CFI_539267_TomDavies by Tom Davies

THOMAS DAVIES ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR SEMESTER ONE 2013 TUTORS: GWYLL JAHN & ANGELA WODA

DESIGN JOURNAL

CONTENTS Introduction

PART A. EOI: CASE FOR INNOVATION A.1 Architecture as a Discourse

A.2 Computational Architecture

A.3 Parametric Modelling

A.5 Conclusion

A.6 Learning Outcomes

References

PART B. EOI II: DESIGN APPROACH

B.1 Design Focus

B.2 Case Study 1.0

B.3 Case Study 2.0

Development

B.4 Technique: Development

B.5 Technique: Prototype

B.6 Technique Proposal

B.8 Learning Objectives & Outcomes

References

PART C. PROJECT PROPOSAL C.1 Gateway Project: Design Concept

Digital Design Process

Construction Process

C.2 Gateway Project: Tectonic Elements

C.3 Gateway Project: Final Model

Critique and Commitment

C.5 Learning Objectives and Outcomes

103

References

106

Cover Image: UK Pavilion Shanghai World Exhibition 2010. Source: http://upload.wikimedia.org/wikipedia/ commons/c/c2/UK_Pavilion_of_Expo_2010_2.jpg 03

INTRODUCTION Me

My name is Thomas (Tom) Davies. I’m in my third year of the Bachelor of Environments course here at Melbourne University. I plan on Mastering in Architecture and so Architecture Design Studio: Air is the perfect stepping stone to completing that goal. Back in Semester One of Year One I took the Virtual Environments subject, and whilst I found it extremely challenging, I believe that was a terriﬁc subject as it allowed as to explore different technologies to come up with something that I would have only ever previously done by hand. For that subject we were asked to create a wearable lantern that had links to the natural environment around us. We did this by using the Paneling Tools Plugin on Rhino. Whilst my design wasn’t successful and couldn’t be fabricated, it really opened up my eyes to the possibilities of digital fabrication and model making on a large scale. It opened up a whole new world to digital design that I was not familiar with, and that I was keen to investigate further in my studies. Since completing Virtual Environments I have

tried my hand at learning AutoCAD and Revit and since taking this subject I have become slightly more proficient at using Rhino. I find it extremely important that I learn all these programs as digital design is very much the way of the future. From my research I have found that more and more buildings are being constructed and designed digitally and so if I am to fit into this industry then it imperative I excel at using these programs. Digital design can create some extraordinary buildings and projects that could only be dreamed of if we were to still only work by hand. It is changing the world of construction in a positive way. I look forward to using Rhino with the Grasshopper plugin, as I think they can do wonderful things together in creating new and innovative designs. Hopefully by the time I finish this subject, my final presentation will look as good as the buildings I have been studying and looking at as precedence for this studio.

PART A. EOI: CASE FOR INNOVATION Discourse and Digital Design

A.1 Architecture as a Discourse

IMAGE ONE: Plug in City - Archigram

‘[A]ny serious “rethinking” of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject […].’ Vidler, Anthony (2000). ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’, Harvard Design Magazine, 11, pp. 1-4, p. 3

Anthony Vidler completely sums up the idea of ‘Architecture as a Discourse.’ These days more and more buildings are being digitally designed. Fifty years ago, this idea would have seemed ridiculous, however new software makes even the most far-fetched ideas seem possible. That is the changing face of 06

architecture. While not everyone will agree that designing in this way is right, digital architecture has created a new realm of thinking that goes against what traditionally was taught about architecture and design.

Sometimes the use of architecture doesn’t even have to result in a completed building. It can just be an idea that changes the way we humans see the world or the space around us. It can provoke thought and cause confrontation. This is architecture as a discourse. It is meant to be a solution to a problem that causes people to follow this new revolution. The Situationists of Europe in the 1950-60’s, and Archigram of the same time period were

two groups of revolutionists who re-wrote all that was been said about the world. Image One shows a piece of unbuilt work Archigram designed called the ‘Plug-In City.’ They had experimented with architecture as a changing medium that could be completely manipulated and re-worked to meet the needs of a particular time or situation. This Plug-In city was made up of a number of different modules that could be included or excluded from the whole structure as it was needed.

Image Two looks at a piece of work the Situationists did regarding the city of Paris. Instead of connecting the city via streets they connected it via the feelings that each quadrant of the city made you feel. This psychological look at the world was something that wasn’t that popular during the mid-1900’s, and by completing the study, the Situationists made people more aware of their surroundings. They helped people think about the world they lived in not just look at it. In Richard Williams’ 2005 paper ‘Architecture and Visual Culture’ he spoke of how people can only truly look at buildings once they understand the ideas or meanings behind a

IMAGE TWO: Invisible City - The Situationists 08

building. And he agreed that not everyone will have the same idea about a built form or will necessarily like it, but as long as it gets people talking then it has been successful. Williams also discussed that architecture is a multi-disciplinary practice and involves the cohesion of a number of different people. Sometimes many different professionals must be consulted so that the best solution is achieved. This is what we will be doing when we complete our main design task for the Wyndham City Council. Architecture as a discourse allows for this cohesion to create an intriguing product that has elements from every discipline coming together to create an interesting whole.

Masdar Institute of Science and Technology, Abu Dhabi, 2010. Architects: Foster and Partners. The ﬁrst building I will look at is the Masdar Institute of Science and Technology in Abu Dhabi. Designed by Foster and Partners and completed in 2010, the building is used as a library and is designed in such a way as to make Masdar City; in Abu Dhabi, the world’s

ﬁrst carbon neutral desert community. Because it is situated in a desert the building is relatively open to the elements, and its interior is fairly similar to most modern buildings of this day and age.

IMAGE THREE: Masdar Institute of Science and Technology 09

IMAGE FOUR: Masdar Institute

The roof structure is the real hero of this building. It was designed digitally to allow for shade from the harsh sun and also to integrate numerous PV panels. Using a number of different programs, Foster and Partner’s Specialist Modelling Group (SMG) were able to simulate the sun’s impact on the site. They were able to model where it would hit at different times of the day, and therefore where these PV panels needed to be located in order to gain the most sunlight. These panels generate most of the power needed to run the entire building. SMG were responsible for the design and construction of the roof. It was created by digitally formulating a series of identical curves that could span the length of the structure. The different lengths of beam were all created using a single mould which SMG would digitally manipulate depending on how long the beam needed to be. By designing and fabricating in this way, they could be sure that the entire structure ﬂowed as one smooth whole. Rarely have companies used a single tool to create a whole structure like SMG did with their roof. This is economically much more efﬁcient as it results in much less material 10

IMAGE FIVE: Roof Structure

wastage. Also it means the building can be constructed quicker because there should be no mistakes when it comes to material selection and performance. Usually companies would create a number of different moulds based on a computed algorithm that they could then build the structure with. This is more labour intensive and time consuming. SMG changed the way software was written so that the process they employed could be much quicker and easier to create an environmentally world-leading project. Now other companies are starting to follow suit. By featuring the Masdar Institute of Design and Technology in AD, the magazine is making devoted architecture fans become more aware of world leading processes. The readers of this magazine will understand that it was digital technologies that enabled the roof structure to be created. It is creating a discourse that places an emphasis on new design technologies and construction techniques. While not overly well-known this building should become central to architectural discussions as it focusses on preserving the environment something which in this day and age is very topical.1

Sudpark Basle, Switzerland, 2010. Architects: Herzog and de Meuron.

IMAGE SIX: Sudpark Basle

The building above is Sudpark Basle, an apartment block in Switzerland. It was built in 2010 by the Digital Technology Group (DTG) within the Herzog and de Meuron ďŹ rm. The DTG is a group of forward-thinking architects and designers who specialise in CAD software. With each building they undertake, the group use completely different software depending on the type of building they are constructing. They then keep that software and use it the next time they build a building of a similar type. In that way, the buildings that Herzog

and de Meuron design are extremely specialised and unique to their practice. The Herzog and de Meuron ďŹ rm have a high emphasis on the architecture of a space meaning that they believe in designing buildings that can actually be constructed and that give a sense of welcomeness to the users. So they only use CAD software that will actually assist them in designing a practical building. They continually fabricate sketch models throughout the design process so they can realistically see what the computer is designing.

