TRACEY NGUYEN 388348
SEMESTER ONE 2012
STUDIOAIR
TUTORS LOREN & CHRIS
AIR STUDIO P R O G R E S S
J O U R N A L SSEEM MEESSTTEERR O ON NEE 22001122.. SSTTUUD DEEN NTT 338888334488.. TTUUTTO ORR LLO ORREEN N & & C CHHRRIISS..
T R A C E Y
N G U Y E N
O1
PART I : EOI 03
ADVANCING DISCOURSE //week one _ADS EARTH //personal projects _THE INFINITY BUILDING by MCBRIDE CHARLES RYAN //state of the arts _SUBDIVIDED COLUMNS A NEW ORDER by MICHAEL HANSMEYER //state of the arts
09
COMPUTATION IN ARCHITECTURE //week two _POP MUSIC CENTRE PHOSPHORESCENCE by BIOTHINGS
11
PARAMETRIC MODELLING // week three _BURNHAM PAVILION by UNSTUDIO
PART II : PROJECT PROPOSAL 14
WYNDHAM GATEWAY PROJECT //design project
15
MATRIX // week five
19
REVERSE ENGINEERING //week six _BANQ RESTUARANT. CONTOURING //tracey nguyen _ARTICULATED CLOUD. KANGAROO //victor wong _AIRSPACE TOKYO. VORONOI //jessica zhang
25
PROJECT THEME // week seven _SOCIAL & SUNLIGHT _RECONNECTION. CAPSULAR CIVILISATION // main concept _SOCIAL MEDIA
31
PROJECT INTERPRETATION //week eight _MATERIAL EXPLORATION _CONNECTING KINETICS. FORM FROM CONCEPT _CONNECTING KINETICS. REFINING CONCEPT
39
FEEDBACK
41
FINAL PROJECT PROPOSAL
PART III : LEARNING OBJECTIVE & OUTCOME 84
REFLECTION
CONTENT
02
PART I
+DH PRUV FRQWH DXGHHV SUL QRQGL FRQVXOOD SDUWLX LQJXOHV LPRYHKHPTXH YLV" 'R FRQÀQ GHDWLV ellem inatudes obse quid cata nem ac re factor loctures maiocatus sil hactalaberec virmil My ADS pon earth design driven by the forces present oncatra Herring Island and cotili conit, igit. Gracwas occii isseressil hus bipolar caed aremus; interferus vatimula moenterter understanding how to get these opposites work in harmony. The initial concept spurred ademuscertem obunteriti, senat, que nem, si pl. Satus, dita et? Ipsensu quodier iconsup iorsulus from the ego characteristic of the mobius strip. of a duality as one, and the no aut in ducio, nem efesse morunum vit iam tus ariThis prisidea vitiendius es perimai oculicae caes beginning or end formed the bases for my design. dieme eo essilin gultor licior qua dienit imanunum in rempopu blinitatus octu quo Catusque LQWHP LQWHOXW HUHFLSV FDSHUYLG LXV LQHV UHQWLOLXP GLWUXQX LQDWXP LQWLQ KDODULFHSV IXHP ÀFHSV TXH Theveror design process included concept and in finalising the project. ia nos hales consiln entuiu vidiem et?modelling Capec tes esisrhino3d des, Cupplius confere tredemus ipter If i had the knowlegde of using grasshopper my design would have been completed aut pubit, estabis condiem oc re, C. Ovirmil icioccibus; nihilicae, qui inatuis nos obsente audac quicker. Yet drawing and making models should still hic be facre a valuable tools as they morte, mo horbitantili possent roptius concept pesse menatumum consul ta, faciorureto aciam helped pushed my problem solving skills and imagination. Therefore using grasshopper ut ni prione rent? Multod ad in hor aucia quoninatis; nonsignocum publis Ad perum octa, would haveditilicae not drastically changed shape, but rather better it. ocupionfex niam sedeter ionveri ina, nenihi, vides the hordien telictus, nos igna, ut refined audelus, sa ignatquos, pl. maciem mervide tinessentus hocus, sidelicene aces contiam prae acchum que postem derorum publin dum sest Cupici pra, utus egit, quam sulicum ad nihilic upiocchum delis, quame turnum. Cuppliciam tem, nonfert esigil hosta, nemursus es egerimisque duconfex mus estili cont? Nossulto ut de postrum int.
