department Headquarters Gallery (designed by CollBarreu

Architects)

Shanghai store.

and

Apple’s

ISSUE 2

J O I N T S

Vital for the structural stability of this design is the strength of the joints.  

Generally designs with structural glass will have some sort of framework in order to hold the panels in place. The Basque Health Department Headquarters is an example of this technique. However, as this design aims to have the structural glass ‘connected’ directly to its ad-

 

jacent panels, a different method will be implemented. Brackets will be used along the length of the connections between panels. Bolting will be used to hold the panels together.

This will require drilling holes into the structural glass, which will require a significant offset in from the boundary in order to prevent shattering of any part of the glass.

ISSUE 3

L I G H T I N G

LED lights will be placed underneath the ground touching elements of the design in a cabling system which allows changing of light patterns, shining upwards and using the glass as a method of refraction and reflection to spread light throughout the system.

These LED lights will be able to be controlled via a control system.

There can be control over when it lights up, and how it lights up. This component of the structure is defined by those who have access to the control panel. Controllable lights means that ‘light shows’ can be made appropriate to the area based on time.

One example of underfoot lighting is the Scottish city underpass designed by Bigg Design.

BUILDING

THE

MODEL:

STEP 1

METAL BRACKETS

Brackets are required as the element which will hold the panels together.

These brackets were originally flat sheets of metal. A line was sawn down the middle, then segments of two different sizes were sawn off.

Using hammer and pliers, the brackets were bent to the correct angles.

STEP 2

CONNECTION

In a real life scale, bolts would be used. For this scale, we used the brackets to attach the panels together with the help of adhesive.

STEP 3

LED LIGHTING

In order to create a interactive lighting system, several components were required to create an appropriate circuit. The components needed were; an LED controller, wiring, and LED strip lights. The LED strip lights were split into groups of three circuits, with each attached alternately to the R, G and B outputs thereby creating a lighting system that would allow a chase effect.

The controller allows change in the mode of lighting, from strobe to chase to generic still lighting. It also allows adjustment in brightness and speed of the light effects.

Ditches were cut into the model base to allow the LEDs to fit underneath the perspex panels which would be placed on top.

STEP 4

PUT IT TOGETHER The main tool used to connect all the parts together was adhesive from a glue gun. The model was placed

onto a black spray painted base, then glued down to increase stability.

DESIGN PROGRESSION

DESIGN CONCLUSION This beautiful design is unique and is specific for the identity of Wyndham. It is a design which will encourage reflection and afterthought, from the perspective of a critique, or because of its complexity and unique qualities.

The ideas of pollution, monumentalism and experience are presented and critiqued in this design through parametric and conceptual means - creating a design which will have an enduring and endearing affect on the people of Wyndham.

4.

F R

I E

N A V I E

L W

Initially, the greatest benefit of ADS:Air was the development of my skills with the programs Rhinoceros 4.0 and the parametric add-on Grasshopper. As the semester progressed, the importance of presenting ideas and developments grew. The subject became less about creating from parametrics, but using parametrics to enhance design and design concepts.

I found this development extremely important, as it would lead to the shaping of my understanding of how parametrics could be implemented in a successful way in design. At the start of semester, with my colleagues, we debated the qualities of parametrics, and whether it was killing the idea of the concept. From studying this subject, I can now understand that parametrics is a tool which can be used in conjuction with conceptual thinking. It is not necessarily a development which is overriding the idea of human thought, but a complement, and in fact provides us with a greater range of options for design.

Although I found the subject to be confusing at times, it was an extremely beneficial experience as it forced adaptation and advanced interpretations to flourish. The subject allowed us to develop ideas on a more intellectual level than previous subjects had allowed.

Groupwork was a major part of the subject, and it was something that I consider to be successful. Although occassionaly frustrating to have to work in a group, it allowed a sense of real world activity - as future architects we must learn to work with other people. It also allowed us to discover where our strengths lay, and will assist in our future organisation with teammates or colleagues.

After undertaking ADS:Air, I feel that I would be prepared to engage in more parametric designing, whether in Grasshopper or another program. This subject has helped me to understand both sides of the parametric argument, and I do not feel extreme in either direction. Rather, I see that experimentation and understanding of various design techniques and directions will be the key to being successful in the future.

ADS:Air has provided me with a valuable insight into the future of architecture.

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