IMAGE SEVEN: The Facade

Herzog and de Meuron are world-leaders in their theories. Rarely do experts in CAD software design with the practical use of a space in mind. Usually these experts would design wacky, out-there structures that can’t actually be physically built. Herzog and de Meuron have a focus on how someone will use the space whilst also placing as emphasis on state-of-the-art building design. This relates back to architecture as a discourse as the architects are creating a new culture. They are building ‘proper’ buildings whilst still using modern technologies. They are proving that the ‘out-there’ can still be functional. The Sudpark Basle is amazing in that the patterning on the facade (that was created using the theories in Image Eight) make it hard to establish from the outside where one apartment starts and the other ﬁnishes. This adds a sense of privacy to the space but also

IMAGE EIGHT: The Process

creates a sort of ‘glued on’ feel to the facade on what is a fairly rectilinear building. When looking at Image Six on the previous page, we can see that the streetscape surrounding the Sudpark Basle is fairly scarce and plain. The dynamic facade of the apartment block creates an architectural discourse as it would get the passers-by talking about this new, strange and beautiful building amongst what is a fairly boring area. It creates a discourse as these same passers-by may then investigate the building further and realise that it is an extremely innovative building. Magazines like AD bring buildings like this into the forefront of the public’s mind. The architectural discourse of this building created a new innovative system of the designing that transformed a boring Switzerland street into an icon of modern architecture.2

A.2 Computational Architecture

IMAGE NINE: Blobwall Pavilion - Greg Lynn

Computer programs aren’t meant to be a replacement to an architect’s imagination. If used well CAD can effectively be a supplement to an architect’s design ideas and can make the design process a much simpler and easier method for solving problems. Contrastingly, if a designer was to employ computation then their imagination and ideas are bounded by programs possibilities. These programs can’t ‘think’ for a designer they can only complete a series of commands that

they are ordered to complete from their user. Greg Lynn’s Blobwall Pavilion (Image Nine) is one example of computational architecture. The whole structure was made from hollow plastic bricks that were designed computationally and constructed using a computercontrolled robotic arm. The entire process from designing to fabricating was done entirely electronically, something which is a common theme throughout all of Greg Lynn’s works.3

‘The dominant mode of utilizing computers in architecture today is that of computerisation; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited.’ Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p.xi

In Yehuda E. Kalay’s article ‘Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design’ the author recalls how architecture was ‘officially born’ in the 1450’s. Since then it has steadily progressed from being solely about construction, to more about design, and now about computerisation. Before computers were introduced architects began with a sketch and an idea that slowly progressed via drawings to incorporate every design idea to be constructed. Often during the design process an architect would create a model so that they and the builders are able to envisage what the finished product will look like. By designing in this way both the architect and the builder became aware of any specific construction techniques required and how the whole building comes together. Kalay discussed how now, with computers, this model making process, which can be quiet time consuming, is made much quicker and easier to do. Digital models can quiet simply be created using

programs like Rhinoceros and Grasshopper and any changes needed can be quickly adjusted via these programs. In the ‘olden days’ any adjustment would require another model being built which is extremely inconvenient and time consuming. Essentially computerisation makes everything easier (Kalay, 2004). Since computerisation became the norm the traditional design process has begun to change shape. According to the AIA California Council the design process has become much shorter because of computerisation. Right from the start architects are able to conceptualise an idea and then work to make it a realistic project by designing and manipulating it using CAD. Designing is made much easier, resulting in a much shorter design process. This has also resulted in the architectural profession becoming less about beautiful drawings and artists and more about sophisticated designs and technical wizards.

Museo Soumaya, Mexico, 2011. Architects: Fernando Romero EnterprisE (Free) IMAGE TEN

IMAGE ELEVEN: The Structure

The Museo Soumaya, Mexico, designed by Fernando Romero EnterprisE (FREE) is one example of a building that shows evidence of computational design. The facade of this building is made up of aluminum hexagons that ﬁt together to create one coherent whole. This design strategy was conceived at the very beginning of the design development stage. So during the rest of the design process it was decided that the architects at FREE should work out a way of making this structure work. Only through the use of CAD programs could a facade like this be created. Without it, geometries in this fashion would have been nothing more than an unrealistic dream. For the Museo Soumaya, the design really did challenge the construction process and throughout it created completely new ways of building. This building really is a child of performance orientated design. 16

For the industrial area of Mexico this building was really the ﬁrst in its class. Whereas we; in this studio, and many other computerized designers will use famous precedents to design and construct our sculpture, FREE had no precedence from which to work off. It truly was a unique innovation that the government hope will redeﬁne the area. The FREE team used a modelling package from Gehry Technologies to create a 3D model of the project. This stage of the design process was crucial as the hexagon pattern couldn’t be changed and it was imperative that it worked. The FREE team used the model to check that the facade worked and that everything they were doing was correct and that everything worked together. Had it not then they would have had to re-visit the initial phases of the design process to construct a more viable hexagon pattern.4

Silk Leaf Stadium, Tokyo, Japan, 2012. Architects: Coop Himmelblau.

IMAGE TWELVE: Silk Leaf Stadium

This Silk Leaf Stadium by Coop Himmelblau opitimises computational architecture. The roof of the stadium is lightly perched on top of the structure and gives the impression that it is merely ﬂoating above ground. A lot of planning went into this roof to enable it to be ‘tied-down’ at only four different points around the stadium. Architects at Coop Himmelblau worked tirelessly to make sure that the parameters of their roof design enabled it to be built with these four anchor points in mind. Through computational experimentation they were

able to get just the right curve on the roof to make it sit evenly across the stadium and appear symmetrical to the viewers. Too steep and it would have been harder to construct, and not steep enough and the roof would impede too much on the surrounding concourse. Computerization enabled the architects to model different roof structures quickly before the ﬁnal one was chosen. The wings to either side are an example of more computational architecture as they move to either close off or open up the roof at the touch of a button.5 17

A.3 Parametric Modelling

IMAGE THIRTEEN

Abu Dhabi Performing Arts Centre, 2007Architects: Zaha Hadid The as-yet-completed Abu Dhabi Performing Arts Centre by Zaha Hadid Architects (on the previous spread and the next) is a world-leader in its use of parametric design. The Performing Arts Centre was to be created in this ﬂuid-like form as it was hoped the structure would ﬂow like ‘fruits on the vine.’ This idea was conceptualised at the very beginning of the design process and so it was put to the parametric design team to create a form like the one we see above. As recent as two decades ago, a form like this wouldn’t have been able to be created as the programs and design techniques at the time wouldn’t have allowed it. These days however; because parametric design is the norm, designs like the one above for the Abu Dhabi Performing Arts Centre are easily created and can be fairly easily constructed. Zaha Hadid is a world famous architect, especially when it comes to parametric design. Hadid is known as a ‘deconstructivist’ because she strips back architecture to its

IMAGE FOURTEEN: The Interior

structure and it’s skin and manipulates these with the use of parametric design. It has a focus on non-rectilinear shapes that seem to distort these main elements of architecture. As a ﬁnished product, deconstructivism is said to highlight unpredictability and controlled chaos. Parametric modeling helps Hadid envisage her ﬁnal designs as it enables her to quickly asses what parts of her buildings can actually be constructed. It helps her chose materials and calculates how they are all joined together. Once again, buildings in this style wouldn’t have been able to be created without the use of digital design and parametric modelling. These two things allow any shape to be developed and as long as it is structurally sound then it can easily be erected. As mentioned, Hadid is a massive believer in designing in this way and her buildings are revered all around the world. Because they are revered, Hadid is more likely to stick to a winning formula, that being parametric design.

Some traditionalists may not like Hadid’s buildings or other buildings of the same style, but the truth of the matter is there is no escaping the way of future. I must admit that I can sometimes sympathise with the ‘traditionalists’ when I see a building that is just so ‘out-there’ that it seems extremely misplaced in relatively ‘normal’ surroundings. For me Hadid’s buildings don’t do this. To me they ﬂow well with their environment as they are so curvilinear and abstract that the

surrounding landscape seems to be included in the shape of the building. Perhaps this is because so many of her buildings are only realised on computer and are yet to be constructed. Perhaps once they are built they will look so out of place they will be categorised with Gehry’s Dancing House. But I certainly hope they don’t. I hope her buildings are a stepping stone for parametric modelling. I hope her processes are copied and replicated in new ways by architectural practices the world over.6

‘Post Modernism and deconstructivism were mere transistional episodes and parametricism will be the great new style after Modernism.’ Schumacher, P, 2010, pp. 43.