DESIGN STUDIO EARTH 03 // W1 PERSONAL PROJECT 03 // W1 PERSONAL PROJECT
ADS. EARTH
04
06
MICHAEL HANSMEYER
An architect and programmer, Hansmeyer’s ‘a new order’ columns are a computational manifestation and analogy between the ‘input’ and ‘output’ process of the natural world. ‘It explores not the design of an object, but the design of a process in order to generate objects. This procedural approach inherently shifts the focus from a single object to a family of objects: endless permutations of a theme can be generated’ This project became an installation at the Gwangju Design BIennale 2011, at first glance you see a body of the same objects yet at closer inspection each columns are individually unique in its generation. I think that the creative process of these columns should make designers rethink about how we choose to create. There should be no set universal rules in shaping a design according to its function. Therefore a design should be influenced by the local elements, rather than them being influenced by the design.
// W1 DISCOURSE
SUBDIVIDED COLUMNS A NEW ORDER
The design of Penleigh and Essendon Grammar School senior campus is based on the infinity symbol. This unconventional method of a school plan helps facilitates for a better learning environment where all the programs are connected ratonally. With the library in the middle, this odd shape allows for maximum circulation. As part of the design process rhino and grasshopper was used to design both the exterior and interior ofthe building. Part of the interior of the library includes a very complex ceiling made of hexagons of various sizes. During construction ‘the process has...revealed numerous engineering and construction challenges, as a result of the building’s innovative design concept’. These complications are a product of the lack in industry experience within australia in regards to complex parametric building contructions. Therefore, In order to tackle these issues the industry needs more designers and builders to take on the challenge to create smaller scale designs. this will provide the skill set needed and further the architectural discourse.
MCBRIDE CHARLES RYAN
THE INFINITY BUILDING 07 // W1 DISCOURSE
W2 COMPUTATION IN ARCHITECTURE //
09
Alisa Andrasek is an experimental architect who focuses on computational processes in design. She founded Biothings, which is a design research lab that aims to engage with complexity. Through incorporating various disciplines biothings uses computational process to manipulate these agents. The Phosphorescence project for the Pop Music Centre Kaohsiung competition is an architectural example of their process. The project’s main concept is culture vs. sustainability. Biothings was able to create a design through exploring these social and environmental conditions using four main driving forces in the scripting design. The four drivers were magnets, canyons, above fabric - culture and below fabric – underwater ecosystem. With various agents at play scripting has allow the creation of numerous scenarios and iteration for a design. This not only speeds up the design process but it also generates a higher order of complexity. The top layer of the center suggest culture values and the notion of connection, and the bottom layer uses underground lighting to introduce the growth of underwater life. As a result the design of the pop music center was able to engage with all facet of the ecosystem capable of self-organization and adaptation.
