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

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

Cover Image: UK Pavilion Shanghai World Exhibition 2010. Source: http://cwfoodtravel.blogspot.com. au/2010/07/shanghai-world-expo-2010-uk-pavilion.html 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 A.1 Architecture as a Discourse ‘[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 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 were a group of revolutionists who re-wrote all that was been said about the world. Image One shows a piece of work they 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 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. It must meet a speciﬁc brief that has been outlined by the client. 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. 05

‘Above all, architecture out to be seen as a discourse. Buildings as material facts are a small part of the overall field of architecture, a field which is better regarded as a network of practices and debates about the built environment.’ Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Deﬁnitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press).

IMAGE ONE Source: http://www.remixthebook.com/wp-content/gallery/archive/psychogeographie.jpg

Images a, b and c are taken from Archigram. An organisation that; like the Situationists, aimed to redeﬁne the way we lived and the way the world was perceived by using new technologies. They were all never built. 06

Masdar Institute of Science and Technology, Abu Dhabi, 2010. Architects: Foster and Partners.

IMAGE TWO Source: http://thecarboncult.com/wp-content/uploads/2011/03/MIST1.jpg

IMAGE THREE Source: http://www.constructionweekonline.com/ pictures/Masdar-Institute_3.jpg

IMAGE FOUR: Roof Structure Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd. 07

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. 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 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.

Precedent taken from Architectural Design (AD) Magazine, March/April Edition, Volume 83, Issue 2 and http://www.fosterandpartners.com/projects/masdar-institute/. 08

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

IMAGE FIVE Source: http://oberli-management.com/images/S%C3%BCdpark%20Fassade.jpg

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. 09

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 Seven) 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 SIX: The Facade Source: http://farm6.staticﬂickr. com/5188/5611966197_b752aab64a_z.jpg

creates a sort of ‘glued on’ feel to the facade on what is a fairly rectilinear building. When looking at Image Five 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.

IMAGE SEVEN: The Process Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd.

Images d, e and f are taken from Lecture Two: Introduction to Computation. They are the Blobwall Pavilion (Greg Lynn), the Guggenheim Museum, Bilbao (Frank Gehry) and the ICD/ITKE 2010 Research Pavilion. All are an example of computational architecture. 10

A.2 Computational Architecture ‘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

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 a 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. 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 began 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. 11

Museo Soumaya, Mexico, 2011. Architects: Fernando Romero EnterprisE (Free) IMAGE EIGHT Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd.

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.

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.

IMAGE TEN: The Ideas behind the Facade Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd.

IMAGE NINE: The Structure Source: http://upload.wikimedia.org/wikipedia/commons/2/27/Museo_Soumaya_-_LAR_Fernando_ Romero.jpg

IMAGE TEN (A): The Interior Source: http://fr-ee.org/projects/soumaya-museummexico-city-mexico/

*Precedent taken from Architectural Design (AD) Magazine, March/April Edition, Volume 83, Issue 2 and http:// fr-ee.org/projects/soumaya-museum-mexico-city-mexico/ 13

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

IMAGE ELEVEN Source: http://www.e-architect.co.uk/images/jpgs/japan/silk_leaf_stadium_c091112.jpg

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 14

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.

Precedent and information sourced from www.coop-himmelblau.at

A.3 Parametric Modelling ‘Post Modernism and deconstructivism were mere transistional episodes and parametricism will be the great new style after Modernism.’ Schumacher, P, 2010, pp. 43.

Parametric Modelling and the use of parametric modelling techniques is widely regarded as the way of the future for architecture. More and more these days, global architecture firms are using parametric modelling 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 can not 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. 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 modelling 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 modelling, 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 modelling 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. 15

Abu Dhabi Performing Arts Centre, 2007Architects: Zaha Hadid

IMAGE TWELVE Source: http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

The as-yet-completed Abu Dhabi Performing Arts Centre by Zaha Hadid Architects 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 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 unpredictabiltity and controlled chaos. Parametric modelling 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 calculate 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.

IMAGE THIRTEEN: The Interior Source: http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

IMAGE FOURTEEN Source: http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

Precedent and information sourced from www.zaha-hadid.com 19

PART A. EOI: CASE FOR INNOVATION 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 modelling, I have come to realise that designing via the use of computers and parameters is much more beneﬁcial 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 ‘on the map’ 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.

PART A. EOI: CASE FOR INNOVATION 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!

PART B. EOI II: DESIGN APPROACH B.1 Design Focus ‘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.

As highlighted in the quote above, the Wyndham City Council requires the design and construction of a new installation along the Princes Freeway, that is exciting and eyecatching 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, are generally selfsupporting 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.

Image g was taken from http://www.experiencewyndham.com.au/artsculture/art/seedsofchange. It shows the ‘Seeds of Change’ roadside installation which currently sits in Wyndham. 22

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

IMAGE FIFTEEN 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.

Precedent, image and information sourced from http://www.iwamotoscott.com/ 23

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

IMAGE SIXTEEN: 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 SEVENTEEN: 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.

Precedent, image and information sourced from http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/ 24

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

IMAGE EIGHTEEN 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.

Precedent, image and information sourced from http://mcburry.net/aegis-hyposurface/ 25

B.2 Case Study 1.0 Voussior Cloud Grasshopper File Experimentation 1

Voronoi-Graft-Loft-Mesh-Tessalate-Smooth

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. 27

B.3 Case Study 2.0

Voussior Cloud Grasshopper File Re-engineering 1

Voronoi-Graft-Loft-Mesh-Tessalate-Smooth

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. 29

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

Renderings, 1912-1920 Artist: Hugh Ferriss

IMAGE NINETEEN Source: http://media-cache-is0.pinimg.com/192x/3 9/2e/90/392e90e21f7eeb.jpg 30

IMAGE TWENTY Source: http://newsfeed.kosmograd.com/images/ ferriss_292.jpg

The Hugh Ferriss renderings on the previous page 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. 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. Essentially we have created.....

A JOURNEY THROUGH A DENSE CITY THAT ISNâ&#x20AC;&#x2122;T THERE..... Danish Pavilion at the Shanghai Exhibition, 2010. Architects: Bjarke Ingels Group (BIG)

IMAGE TWENTY-ONE 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.

Precedent, image and information sourced from http://www.dezeen.com/2010/05/01/danish-pavilion-at-shanghai-expo-2010-by-big/ 31

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

IMAGE TWENTY-TWO Source: http://4.bp.blogspot.com?UK-Pavilion-at-Shanghai-EXPO-2010-by-Thomas-Heatherwick-1.jpg

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-Three). 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 Four).

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

IMAGE TWENTY-THREE Source: http://www.expo2010china.hu/hirkepek/ UK_pavilion_inside_expo2010.jpg

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.

IMAGE TWENTY-FOUR Source: http://ad009cdnb.archdaily.net/wp-content/ uploads/2010/05-ukpavilionsh0068-528x351.jpg

Precedent and information sourced from http://www.heatherwick.com/uk-pavilion/ 33

IMAGE TWENTY-FIVE Source: http://upload.wikimedia.org/wikipedia/commons/c/c2/UK_Pavilion_of_Expo_2010_2.jpg

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 36

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 37

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 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 38

4 OctTree

Following on from the form created on page 39, 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 40

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 41

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 42

As a continuation from page 41 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 43

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 the digital model which we will fabricate for a prototype.

Curves-Loft-Arc-Geodesic-Graft-Divide-Circle 44

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.

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 i: The wire for base curves

IMAGE ii: The ﬁbre optic lights

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

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 materials. 45

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. 46

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 47-48 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.