Parametric Modeling and the use of parametric modeling techniques are widely regarded as the way of the future for architecture. More and more these days, global architecture ﬁrms are using parametric modeling to enhance their designs and their construction capabilities. In Robert Woodbury’s reading ‘Elements of Parametric Design,’ the author discusses how architecture is changing and that it is now becoming a multi-disciplinary profession. He says that these days architects have to be ‘computer scientists, amateur programmers and mathematicians.’ Decades ago architecture was all about communicating through drawing, mainly ﬂoor plans, elevations and sections. And while these are still very relevant today, the use of parametric design means that greater emphasis is placed on the computer, and the designs an architect can make it generate

that will; and already has, completely revolutionize the building industry. Like most things in life, learning to become a parametric designer can be quite challenging. From my experience it is a learning process that involves a lot of trial and error and cannot be done by reading a textbook. Experience in the ﬁeld comes from learning from your mistakes and developing your designs as you learn more about parametric design. I believe that it is a very precedent-driven profession as once I see something made by a professional practice I try to emulate that in my projects. However it must be understood that these professionals have a lot more skill than me and so ﬁnd it much easier to create what I wish to make.

IMAGE FIFTEEN: Abu Dhabi Performing Arts

Through research however, it is obvious that many parametric designers are careful not to replicate what has already been achieved. As mentioned a few times in this journal, architectural ﬁrms like FREE and Herzog and de Meuron develop their own parametric modeling programs so that they can create new and exciting projects. However, even if they didn’t create new programs, because such a vast array of things can be created using parametric modeling, the likelihood of two projects being exactly the same are very slim. It is so easy to manipulate a design by changing just one parameter that really the possibilities for a design are endless.

As Daniel Davis mentioned in the lecture, the use of parametric modeling does have a slight downside. It can be very hard to keep tabs on your whole project and any slight change may be unrecognicable is the big scheme of things. Also it can be hard to relate your parametric ideas to another person. It takes a very trained eye to see a parametric design and relating that to someone who isn’t as familiar with your design can mean a breakdown in communication. This isn’t ideal as a designer has to be in constant contact with their client and if the client can’t follow your parametric model then your design is inappropriate.

A.5 Conclusion My Gateway Design Project for the Wyndham City Council will be designed parametrically and will incorporate all aspects of the computational design process. Since investigating architecture as a discourse, computational architecture and parametric modeling, I have come to realise that designing via the use of computers and parameters is much more beneďŹ cial for creating state-of-the-art and innovative designs.

The Wyndham City Council should want to be state-of-the-art and innovative and so choosing my design would have them â&#x20AC;&#x2DC;on the mapâ&#x20AC;&#x2122; in terms of publicity for this new and exciting project. People will talk about this new design and through further research will come to understand the way it was designed and the story it is trying to tell.

A.6 Learning Outcomes As mentioned in the Introduction, I’m not very proﬁcient at using any CAD programs. My previous attempt at using Rhino wasn’t very successful at all and it scared me somewhat from delving deeper into the world of parametric design. However, since taking this subject I am glad that I have opened my eyes to the wide world that is computational architecture. Literally so much more can be done via the use of computers and the re-

sults (as seen in the precedents investigated above) are gob smacking. Buildings look so much better when they seem to ﬂoat on the land, and when they curve to the landscape around them. They evoke so much more enthusiasm in the public when they don’t even look like actual buildings that are structurally sound. But they are and computational architecture allows for it all to happen. It really has re deﬁned the world!

References A.1 Architecture as a Discourse Vidler, Anthony (2000). ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’, Harvard Design Magazine, 11, pp. 1-4, p. 3 Image One - http://simbiosisgroup.net/wp-content/uploads/2009/02/116.jpg Image Two - http://www.d-log.info/situ-map-brum.jpg Image Three - http://www.waterandclimatelab.net/images/background/MIST1.jpg Image Four - http://www.constructionweekonline.com/pictures/Masdar-Institute_3.jpg Image Five - AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd. 1

Masdar Institute of Design and Technology - Architectural Design (AD) Magazine, March/April Edition, Volume 83, Issue 2 and http://www.fosterandpartners.com/projects/masdar-institute/. Image Six - http://oberli-management.com/images/S%C3%BCdpark%20Fassade.jpg Image Seven - http://farm6.staticﬂickr.com/5305/5609307334_ed04c1248d_o.jpg Image Eight - Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd. 2

Sidpark Basle - Architectural Design (AD) Magazine, March/April Edition, Volume 83, Issue 2.

A. 2 Computational Architecture Image Nine - http://blobwallpavillion.ﬁles.wordpress.com/2008/06/img_1575.jpg 3

Greg Lynn’s Blobwall Pavilion - http://glform.com/environments/blobwall

Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p.xi. Image Ten - Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd. 4

Museo Soumaya - Architectural Design (AD) Magazine, March/April Edition, Volume 83, Issue 2 and http://free.org/projects/soumaya-museum-mexico-city-mexico/ Image Eleven - http://homesthetics.net/wp-content/uploads/2012/12/Museo_Soumaya_-_LAR_Fernando_ Romero.jpg Image Twelve - http://www.e-architect.co.uk/images/jpgs/japan/silk_leaf_stadium_c091112.jpg 5

Silk Leaf Stadium - www.coop-himmelblau.at

A.3. Parametric Modelling Image Thirteen - http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/ Image Fourteen - http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/ 6

Abu Dhabi Performing Arts Centre - http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

Schumacher, P, 2010, pp. 43. Image Fifteen - http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

PART B. EOII: DESIGN APPROACH Developing and Prototyping

B.1 Design Focus

IMAGE SIXTEEN: Seeds of Change - Wyndham

Image Sixteen shows the existing freeway installation at Wyndham called ‘Seeds of Change.’ The new freeway installation that we design should keep this installation in mind and aim to work with it to make Wyndham on of the most iconic places in Victoria. The Wyndham City Council requires the design and construction of a new installation along the Princes Freeway, that is exciting and eye-catching and that inspires and enriches the municipality. The installation

should become a new identiﬁer for the municipality and create a sense of pride within the community. In addition to these requirements, the installation should be modern in its approach to design, and should be compelling as it is viewed by motorists travelling at 100km/h along the Freeway. It should ‘work’ within the surrounding landscape and be dynamic in its application of computational design processes.

To create an installation that covers all these areas, I believe that creating a structure which incorporates ‘Tessellation’ will be appropriate. Tessellated structure; as seen in the precedents below, is generally self-supporting meaning that the structure is incorporated into the design and not separate to it. The whole thing can ﬂow as one thing as not look like a mish-mash of different components. They are usually lightweight structures, which can be made from a range of different materials, all of which are easily maintained. Most importantly though, tessellated structures can span quite large distances which is appropriate and almost required

for this site. Large spans like this would be suitable for the Gateway Design Project as it could possibly create a Gateway; an interchange between the ‘country’ and the Wyndham City Council, with Melbourne CBD as a backdrop. This Gateway would create a transition for motorists as they experience the journey the installation would create. Through the possible manipulation of light and views motorists would notice the change between the boring life behind them and the excitement that comes with the Wyndham City Council, Melbourne and this new installation.

‘The installation will enhance the physical environment through the introduction of a visual arts component. It will have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further reflection about the installation beyond the first glance.’ Western Gateway Design Project document, 2011.

Voussior Cloud, Los Angeles, 2008. Architects: Iwamoto Scott

IMAGE SEVENTEEN: Voussior Cloud - Iwamoto Scott

Voussior Cloud by Iwamoto Scott is an example of a tessellated surface. The lightweight wood panels differ is size throughout the whole project, showcasing how the required strength for the installation to stand up, can be achieved by the size and span of the panels. Smaller, more close-knit panels are installed around the base of the columns where more strength is needed. Bigger panels spaced further apart are installed throughout the canopy of the structure, as

less structural strength is required there. This wider spacing also allows for sunlight to penetrate the structure, something that has to be taken into consideration in our Gateway Design Project. The Voussoir Cloud is an example of how structure can be incorporated into a design and that the two can work harmoniously together. This will be a big focus of ours when it comes to designing our installation.7

Carpenter Centre Puppet Theatre, Harvard University, Cambridge, 2009. Architects: Pierre Huyghe and Michael Meredith.