BIOTHINGS
POP MUSIC CENTRE PHOSPHORESCENCE
UNSTUDIO
BURNHAM PAVILION For the 100th anniversary of the Chicago’s plan in 2009 Zaha Hadid and Ben Van Berkle UNStudio constructed two separate pavilions in its celebration. Both had to respond to the brief in regards to the historical context of the Burnham plan, as well as engaging the public’s interest in continuing the city’s need for future innovation. I believe the van Berkle’s design was the finer design at the end of the day, as Zaha Hadid’s design was too restricting. It failed in the public’s interaction with the fabric material used to construct the pavilion and lacked in the historical connection in its vague translation of the ribbed structure with the Burnham plan. As for the pavilion by UNStudio, Van Berkle was able to use parametric design to enhance and employ greater exploration in form finding allowing the design to venture beyond the unimaginable. It pushed UNStudio to find a more adaptable solution in result of the playing forces on the site. The pavilion connected the historical setting with the social setting through emulating 11 // W3 PARAMETRIC MODELLING
the diagonal characteristic and vista planning through it, yet introducing another layer of three-dimensional contrast to the views produced by the design. The design introduced the fluid shape, in its smooth transition between the roof and wall-like parts. This form had aimed to evoke the public’s curiosity and furthers the users experience through their interaction. The design had a more durable quality that invites the users to explore its limits more freely. An adjoining concept along with the celebration of the old plan was to always rethink and innovate a better future. This theme was executed effectively through the use of computational design, facilitating the need for UNStudio to depict and create comfortably in response to the brief. With the aid of computational design the pavilion has become an urban activator and has successfully reacted to the major issues in relation to the 1909 plan, which proclaimed, “What we as a people decide to do in the public interest we can and surely will bring to pass”.
12
“PARAMETRIC DESIGN IS IN ITSELF NOT SO INTERSTING. IT NEEDS MEANING. WE NEED TO COMBINE THE POSSIBILITIES OF THE VIRTUAL WITH HOW WE DISCIPLINE THE REAL IN A NEW WAY” BEN VAN BERKEL
PART II
WYNDHAM GATEWAY PROJECT JESSICA ZHANG VICTOR WONG TRACEY NGUYEN
MATRIX 15 // W5 MATRIX
ATTRACTOR POINT CURVE ATTRACTOR IMAGE SAMPLER MATHS FUNCTION USING SETS
USING SETS
STREAMING TEXT FILE
MULTIPLE MATHS FUNCTION
MATHS FUNCTION
IMAGE SAMPLER
CURVE ATTRACTOR
ATTRACTOR POINT
SET ATTRACTOR CURVE IMAGE MATHS FUNCTION
EXTRUDE
COMPONENTS
ROTATE
MATRIX W6 MATRIX/ 18
BANQ RESTAURANT
19 // W6 PERSONAL REVERSE ENGINEERING
OFFICE DA
20
The effects created by this structure plays with visual perception as well as light and shadow. the 3d form coupled with panelling works together to create a visualling dynamic expereince from a static form. The contouring method of this case study has provided a base for the design concept. in the process of manipulating the restuarant’s interior, i found it to be a valuable tool in formal exploration through movement. Not so much the idea of moving from one destination to another, but a kinectically driven form. A form that changes according to the site’s dynamics, whether it be from human contact or environmental factors. FURTHER EXPLORATION
CASE STUDY RESULT
GRASSHOPPER DEFINITION
21 // W6 REVERSE ENGINEERING
ARTICULATED CLOUD
D
Articulated Cloud also plays with the concept of movement. It is more specific in its driver which is wind powered. the building is visuallly engaging and mesmerising to viewers. this quality is very intriging and can be explored further in the wyndham gateway project. Grasshopper and kangaroo was used in this to create and simulate the outcome.
AIRSPACE TOKYO
W6 PERSONAL REVERSE ENGINEERING // 24
The voronoi method in this case study gave precedents the beauty in simplistic forms. Sometimes designers forget about this when the use of computational design takes over. the constant iteration and overlaying of the pattern acts both aesthtically and fuctionally as shading. while regenerating the form in grasshopper, an understanding of the shape finding increased voronois potential in the design (as shown above).
RESIDENCY OF WYNDHAM WORKERS
OCCUPATION TRAVELLING THROUGH SITE
RESIDENCY’S PLACE OF OCCUPATION
MODE OF TRANSPORT
57.5%
LIVING WITHIN WYNDHAM LIVING OUTSUDE WYNDHAM
OTHER
36.7%
57%
TRADE WORKERS
WYNDHAM OTHER
OTHER
73.9%
CAR
the pie charts on the left shows the demography of the site, which will help us to understand the working elements on the site and use it to our advantage.
On top shows the sun map. While looking at the site we came to the conclusion that the most dynamic yet most manipulative Environmental factor is sunlight. The mapping gave us insight on its characteristic and how our design can influence and be inflenced by it
SOCIAL & SUNLIGHT
PROJECT THEME W7 // 26
In our site analysis, we feel that there were a constant theme of isolation. A lot of the research provided a connection around the site but not in the site itself. As a residence of the area i feel that the site does not evoke any emotion of significance. Not many people understand how important the site really is for both the local community and greater melbourne. Hence the objective is to reconnect the users to their engagment with the site. bridging the gap between these elements on the site will showcase the importance of this site as a gateway into wyndham, and also between melbourne and geelong.
This theory explains how technology has pushed people into a realm of isolation. The capsule symbolises many things of the modern world. In this particular case it is the cars and vehicals that passes through the site. the act of encasing oneself in the capsule allows for a controlled envoronment, which calls for disconnection to reality. Hence our concept of reconnection hopes to breakthrough the boundary created by these capsules. A more indept analysis will futher pin point the many causes and form solutions best fitted for the site and the users.
CAPSULAR CIVILISATION
RECONNECTION PROJECT THEME // 28
COMMUNITY WERRIBEE RIVER & PARKS
ART & CULTURE FAMILY & FRIENDS LESS TRAVEL TIME TOURISM RAAF
ART
HISTORY
SUSTAINABILITY MOVEMENT
ENGAGING SITE
CONNECTION
In our social media research, we went through community forums, publications and reports to address the site on a more intimate level with the locals. These diagrams and quotes from the wyndham community tells us what issues we need to tackle, thus better design the project.
‘The ARTS were described as the cement that BINDS the COMMUNITY and ENHANCES the image to external parties’ ‘A place where “infrastructure” is SYMPATHETIC to social, cultural, environmental NEEDS’ ‘Ensure that Wyndham’s rapid growth DOES NOT COMPROMISE its natural assets and ENVIRONMENT.’
SOCIAL MEDIA PROJECT THEME // 30
PATTERNING
LIGHT AND SHADOW rain and heat
rain WEATHERING These material exploration (with voronois) presents ways to which we can enhance the users engagement to the site and insight to the longevity of the structure. interesting outcomes - sun mapping and light experiment: visual interaction during the day with natural light and during the night with artifical lights. - weathering and movement: interesting pattern with rain = visual movement, deformation through rain and heat
32 // PROJECT INTERPRETATION
MATERIAL EXPLORATION
perforated crosses on card
interesting shadowing effect
used wave-like motion to open up the cuts and add light to enhanced effects
controlled shape through kinetic sculpture
1
These drawing depicts how this moving panels reacts to the amount of traffic present on the site
2
3 Intersecting patterns motioned by environmental factors
OTHER FORMS AND PATTERNING
overlapping and repetition of simple shapes (voronoi case study)
FORM FROM CONCEPT
CONNECTING KINETICS PROJECT INTERPRETATION // 34
Although this model did not fully made use of parametric design, the idea for it was to stimulate or concept of movement and kinetics. the pivoting point provide the motion whilst the string gave it form and consistancy. Our other concept of reconnection is translated through this model as one piece is moved the rest moves in unison with it. each piece is syncs rather than copies one another. From the model we hope to stimulate this system in our final design
REFINING CONCEPT
CONNECTING KINETICS 35 // PROJECT INTERPRETATION
A refinement of the tri-blade, this cloud-sh pivots through its centre. Every second pla solid and the rest is left to move freely. The constantly changes with multiple variables variation can be stimulated on the site thr different environmental factors.