IMAGE EIGHTEEN: The Interior

Like the Voussior Cloud, the Carpenter Centre Puppet Theatre at Harvard University uses a tessellated pattern that allows the structure to span long distances. The complex geometric pattern allows for the distribution of forces across the surface of the Puppet Theatre meaning spans of up to fifteen feet can be achieved. It is made up of five hundred unique panels; assembled via bolts, and created through the use of computational design. The fluid nature of the tessellated surface is able to frame views of the stage giving different perspectives from different areas within the theatre.

IMAGE NINETEEN: The Exterior

The simplistic nature of construction means the Puppet Theatre can be easily assembled and disassembled so maintenance and the longevity of materials is important and easily achieved. All of these factors are important to consider for our design of the Gateway Project. Our structure should be self-supporting and span long distances. It should give glimpses of the CBD and Wyndham itself through the use of geometric patterning. And the longevity and maintenance of the materials should be paramount; however it is ill-advised that our structure be disassembled in order to be maintained.8

Aegis Hyposurface, Birmingham Hippodome Theatre, 2003 Architects: dECOi Architects

IMAGE TWENTY: Hyposurface - dECOi Architects

Hyposurface by dECOi architects is another precedent that uses tessellation to create an interesting and innovative installation. Constructed in the Birmingham Hippodrome Theatre, the Hyposurface wall moves via computer controlled pistons which react to

the movement of sound in the theatre or to movement from human passers-by. It works in a similar way to the Cirriform Responsive Facade in Seattle, Washington by Future Cities Lab.

This facade reacts to the closeness of and the movement of people both inside and outside the building. It was created using FireďŹ&#x201A;y; a plug-in for Grasshopper, so therefore is relevant to this studio.

These precedents could be useful for our Gateway Project as we could incorporate the use of a ďŹ&#x201A;uid, tessellated surface that moves in conjunction with cars and the speed they are travelling along the Princes Freeway.

B.2 Case Study 1.0

Voussior Cloud Grasshopper File Experimentatio 1

Voronoi-Graft-Loft-Mesh-Tessalate-Smooth

on 4

In the matrix on the left we experimented using the prescribed Voussior Cloud Grasshopper ﬁle to see if we could create some interesting forms that could possibly be implemented for the gateway Design Project. Column 1 is the simplest of the four columns as it only looks at the overall form of the Voussior Cloud and how that can be manipulated to create trunks of differing heights. Column 2 uses the Tessellation parameter to create a form which we then changed by making the base of the columns bigger or smaller. Obviously the bigger the base the sturdier the overall structure is and so the last image in Column 2 is probably most appropriate for the Wyndham site. It could be used to cope with the wind loads that are forced onto the structure. It could also be broken up into individual columns that could line the Princes Freeway as a series of monuments highlighting the signiﬁcance of the space. Column 3 again uses the tessellated surface but this time

the lengths of the columns are repeatedly changed. A final design that looks something like this would fit into the criteria of the Gateway Design Project as it would be an eye-catching feature that could rise high above the horizon. This would give a sense of verticality to the site, something which the Melbourne CBD does to an approaching visitor. Therefore a structure like this would bring the city to the suburban town of Wyndham and literally put it on the map. Column 4 experiments with the Delaunay Mesh and Smooth Mesh parameters to create a form with a number of spikes protruding from it. These spikes could be extruded more to become the predominant part of the structure. They could then be placed in the landscape so as to create a sharp cut between the country life behind Wyndham and the metropolitan life in front of it. These forms would need a lot of adjusting to create the final structure yet, as a starting point, a number of possibilities have arisen. 35

B.3 Case Study 2.0

Voussior Cloud Grasshopper File Re-engineering 1

Voronoi-Graft-Loft-Mesh-Tessalate-Smooth

g 4

As previously mentioned we want to create a tessellated structure that can hold its own weight and that can stand the longevity required to sit on the Princes Freeway in Wyndham. All of these experiments opposite fit this brief. Personally I feel column 1 is the most successful. Aesthetically it is the best and structurally it is sound. The smaller base that leads to the wide open top means that any structural forces run down the ‘trunks’ of the structure. Column 2 was constructed so that the overall shape of the object could follow the curve of the Princes Freeway. Whilst good in theory the straightness of the curves combined with the large areas they cover mean that the final result isn’t overly pleasing. A final project that uses this curved base would need to be severely refined so that the whole design is one smooth flowing, coherent piece. The structure is Columns 3 and 4 is very different to the rest in that the whole definition was repeated twice so

that the structure could flow back over itself, like the waves of the ocean. The final two experiments in Column 4 are quite a long way removed from the original Voussior Cloud. They would create quite a contrast from the flat landscape that surrounds the Princes Freeway if they were to be installed. I think we require something more simplistic and curvilinear for the site as it would relate to the road and the way it flows across the land. Also it would relate to Wyndham on a wider scale as it is a place that tourists can meander through and investigate as they make their way to Melbourne. To develop these experiments further I would like to create columns that can cantilever and stand up by themselves so that they could frame the road as people travel to Wyndham. These markers could instigate further discussion into what the project is and what it is trying to achieve which is a principle goal of the whole design idea. 37

Development: After experimenting in both the case studies above, it became evident that we should focus on the idea of bringing the landscape of the city to Wyndham. When looking at a birdâ&#x20AC;&#x2122;s eye view of the area it becomes apparent that Wyndham is the start of dense suburbia. It leaves behind the vast countryside and farmland and is instead full of housing

Renderings, 1912-1920 Artist: Hugh Ferriss

IMAGE TWENTY-ONE 38

estates and populated life. We felt it necessary to exploit this and make Wyndham known as the start of metropolitan Melbourne. If implemented correctly Wyndham could be known as the ďŹ rst town of metropolitan Melbourne, a landmark in the wider Victorian context.

The Hugh Ferriss renderings are just one example of how we could implement the city landscape on Wyndham. Using a very lightweight tessellated structure, we could project lights up the form creating interesting shadows that would bounce off at different intensities. These lights would hit the structure at different intensities creating sharp

IMAGE TWENTY-TWO

points of light that contrast directly to the areas of shadows, seen vividly in Ferrissâ&#x20AC;&#x2122; work. Essentially we could create a series of landmarks that can only be seen when these lights are acting on it. So possibly this city may only be seen at night or when the sun is hitting the structures directly.

IMAGE TWENTY-THREE 39

Essentially we wish to create:

A JOURNEY THROUGH A DENSE CITY THAT ISN’T THERE or a

A JOURNEY THROUGH A NON-EXISTENT CITY

Danish Pavilion at the Shanghai Exhibition, 2010. Architects: Bjarke Ingels Group (BIG)

IMAGE TWENTY-FOUR: Danish Pavilion - BIG

The Danish Pavilion at the Shanghai Exhibition 2010 is an important precedent for our project as it uses a perforated steel facade to highlight the Copenhagen skyline. We could use this idea in a similar way, by transposing the Melbourne skyline onto a tessellated

structure that we create in Rhino and Grasshopper. We could then backlight it so that while it will be visible during the day, it would become a lot clearer as light penetrated through at night, highlighting the details of the structure.10

UK Pavilion at the Shanghai Exhibition, 2010. Architects: Heatherwick Studio.

IMAGE TWENTY-FIVE: UK Pavilion, Heatherwick Studio

The UK Pavilion at the same Shanghai Exhibition in 2010 is an incredible structure that uses clear acrylic tubes to create both the interior and exterior finish of the building. These tubes give the impression of grass as the finished facade and create an extremely eye-catching building. Upon further inspection of the tubes one would find that in fact little seeds from different kinds of native UK plants and grasses are embedded into the tubes (Image Twenty-Six). This creates a sense of dynamism with the building as not only is it state of the art in terms of design

and construction, but it also relates back to nature and the ground that it ‘grows’ from. Another interesting part of this building that is relevant to my Gateway Design Project is the fact that the structure is lit naturally during the day, and artiﬁcially at night. So from inside the building you would be able to see the sun move across the sky, creating shadows in different parts of the building. Then at night it is internally lit to create areas of sharp light and others of complete darkness.