hape coutour ate is glued e shape s. This rough the
REFINING CONCEPT
CONNECTING KINETICS PROJECT INTERPRETATION // 38
Good site analysis Being more critical of the experiments Progressoin and direction for client Proposal - what are they thinking? Why are they more sucessful with others - criteria Away from mechanical and towards a own forced driven design making the invisible more visible concrete way of working - generating the moving device device to turn with the wind Testing geometries - how they would best work with wind Many ileterations and controls the design kinetic - driven passively by wind - thinking complex way of the articulated cloud Complex forms Learn from Articulated cloud: spinning of axis and changing together, experimenting with movement Looking at the model as a representation Adding your own variations and seeing what happens - density, fiber, direction of airflow series of experiments to show kinetic movement that would in turn show how it could work structurally make sense of the data and how it is relevant
INTERIM FEEDBACK FEEDBACK // 40
WYNDHAM GATEWAY PROJECT
CONNECTING KINETICS THROUGH
“Architects play a lot with transparency, translucency and reflectivity but here’s something that does all the same things but the atmosphere makes the decision” Ned Kahn, 2010
‘Connecting through Kinetics’ is a Wyndham City Gateway project aiming to reconnect residents and people travelling through Wyndham with the site. Heavily influenced by artists and designers such as Ned Kahn, Ruben Margoln and Janet Echelman, the project uses motion and dynamic objects to generate interest. This project aims to use Wind as an important changing variable and uses its power to generate different geometrical shapes and effects. The users of the site, bound in the seats of their cars, sit through the experienceof this invisible phenomenon becoming visible through the movement of spinning turbines. Although many of the precedents work without the use of computation, this sculpture uses Rhino3D with the plug in Grasshopper to further enhance and simulate the effect and execution of this proposal. These turbines are massed on site and distributed according to their function. For example, the topography determines the span and height of these turbines to utilize the maximum catchment of wind. Simple rules determine the spread of these turbines. The project further advanced the interaction between people and site, this is depicted through the moving vehicles and the design of the wind turbines. To achieve such a connection the turbines close to the roads harnesses energy through the air movement left behind by the passing vehicles. Its ability to activate the site on human contact as well as responding to the site’s environment (wind condition) proves that gateway designs ought to consider social and environmental demands on top of being aesthetically pleasing.
PROJECT PROPOSAL
RECONNECTION ENGAGING PEOPLE
WYNDHAM CITY
SITE CONDITIONS
RAAF
WERRIBEE PARKS FIELD OF TURBINES = PUBLIC SPACE/ PARK
VEHICLES’ MOVEMENT
WIND
CAPSULE - ISOLATION CAR MOTION = DESIGN INTERACTION
Moving by Mechnical means, Manipulation of waves, the beauty of adjusting the amplitude, period, wave lengths and combining with motorsand pullies to become sculpture The combination of subtle movements, generating curiosity with the people who are looking at it. This engagement with the sculpture is particularlly interesting in a built scale of a room. What we can learn from Reuben Margolin is the inspiration behind using nature and the way in which we can generate interest for the people who will experience the sculpture. Reuben talks about the need to distinct the need of where to look for inspiration If too complex, the beauty is lost. The movement is not exclusive and can engage with anyone.
This precedent is taken from one of the reverse engineer cases. Like many of Ned Kahn’s buildings and sculptures this one is driven by the wind’s uncontrollable force. He captures this invisible and unpredictable energy to create elegant designs. He fabricates them through repetition of simple modules, so that the designs can be engaged on many scale. Ned Kahn’s method has inspired us to create a design that could work on both a human and site scale. His fabrication and material selection also interest us on its effectiveness on these scales. The way it glimmers and flows uncannily.
“This tension between the need to look deeper and the beauty and the mediacy of the world, or if you try look deeper,you’vealready missed what you’re looking for. This tension is what makes the sculptures move. For me, the path between these extremes takes the shape of a wave.” Reuben Margolin (TED Talk, 2012)
Transforming dense heavy masses into free flowing volumetric shapes made by weaving. The initial inspiration was using fish nets, that led Janet Echelman to study indepth how to manufacture as large scaled pieces of architecture. She has developed her own processes using yacht sail design programs and a industrial fishnet factory. She learnt the processes and created a language to create her lace net sculptures. What we can learn from Janet Echelman is her pushing of processes to manufacture these sculptures on a larger scale, but also her need for people to experience this sculpture. She describes a need for people to get lost in the sculpture and to the cheography of the wind. This interaction with the public is a need for the city of Wyndham, to turn the site into a place maker for the city.
Da Vinci once said ‘Simplicity is the ultimate sophistication’, Makoto Sei Watanabe’s Fibre Wave is an example of this idea. Unlike many architectural buildings, these stick of fibre moves with the natural movement of the wind on the site. The precedent was presented to us in one of our lecture, which we have chosen to use as an inspiration to our design by enhancing this natural behaviour through parametric design. As a result of these four design precedents, our team is focus on engaging the community and passing vehicles with the site. The aim is to create this interaction with the consideration of the speed of the vehicles and how they can respond to the proposal.
PRECEDENTS
When an object moves through air, it creates a vortex behind itself which leaves a disturbance in the air movement. It is also known that the bigger and faster the object, the larger the disturbance. Due to the amount of moving vehicles on site we decided to take advantage of this method to harness energy to drive our design. The site has many vehicles that goes through it daily as a bypass to Melbourne and Geelong. A great number of trucks go through this area which will benefit our concept, as well as its speed limit of 100 km/h. The diagram below shows what direction the air flow is once a vehicle has moved through the site. The direction of air will help determine the shape and placement of the wind turbines. FIGURE Aďżź The use of movement as a tool for reconnection on the site came from the precedents. Their ideas of movement as an re-engagement was perfect for the Wyndham Gateway project, as they were place making sculptures but also captured the imagination of the public. The idea of movement works in a different dynamic, as people are in cars. So we chose to link the movement of the car to the movement of the sculpture.
VEHICLE M
FIGURE A
MOVEMENT + AIR FLOW
WIND ANALYSIS
wind kinetic force site’s wind analysis
This wind diagram represents the direction and magnitude of wind force on the site over a 24 month period. Each arrows symbolise each month from June 2010 to May 2012. Due to the arid nature of the site, the data taken from ‘wind. willyweather.com.au’ on Werribee resembles the site’s wind condition. The analysis tells us that there are usually strong present of north- westerly winds. This will aid in our design decision and will be discussed later on in the journal, in terms of shape finding and the position of the proposal.
WINTER
AUTUMN
SUMMER 2011 2012
2010
SPRING
JUN
JUL
AUG
SEP
OCT
NOV
DEC
JAN
FEB
MAR
APR
MAY
TRENCH IGN
ES ND
TIO
EC NN
O
REC
TRENCHES THE TRENCHES WILL PROVIDE THE INITIAL INTERACTION BETWEEN THE VEHICLES, THESE SEPARATE KINETIC PROPOSALS ON EITHER SIDE WILL BE CONNECTED BY ANOTHER DESIGN THAT WILL BE CONTROLLED BY THEM.
Wind on the site explains that as a constantly changing variable. we haven chosen to channel this uncontrolled energy for the benefit the design. the idea is to enhance the interaction of the passing vehicles. we can limit the direction of the wind by forcing it through a trench that it can only go through as a linear direction with the car.
ďżź The other projects were either mechanical or wind blown. Because of the complexity of motorised dynamism, the choice was to use the air pressure produced by a passing car. This way, the car would have a big impact on how the sculpture would move. On analysis of the car piercing the wind, we see that the wind is pushed into another direction. This leads us to consider how to position our sculpture to maximise the amount usable wind.
The ideas to do with reconnection are not limited to one section of the road, but relate to the inbound and outbound city lanes on the Princes Highway. By placing these mounds and the sculptural walls along the side of the road, we can use the effect of the car wind to move the sculpture.
N
ON
REC
ION
T NEC
IG DES
WALLS In our research of effectively channeling wind, we found that having large walls were more efficient than a tunnel as it would be able to capture the wind and direct it according to the positioning of the walls. An example of method can be found unintentionally around buildings.