IMAGE TWENTY-SIX: Seeds implanted in the acrylic tubes

It is perhaps an even more relevant precedent as instead of literally lighting images of the Melbourne skyline like I mentioned above, I could use ﬁbre optic cables and lights to create points of interest on a large structural surface. Using the UK Pavilion as an example, my ﬁnal design could be nothing more than a series of lights that give the impression that a structure is there. Only when the lights are lit would the evidence of a structure be obvious. Therefore people who travel through the site at high speed during the day won’t be able to tell what the design

is until they research it further, or until they visit the site again at night. Designing in this way would create an architectural discourse about Wyndham and have people interested in what else the municipality has to offer. What else would people be missing out on by bypassing the town? My design would have people thinking this and so would create a much greater interest in Wyndham. These are important factors in the Gateway Design Project and ones that I am keen to exploit in my design.11

IMAGE TWENTY-SEVEN

B.4 Technique: Development 1 Image Sampling

Image Sampling was one technique we looked at to create a cityscape on a tessellated structure. Images ‘a’ and ‘b’ use Melbourne’s Flinders Street Station which is an extremely iconic Melbourne landmark. Image ‘b’ uses fewer points in the x direction to create a less dense image. I feel that Image ‘a’ is better as you can clearly see what the points are trying to highlight. Images ‘c’ and ‘d’ use another iconic Melbourne land-

mark this time using the Arts Centre. Image ‘d’ has fewer points in the y direction but once again the more dense image (Image ‘c’) is aesthetically better. To take these further we would investigate what structure these images would be placed on. And also we would make the points points of light so that they would become invisible during the day and prominent at night as previously discussed.

Surface-Divide-Image-Polygon-Graft 46

2 Circles around Points

The images on this page experiment with creating circles around points. These circles could be manipulated further to incorporate lights, creating areas of sharp light on the objects above. Images ‘g’ and ‘h’ are probably the most successful as their points diminish is size as the intensity of the light acting on it decreases. Unfortunately all the other objects created points in a regular grid pattern mean-

ing that all the circles are the same size and at the same distance apart. These would need to be manipulated further in order to create a desirable outcome. I do like how these ﬁnal images look and I think they reﬂect Hugh Ferriss’ renderings accurately as large amounts of light could be emitted at some spots on the buildings and no lights at other parts.

Brep-Mesh-Decompose-Circle 47

3 Surface over Object

Image ‘k’ continues on from the form created in the final two columns of Case Study 2.0. To create this surface we applied the ‘Surface over Object’ parameter in Rhino. This created an interesting shape that appears to rise up from the flat surface that surrounds it. This is a perfect analogy for the dense city landscape that we are trying to create as it forces the viewer’s eyes up above the flat horizontal plane that surrounds the Princes Freeway in Wyndham. Image ‘l’ works in a similar way. After creating these objects we then manipulated them further to include a tessellated

surface that could have points applied to it (Images ‘m’ and ‘n’). Whilst the points appear too regularly on the ﬂat surface, the irregular nature of them at different stages on the vertical elements adds an interesting visual component to the object. This could be exploited further to create areas of sharp light and dull light to signify the city landscape and the points of contrast within that. Once again these lights would only appear at night so that the structure seems to disappear during the day, creating a ‘dense city that isn’t there.’

Brep-Triangulate-Mesh-Decompose-Circle 48

4 OctTree

Following on from the form created on page 49, we used the OctTree parameter on Grasshopper to create a city like landscape. I feel that this structure could become very striking on the Wyndham site as it creates a different horizon for someone driving along in their car. The sharp verticality of the structure

moves one’s eyes from the ﬂat landscape around them up into the structure above. This OctTree object could be taken much further so as to incorporate lights, something which; as I have stressed before, is extremely important for our ﬁnal Gateway Design Project.

Geometry-PopulateGeometry-OctTree 50

5 Curves

Image ‘r’ shows three undulating curves that we have created to represent the curved nature of the Wyndham site. Using Grasshopper we lofted them to create Image ‘s’ which manipulates the verticality of the site and draws the viewer’s eyes up. Whilst the con-

nection in the middle of Image ‘s’ becomes a little complicated, something like this wouldn’t be too hard to fabricate manually. However it does need further manipulation in order to be a successful installation for the Gateway Design Project.

Curves-Loft 51

6 Curve Manipulation

By creating a mesh over the loft (Image ‘t’) we were able to create a smooth surface that could be further manipulated either parametrically or manually after fabrication. The mesh created would be much easier to model if it were to be our ﬁnal prototype or even our ﬁnal design for the Gateway Design

Project. Image ‘u’ shows a tessellated triangular pattern placed onto the surface of the mesh. This creates quiet a detailed structure that could be used to create a wireframe that is then manipulated with lights to create ‘the dense city that isn’t there.’

Curves-Loft-Arc-Mesh-Triangulate 52

As a continuation from page 51 we used the arc parameter between the three curves shown in Image ‘r’. We found that the resulting arcs we too simplistic and rigid for the form we were trying to create. So by applying the Geodesic Curve parameter (Image

‘w’) we were able to create a much smoother curve that ﬂowed nicely across the outer face of the loft. This is a good starting point for us to manipulate the curves further to create some interesting shapes or possibly some point sources for lights.

Curves-Loft-Arc-Geodesic 53

6 Curve Manipulation

From the Geodesic Curve manipulation in Image ‘w’ we then grafted and divided the curve into a series of points that could then create circles. These circles could be the basis upon which we design the layout of our lights. Image ‘x’ uses a larger radius for the circles. This manipulation created a much more regular grid pattern for the circles, something which isn’t really desirable.

So we decided to lower the radius of the circles, and the resulting layout of circles is much better. As previously mentioned, we wish to create points of harsh light and points of dull light and the layout of circles in Image ‘y’ does this effectively. This is the digital model which we will fabricate for a prototype.

Curves-Loft-Arc-Geodesic-Graft-Divide-Circle 54

B.5 Technique: Prototype To fabricate our prototype we thought it would be best if we used the three initial curves in Image ‘r’ to make a wireframe structure that could stand by itself. The use of wire would replicate using lightweight, malleable steel or metal cables that were rooted into the Wyndham site using some sort of footing system.

IMAGE i: The wire for base curves

We felt it important to cover up the structure for the lights both in the prototype and for the proposed ﬁnal design as it creates a much cleaner and sleeker monument. Also it would relate back to our invisible by day, visible by night scheme because the material placed over the structure would block out the details of the lights during the day, and then at night

We used ﬁbre optic lights to create the tessellated light pattern that we modelled using Grasshopper. The same could be used for the ﬁnal structure in the Gateway Design Project they would obviously just have to be bigger so as to stand out in that vast landscape.

IMAGE ii: The ﬁbre optic lights

the lights would shine through the material in different areas creating a vertical cityscape. Similar to the Geodesic curves in Image ‘w’ we used wire to create a spine for the structure to be built around. These could be made using wire or thin steel when constructed on site, as it is lightweight and barely visible when travelling at high speeds.

IMAGE iii: The lightweight wire structure being covered by the fabric. 55

The white material that would go over the entire structure to hide it could be made from the same sort of material that is used for shade sails. It is ďŹ&#x201A;exible and can be seen through so is perfect for this installation. Most importantly however the material moves in

accordance with the wind meaning it wonâ&#x20AC;&#x2122;t try and resist the wind force on the structure which could potentially create a break in the structure. We should aim to create a movable design that is rooted in the ground.

IMAGE iv: Material covers the structure behind.

As mentioned on page 42 we could create a tessellated surface that then had points for lights associated with it, in order to fabricate this model in a different way. However I think that the more structural wire or steel you add the more rigid the structure becomes. These structural elements are supposed to be the

secondary element to this design so we donâ&#x20AC;&#x2122;t want to overcomplicate it too much by adding too many elements. We also found that the tessellated structure would have been much harder to fabricate for a prototype, so instead we went for the Geodesic experimentation.

IMAGE v: Lightweigt steel structure is a secondary element to the material overlay and more importantly; the lights.