10mph
20mph
10mph
WIND TUNNEL THEORY PRESPECTIVE
Responding to Final Crit In the end our group decided to remove the walls from our proposal. The concept of the walls as a framing device and wind channeling system had its benefits. However, it was much harder to design to be both effective in its propose and seemlessly invisible so that it would not take away the elegant of the central design. I think that due to the lack of time spent to design these walls we were not able to create this feature to its best. If we had more time the walls would be a part of the proposal.
WALL
PHYSICAL EXPLORATION
WIND TURBINES
At the beginning of our design process, we decided to make some physical models to guide our concept further. I believe this is a very important aspect to developing a good sense of concept finding. The above photos show the different types of possible wind turbines. The ones on the left are more successful models. While the top model creates more define shadows, the bottom model has the potential to do that as well with further material exploration. We had decided go with the clear, twobladed one for both performance and aesthetic reasons. Referring to the diagrams on the right, our decision on having a verticalaxis turbine came as a performance driven concept. Having two blades spiraling down instead of one further encourages this notion. In terms of materiality, we found that a glossy surface creates a nice and subtle glimmer around its curves as it spins under the sun. The shape of the individual blades aesthetically represents propellers on an aircraft, in reference to the RAAF base. In the end our design decisions were make with the intention of having a balance between performance, aesthetic and a sense of place.
VERTICAL-AXIS TURBINE
HORIZONTAL-AXIZ TURBINE
NCTION
BASIC
LONGER POWER (RANGE 0-40)
SQUARE ROOT FUNCTION LINEAR 2
LINEAR
OLA 3
PARABOLA 4
WER (RANGE 0-360) BOLA 6
LINEAR
SINE
POWER FUNCTION
SINE
NENTIAL
EXPONENTIAL
SINE LONGER PARABOLA PARABOLA 7
LONGER EXPONENTIAL
LONGER UNEVEN SPREAD PARABOLA 2
PARABOLA 5 POWER FUNCTION
LONGER POWER (RANGE 0-360)
TWIN REVOLUTION SINE 2
Y SINE2 (X/2) LINEAR
LONGER PARABOLA
LONGER LINEAR
PARABOLA 3
PARABOLA 6
POWER FUNCTION9 PARABOLA PARABOLA 4
PARABOL
PARABOLA
Y SINE (X)
Y SINE (2X) PARABOLA 2
SINE 2
LINEAR PARABOLA 8 PARABOLA 3
LINEAR
Y SINE LINEAR 2 (3X) PARABOLA 5
PARABOLA 2 Y SINE (X/2)
Y SINE (X
WI SINE 2 Y SINE
The shape of the wind turbines is an important part of our design to determine the best possible outcome for maximum fluid dynamic & experiential result. The spiralling repetition of these singular blades can be achieved in rhino and grasshopper. The amount of rotation and length can be determined by the math functions in the grasshopper definition. Compared to physical model making, computational design has an advantage of time and ease of formal manipulation. I think that rhino and grasshopper has help us understand which shape is ideal for our intended purpose. Instead of having a basic form, we are able to come up with multiple iterations that work as effectively.
IND TURBINES MATRIX
LED LIGHTS ON THE ENDS POWERED BY WIND ENERGY
HUB
GEAR BOX
GENERATOR
WIND TURBINES DETA
AILS
ENERGY HARNESSED BY THE WIND TURBINES WILL BE PUT BACK INTO THE GRID, AS WELL AS PROVIDING ELECTRICITY FOR THE NIGHT LIGHTS ON THE SITE
0.2m
1.6m 0.1m
1 0.7m
3
2
the screws are slipped into the holes according to the numbering. The blades are fixed into place through this system
MINIMUM BLADE DIMENSIONS
1&2
3
N G I S E
D
E
D RM
FO
I
M TER
Y
B D E N
A
UR T A N
NT
O LC
The site of the design is determined by the amount of interaction that can be achieved on site. The main middle section is an ideal site as it can be seen and accessed by both inbound and outbound traffic. RECONNECTION The middle of the site will be a field of turbines, the contour of the site determines the size and distribution of the wind turbines. 1. Before entering the site a row of sparsely arranged turbines will greet the drives, the effects of these turbines are affected equally by the vehicals and wind. 2. At the first half of approach to the site, each sides will interact with the turbines through its motion. The distrubance in the air will move these turbines and possibly ones close to them 3.As the drivers leave the site the turbines are placed further away from them and closer to the cars on the other side. This placement allows visual interaction with the leaving vehicles. 4. Observatory for human scale experience on site.