B.6 Technique Proposal

As previously mentioned this possible design could be implemented on the site quite easily using lightweight steel and a covering material to highlight the use of ﬁbre optic lights within the structure. From the photos on Pages 57-61 we can see that the use of lights adds quite a striking element to an amazing structure. Something that is so lightweight yet so strong and which can incorporate areas of light like it does has to be utilised by the Wyndham City Council. I will admit that at this stage the areas of light and darkness haven’t be completely adhered to or ﬁgured out, however when they are implemented the structure will seem to glow in all the right places. I could imagine so much more intrigue in the city of Wyndham as a result of the implementation of this freeway sculpture. As mentioned time and time again the fact that this design will be ‘invisible’ during the day and fantastically vibrant and alive at night-time means that it gives two perspectives to the people of Wyndham and their visitors. Someone driving through during the day would see the sculpture jutting out vertically from the horizontal

landscape that surrounds it. They would see some hint of structure behind a moveable material which would get them thinking ‘what more could this possibly be?’ It wouldn’t be until they travelled through at night or if they did some online research that they would become aware that in fact the sculpture resembles a whole new world at night. People would come flocking to Wyndham to see this structure with previously unnoticed, incorporated lights that seem to move in the wind as if they are alive. People would realise that in fact Wyndham is too alive, and they would flock to the township in droves to celebrate all that is has to offer. While there is still a long way to go to finalise this design and add different pieces to the overall finished product, it can be safely assured that this design meets all the requirements for the Gateway Design Project. It creates a discourse into the city of Wyndham and it puts it on the map by transforming it from a quiet interchange town between the city and the country, to a dense, vibrant city that isn’t actually there.

B.8 Learning Objectives & Outcomes It is evident from the feedback we received after the Mid-Semester Presentation that we have to work on a way to bring tessellation into the design more. Whether it be through the actual structure that makes up the Design Project or the use of tessellated columns in another part of the design, we have to create a structure that can be easily fabricated using tessellation. Throughout the last part of this journal and this course I have become much more proﬁcient at using Rhino and Grasshopper. My group and I have been able to successfully work off each other to create some extremely interesting designs. My previous attempt at using Rhino wasn’t very successful at all and it scared me somewhat from delving deeper into the world of parametric design. However I have since realised that the only way to get better at something is to continually use it and practice it in the hope that you will create a memory

bank big enough to remember how you can design what it is you want to design! This subject has opened my eyes to the wide world that is computational architecture. Even a topic as narrow as ‘Tessellation’ can create a wide range of intriguing forms that can withstand even the largest of forces. From the Voussior Cloud to the Hyposurface, architecture is continually being redeﬁned because of computational architecture and parametric design. Whilst my attempt at recreating the Voussior Cloud wasn’t perfect, it’s amazing to think that I could use Grasshopper and Kangaroo to create exactly the same thing as what a professional practice (in this case IwamotoScott) created. Coming from a person who hasn’t successfully made anything using computational techniques before, it is quite an astonishing realisation and happy achievement. Literally so much more can be done via the use of computers and the results (as seen in the precedents investigated above) are gob smacking.

References B.1 Design Focus Image Sixteen - http://farm4.static.ﬂickr.com/3265/3193135219_c9fb70b278.jpg Western Gateway Design Project document, 2011 7

Voussior Cloud - http://www.iwamotoscott.com/

Image Seventeen - http://www.iwamotoscott.com/ Image Eighteen - http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/ Image Nineteen - http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/ 8

Carpenter Centre Puppet Theatre, Harvard University - http://cubeme.com/blog/2009/07/07/puppet-theater-atharvards-carpender-center/ Image Twenty - http://slmilne.ﬁles.wordpress.com/2010/05/hyposurface-moving-wall.jpg

Aegis Hyposurface - http://slmilne.ﬁles.wordpress.com/2010/05/hyposurface-moving-wall.jpg

Development Image Twenty-One - http://25.media.tumblr.com/tumblr_loyty4eb4d1qlrkw8o1_500.jpg Image Twenty-Two - http://newsfeed.kosmograd.com/images/ferriss_292.jpg Image Twenty-Three - http://media-cache-is0.pinimg.com/192x/39/2e/90/392e90e21f7eeb.jpg Image Twenty-Four - http://www.dac.dk/media/8867/Expo_high.jpg 10

Danish Pavilion, Shanghai Exhibition - http://www.dezeen.com/2010/05/01/danish-pavilion-at-shanghai-expo2010-by-big/ Image Twenty-Five - http://fc-asset1.freekeylabs.com/ﬁle/0/328/thumb/1920_1200_min.jpg Image Twenty-Six - http://thebreaksover.com/wp-content/uploads/2010/03/e31_22636437.jpg

UK Pavilion, Shanghai Exhibition - http://www.heatherwick.com/uk-pavilion/

Image Twenty-Seven - http://upload.wikimedia.org/wikipedia/commons/c/c2/UK_Pavilion_of_Expo_2010_2.jpg

PART C. PROJECT PROPOSAL Developing and Presenting

C.1 Gateway Project: Design Concept We received some very helpful constructive criticism from the guest crits in regards to our design and ﬁrst prototype. As previously mentioned we need to work on a way to bring our main theme of Tessellation into the design more. In addition to this, it was decided that we should make a more conscious effort to create sharp points of light and dark, rather than areas of light that ﬂow over a large area of the structure. To do this we need to create sharper angles in our Gateway structure rather than curved surface that allows light to dissipate over it. Keeping these comments and design ideas in mind it was decided that we could work at

IMAGE TWENTY-EIGHT: Site A hill

creating shapes that look more like buildings, with straight edges, sharp angles and some hidden reveals that would allow us to create these points of light contrasted with the points of shade. As a continuation from these investigations we looked at the Princes Freeway site (Image Twenty-Eight) in Wyndham and examined how we could use it to create an effective Gateway Design for the city council. We thought it would be best if we used the 4m hill in the middle of Site A so that forms we created could stand out in the ﬂat landscape that surrounds it.

Basing our design around Hugh Ferriss’ renderings, we felt it necessary to create large structures that gave a sense of verticality to the site. We felt it important to change the horizon line for the drivers from the ﬂat angle they see when driving their cars to a high perspective that draws their eyes up and to our design. This would create added interest in Wyndham as the drivers would feel that because their eye line has shifted up to this new installation then obviously they are viewing something important. Only upon reﬂection or further research into the installation and the Wyndham site would these drivers come to realise Wyndham is a place of adventure and should be explored further.

With this in mind we began experimenting with some forms and explored how they could be vertically manipulated to add a sense of dynamism to Wyndham. The experiments below highlight this exploration process. In Image Twenty-Nine we see how some building-like forms can be placed on poles to push them even further into the sky. This plays with the ‘non-existent city’ theme as even though these forms are supposed to be buildings, because they are abstracted so brilliantly it adds a sense of intrigue into the design as the driver’s would be thinking what are these things; a city or an abstract artwork?

IMAGE TWENTY-NINE: Design Idea

North Sydney Bus Shelter Competition Design, 2006 Architects: Tribe Studio Architects and Super Colossal (Mark Trimble)

IMAGE THIRTY: The Exterior

One precedent for our new design idea was Tribe Studio Architects and Super Colossal’s competition design for the North Sydney Bus Shelter. Set in an urban context this design really creates a discourse for the area and it leaves people pondering the question what is the design supposed to be? Are they buildings abstracted to blend into the city scape or are the elongated umbrellas that cleverly play on the idea of shelter? Whatever the case Tribe Group and Super Colossal really did create an interesting design that beautiﬁed was is normally a pretty mundane structure.12 We hope to do something similar with our

IMAGE THIRTY-ONE: The Interior

Gateway Design. While sculptures and installations aren’t usually mundane and boring, our Gateway Design will hopefully set the benchmark for all freeway designs to better. It would be fantastic if the town of Wyndham could become famous for having the most interesting and spectacular freeway scullpture in the world. It would really put the city of Wyndham on the map and create a much larger discourse into the town.

The next phase of our design process was to create areas of light and dark that would replicate Hugh Ferriss’ renderings and add a greater sense of verticality to our structure. Image Thirty-Two shows a very simple experimentation into this design idea. By placing points of light of the lower sloping faces, the light would then feed up the structure creating sharp points of light at the source that then slowly dissipate across the rest of the face. This would allow areas of the structure

to seem completely invisible as they would be bathed in darkness (where applicable). This effect would work best at night therefore creating two designs in one. The ﬁrst would be the structures that are seen during the day, as abstracted buildings with holes cut in them. And the second design would be at night when the buildings come alive. All that the driver would be able to see would be tall sources of light that seem to ﬂoat in the air.

IMAGE THIRTY-TWO

Digital Design Process 1 Grid To begin with we created a Tessellated grid in Autodeskâ&#x20AC;&#x2122;s Maya that became the basis of our built forms. The highlighted shapes were chosen as we felt that the sharp angles and lines draw the drivers into our city, similar to how Melbourne and its grid system of streets

engulfs people as they travel in. The ďŹ nal form that we wished to build upon works as a kind of cannon, pushing the viewers out and into Wyndham - the city that they should explore.

2 Extrude These forms were then extruded using Maya to create city-like buildings. We then manipulated them further from the perspective of a driver viewing the forms from the Princes Freeway. We felt it was very important that each form was slightly different and very

abstract so as to create a discourse about Wyndham. We didnâ&#x20AC;&#x2122;t want it to be obvious what this installation was. It needed a bit of deeper thought similar to how Wyndham needs deeper exploration to truly ďŹ nd all its hidden qualities.

3 Tessellate As mentioned (and as seen on the last spread) each form was individually manipulated to give the driver a different experience for each of the different forms they drove past. Some receded back, others had little ‘wings’ connected to them. Not one point was created as a 90 degree angle. This is obviously not like regular city buildings where most points are at 90 degrees for ease of constructability: however our design has more chaos to it than a simple city building. Because we wanted to create a false yet dense city we felt it necessary to design a small number of interesting forms rather than a large number of simple ones. This adds to the intrigue of the Gateway Design as it once again plays on the viewer’s mind. What is a city? What is a building and how do these forms differ from the ones in Melbourne? What is Wyndham and what does it have to

offer? All these questioned can be answered if the viewers of this design investigate a little further and delve into the depths of the vibrant Wyndham City. The next step in the digital design process was to tessellate the forms. This tessellation could then be transported to Rhino and Grasshopper and used to create the holes in the structure from which light could penetrate. Once again each form was manipulated to give the best effect from the viewer’s perspective. The tessellation (which was created using the commands below) was created on points of interest like those ‘wings’ mentioned before, as well as on hidden reveals that could shine onto blank faces, creating a dispersive effect as seen in Hugh Ferriss’ renderings.

Divide-Tessellate-Grow Selection-Smooth 74

4 Dots These tessellated forms were then exported into Rhino and Grasshopper where the algorithm for the dots could be applied.

Mesh-Decompose-Circle CNR 76

The ďŹ nal dots took a lot of manipulating to get right. We decided to make them 1mm in diameter as anything bigger was overlapping because of their density. This overlap was undesirable as it would have created large

holes when fabricated and this would go against the whole design intent, which was to create little points of light that can join together to create one large beam of light.

5 Unfold Once the forms from Maya had been turned into a Mesh and had had the dots applied to them, they were now ready to be fabricated. We chose to Laser cut our design as not only did it make for simpler construction, but also it most replicated the ďŹ nal construction techniques used for the Gateway on site. For the

ďŹ nal model we felt it most appropriate to use 3mm Laserply as it once again most replicated the actual Gateway. We constructed a few prototypes as well to make sure that the materiality was correct and that the entire thing was actually buildable. (These are explained further on Pages 83-84).

B B

5 5

Throughout this whole experimentation process it was important that we continually considered the materiality of these design ideas and how they would be constructed. Obviously with the structures we were wishing to create it was important that they could be cantilevered so as to give off the idea that they are ďŹ&#x201A;oating. With this in mind; and as shown in Image Thirty-Three, it was decided that the poles would be made out of large, hollow steel columns that would be strong enough to hold the structures in place. These

columns would need to be cemented into the ground using large concrete pads. In terms of the actual buildings themselves it was felt that they could be made out of structural steel elements with a timber, rusted steel or aluminium facade. That way the buildings would be extremely resistant to the live loads like wind that would be placed on it. The ďŹ nishing clad would look much more aesthetically pleasing than large pre-cast concrete elements or some other monolithic material like that.

6 4

1 80

3 IMAGE THIRTY-THREE: Structual Elements

Construction Process 1 Site is excavated to allow for individual square footings underneath each of the structures. Excavation would have to be dug to adequate bearing capacity (as speciﬁed by the Geotechnical Engineer.) Footings for each of the structural poles are constructed and a base slab is laid for the structural columns to ﬁx onto.

2 Main structural hollow, steel columns are lifted into place via a crane and installed to their

upright position as determined by the final design. It is fixed to the base slab using a base plate and steel ties. This would root the structure firmly into the ground and stop it from tipping over when it is subject to high winds and other live loads whilst it sits on the Princes Freeway in Wyndham.

3 Concrete is poured on mass around the steel columns so that the top of the concrete sits

ﬂush with ground level. This would reinforce what is already a strong connection between the structural steel and thee ground and stop the structures overturning. Movement joints would have to be designed so as to allow the concrete to move without creating fractures in the overall integrity of the structure.

4 Lightweight steel framing is connected to structural steel using connection plates and bolts and/or welding. This process could either be done offsite and the whole structure erected on site via a crane, or it could be done on site as outlined here. This would be determined once the ﬁnal design is complete, as only then would the layout of the structure be known and can then be connected accordingly.

5 Facade with digitally designed and fabricated holes is ﬁxed to the lightweight steel framing. The layout for this will be designed parametrically and compliment the main design theme of Tessellation.

6 Lighting system is attached so that the best effects for day and night time viewing are achieved. This too will be designed parametrically. Final face of facade is attached to ﬁnish entire structure off.

C.2 Gateway Project: Tectonic Elements

The image on the previous spread shows the most important prototype model we constructed. Using a simplified version of one of our forms, the model highlighted what could have been some massive deficiencies in our final model. First of all, the joints between the faces are not flush with each other and some of the light is seeping through these gaps. This is far from ideal because with the light like this the form becomes easily visible and that is something which we don’t want to show in our design. If the final model were to look like this then the design would become the ‘existent city’ rather than the ‘non-existent city’. In order to fix this problem we are going to need to chamfer each edge at a 45 degree angle so that the 2 panels can sit flush with one another. Experimentation in this way can be seen in the image below which is another prototype we constructed. While not perfect, it could easily be manipulated further to achieve a perfect finish. Any gaps could be

IMAGE THIRTY-FOUR: Second wood prototype

filled with wood filler if necessary. Another problem is the fact that because the wood is so thin and light in colour, it is quite obvious to see where the light source is. This once again is undesirable as we want to give the impression that each light which shins through the dots has its own light source, like a city building’s windows at night. If a viewer could see the light source then ultimately the project has failed. In order to fix this we may need to either use a thicker wood, or a different material all together (like the card used in Image ThirtyFive), or we could simply paint the forms a dark colour so that no light shines through. This latter solution is probably most practical as not only would it make the model easier to construct, but secondly it could replicate the use of an aluminium cladding in the on-site Gateway.

IMAGE THIRTY-FIVE: Card Prototype

While not overly helpful towards defining our final model, this prototype; which was constructed in the earliest stages of the design concept, was very helpful in outlining a vision for us to follow. However it does show that large cantilevers can be achieved and this is something we are aiming to do with our final

design. Lots of planning must go into how big cantilevers are and where the form should be suspended off the structural pole. We will need to experiment where the poles should go as we work to ﬁnalise our presentation model.

IMAGE THIRTY-SIX: Form and cantilever prototype

C.3 Gateway Project: Final Model It was decided during the design process that our model would be quite large but compact at the same time. Instead of building across the entire (approximately) 1km site it was felt that we would create a much sharper dislocation between city and country if we used only 50m of the site. This also worked because it allowed us to create a sense of density without covering the entire site in buildings. Proportionally, the 50m in length meant that

IMAGE THIRTY-SEVEN: Final Digital Model

our tallest building would be 10m high. This is once again ideal as it would effectively shift the driverâ&#x20AC;&#x2122;s horizon line from the horizontal, up and to these structures towering over them. Especially at night when the lights are ablaze, these structures would seem to be city buildings that rise high above the ďŹ&#x201A;at country landscape around it. These buildings mark Wyndham as a place and create a discourse about the town and its new fame.

Our model making process was quite involved. To begin with we sent off our unfolded ďŹ les to be laser cut. To save time we decided to only get the panels with holes in them laser cut, and we cut the rest by hand. This was quite time consuming but in the end it worked to great effect. The panels we cut would have been a replicar of the facade that was attached to the lightweight steel structure on the Wyndham site. Making such large panels is not only aesthetically pleasing but also it works at reducing the number of joins,

therefore maximising surface area and material costs. Once all the panels were cut we strategically numbered them and collated the faces together so that we knew exactly how the shapes went together. We then had to chamfer every edge before ďŹ nally starting the fabrication process. We referenced everything we were doing off the digital model to make sure that both were exact replicas of each other.

IMAGE vi: 3mm plywood panels were cut to replicate the unfolded shapes. Their edges were champhered and then joined using high quality wood glue. Any holes in the joins were ďŹ lled with a putty as seen above.

How our model sat in relation to the site was an important part of our design. As previously mentioned we wished to use the 4m high hill in the middle of site A, further increasing the verticality of our structure and the horizon line. In order to show this effectively we had to make a contour model to house our model. It was made from 10mm plywood (0.5m at 1:50 scale). Fortunately the contour model was also going to work as a place for us to connect our lights that run under each of the individual forms and up the hollow tubing. The contour model had to be big enough to ďŹ t all of our forms, plus the battery, the switch

and the wiring. In terms of real life application I envisage each structure having its own power source and lighting circuit. The wires would run up the structural poles and sit inside the structure, where the lights are housed. They would be automatically timed to turn on, the same way that street lights work. And there may be days where the lights are left on all day. These events could perhaps signify important days for Wyndham or even the Melbourne CBD. Why not mark an even in Melbourne at its new little sister - the dense yet non-existent city.

IMAGE vii: 10mm contour model with 12mm copper tubing used as the hollow structural steel columns. Columns are painted brown to match the forms to ensure that no light penetrates through except at the holes.

Next job was to sort out all the electrics by connecting the wires from the light inside the forms, down the columns and into the contour model underneath. After the light was placed inside, every form was sealed with

connecting wire hanging underneath. Wire was then cut to the appropriate lengths, as determined by the columns, and the remaining wire was put in place under the contour model ready to be attached to the forms.

IMAGE viii: Forms sealed, columns connected, wires attached. Ready to be painted and joined with the contour model.

We then painted all the forms because, as previously discussed, it was required so that no light can been seen through the structure, only through the dots where it’s needed. The brown colour also gives a sense that the ﬁnal ﬁnished model will be made from either an aluminum clad or possibly a rusted steel material. Both these would look great as it

would give the sense of high-tech coming to Wyndham. Once the forms were painted we connected them to the contour model. The wires were then ﬁxed together, before we set everything in place and turned the lights on!!!

IMAGE ix: Forms were painted and then attached to the contour model in their right positions as outlined by the digital model. 88

Critique and Commitment Most of the crit panel was extremely happy with our design idea, our engagement with the project and Wyndham and the way we presented it together as one cohesive whole. However they were critical of our model, saying it looked unﬁnished and a little rushed. So, on their advice, we decided to spend more time ﬁnishing the model by making sure that all the forms were smooth and solid. We

then repainted the whole thing. The forms were made black - more aesthetically pleasing than brown and produces the same effect where no light can penetrate through. The poles were made white so that they sat in the landscape better and made the forms seem to ﬂoat above. And the contour model was stained a ‘Japanese Black’ to ﬁnish it off and join forms with the landscape.

While it was extra time and effort to rework the model, I can safely say that it was a very smart decision to do so. The new paint job gives the whole project a sense of sophistication and now gives our presentation a very

big full stop. We now have a good design idea, a solid argument for its implementation in Wyndham and a beautiful digital and physical presentation to go with it.

C.5 Learning Objectives & Outcomes Throughout the entire design process and the subject as a whole we have been working towards completing the desired learning objectives for the course. This next part of the journal will look at these objectives individually and thoroughly access their completion throughout the journal. Learning Objective One: ‘Interrogating a brief’ by consider the process of brief formation in the age of optioneering enabled by digital technologies. Using programs like Rhino and Grasshopper allows one to design parametrically so that a number of possible options can be quickly achieved and manipulated further if necessary. Both Case Study matrices 1.0 and 2.0 and the Technique development section (Pages 34-37 and 46-54 respectively) looked at possible ways of answering the brief through the use of computational design. Learning Objective Two: Developing an ‘ability to generate a variety of design possibilities for a given situation’ by introducing visual programming, algorithmic design and parametric modeling with their intrinsic capacities for extensive design-space exploration. Essentially one must be able to adapt their design to not only meet the needs of the brief but also so that it addresses any criticisms or downfalls the design may have. A design must meet the needs of the site, the construction requirements as well as the loads that are placed on it. Parametric design enables any chances to be made quickly and efﬁciently so that more time can be given to the design concept. The technique development phase (Page 46-54) and the digital design process (Page 70-81) address Objective Two. 103

Learning Objective Three: Developing ‘skills in various three-dimensional media’, and specifically in computational geometry, parametric modeling, analytical diagramming and digital fabrication. Once again one must be proficient at using many different types of media to convey their design idea. Each method should complement one another rather than conflict it in any way. Throughout this entire design journal I have effectively combined parametric design with digital modeling and fabrication and finally physical modeling to achieve a realistic and appropriate design for Wyndham. Learning Objective Four: Developing ‘a relationship between architecture and air,’ through interrogation of the design proposal as physical models in the atmosphere. As mentioned on Page 28 the Wyndham City Council required a freeway sculpture that enhanced the physical environment, had longevity and encouraged further reflection in Wyndham beyond the first glance. All these major points in the brief relate back to incorporating ‘air’ into the design. The best way to address the relationship is to effectively design the sculpture in relation to the site and its context. As mentioned on Page 66 I intended to use the hill on the site to increase the verticality of the structure. This sculpture would change the landscape of the site, interrupting the atmosphere and adding a sense of dynamism to the project. As mentioned our project comes to life at night therefore manipulating the environment that surrounds it. It acts in accordance to the atmospheric conditions around it.

Learning Objective Five: Developing ‘the ability to make a case for proposals’ by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. Throughout the journal I have continually highlighted my design idea and thoroughly supported it with evidence both from the built world and the wider community. Our design concept had a very sound back story highlighted the reasons we chose it as the final design. We wanted to create a non-existent city through the use of a structure that can disappear and night but remain visible during the day. In our research we recognised that Wyndham was the start of dense suburbia so we looked at manipulating this idea of a false city. We introduced verticality to make the structures stand out and also to interrupt the flat horizons that the driver’s so often experience. Making such a striking design and argument creates a discourse around Wyndham as its visitors will become aware that this town is somehow important. Only upon further reflection and investigation will the these visitors be able to discover Wyndham and all that it has to offer. Learning Objective Six: Develop capabilities for conceptual, technical and design analyses of contemporary architectural projects. At almost every stage of this journal I thoroughly investigated precedent project that related to my design and the wider architectural discourse. Most of them used parametric modeling to design and especially early on this was important, as my inexperienced mind needed to be able to see how parametric modeling can enhance the design process and the final outcomes.

It is important to choose precedent projects wisely as while some may look nice, they may not address the design intent or idea that I am trying to achieve. Learning Objective Seven; Develop foundational understandings of computational geometry, data structures and types of programming. As previously mentioned my knowledge of computational and parametric design at the start of this course was very limited. I feel that this knowledge has increased tenfold as not only have I become more conﬁdent in using all the programs, but the theory behind why you use them has become clearer. It can be seen in my journal that I have explored Maya, Rhino and Grasshopper and been able to combine their functions to create an exciting Gateway for the Wyndham City Council. Learning Objective Eight: Begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. As outlined on Pages 29-33 we became interested in the process of Tessellation from very early on. We liked how the structure and the supports were intergrated as one and designed together as part of the overall shape and make-up of the design. We felt we could use this effectively as we didn’t want any substructure to deteriorate from the main design on site. Tessellation could be easily used in the computational programs as it created some interesting geometries that supported our design intent. We became hell bent on using dots and their density and placement as the main feature, and were able to effectively control their design using parametric tools. 104

References C.1 Gateway Project: Design Concept Image Twenty-Eight - Site Photographs Folder, University of Melbourne LMS, Semester One, 2013. Image Thirty - http://3.bp.blogspot.com/_oUFzkPiVDOo//3+1+-+north_sydney_bus_shelter_350.jpg Image Thirty-One - http://www.tribestudio.com.au/#North-Sydney-Bus-Shelter 12

North Sydney Bus Shelter Competition Design - http://www.tribestudio.com.au/#North-Sydney-Bus-Shelter

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Thankyou to my group members Brendan Josey, Chris Marinopolous and Chen Liu for the continual support and help in creating what I believe is a very successful design outcome.

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