SITE ANA
R TOU
N
TIO C E L
SE
IAL T A SP
ITE
S OF
HR T N
TIO A R U
FIG N O
C
PR
N
IO T C E
NN
O MC
A
R OG
H
G OU
IC
FF A R T
ALYSIS & SELECTION
CLUTTER & CURVE EDIT
CURVE DISTRIBUTION
MATCHING CURVES
SURFACE DIVIDE
SITE CONF
GRADUAL DISTRIBUTION
INITIAL CURVE DISTRIBUTION
The proposal is not one big structure, but rather a smaller design of individual turbines. The idea of repeating this form is to create a more fluid effect. In determining the location and placement of the individual turbines, parametric design is used through employing 3 factor of design constraints. 1. Height of contour to the size of turbine 2. Road boundaries 3. Curvature of interaction
FIGURATION MATRIX
FINAL PLAN
A OBSERVATORY
2
A
1
PETROL STATION
CAR PARK
3
RY O LE M
SE C
HIC
ON
VE
DA
D
IG S E
ERAC T N NI
1
P
ARY M I R
VEMENT
TI O
&
DESIGN INT ER AC
R
BETWEEN A IR M OV EM E NT
N
O ATI L E
IP NSH
SUA L
CT IO N
BE T
W
N EE
3
C O N NE
R NO
SO TH & UTH BOU N D D ES I G N
2
C RA TE IN
N TIO
CTION VI
A
FINAL SECTION
A
THE OBSERVATORY IS DUG UNDERGROUND TO PROVIDE A SPACE FOR HUMAN INTERACTION. THE IDEA OF BEING EMBEDDED PROVIDES AN ISOLATED AND LESS DISTRACTED EXPERIENCE FROM EXTERNAL TRAFFICS
NIGHT
OBSERVATORY
PLASTIC
RECYCLED PLASTIC + TINTED POLYCRYLIC or SATIN POLYURTHANE
MATERIALITY
NIGHT LED LIGHTS PLACED ON THE ENDS OF EACH BLADES FOR NIGHT EXPERIENCE
MODELS PHOTOS
1:100 MODEL
PART III
LEARNING OBJECTIVE & OUTCOME
They say, ‘If we’re growing, we’re always going to be out of our comfort zone’, I think this is an important quote to understand why this subject is what it is. When I heard about the nature of this subject I was in FabLab towards the end of the workshop. I have used rhino in many of my recent studios before be never with grasshopper until this time. Although this was an intense workshop I hadn’t expected my learning curve to reach such levels of complexity. Understanding how to script took at less a week for me to wrap my head around it, but my dismay in my ability was washed away by our exciting engagement in the fabrication technique. Therefore, in hearing about what was to be expected in ADS air got me looking forward to starting the new semester. Many of my previous studios in Melbourne uni lacked in the students ability to gain new skills within the subject as well as having very set rules on the deliverable method of a project. During my time completing this studio, I found it to be a very intense subject through the vast amount of knowledge needed in order to understand parametric design as a new architectural discourse. It was a big challenge for me to kept up with this subject’s content compared to my other subjects. Even though ads air might seem unorganized and frustrating to cope with at times, I think that this is what everyone should expect. To learn is to have the ability to change. The best thing about reaching new discourses is to be open to many things and having the flexibility to change which would certainty bring about a little chaos. I admire this concept of approach to teaching. However, like many, I wish that this subject had been worth at least twice its grades (academically speaking, because it is an important tool in our study, yet it is valued so little).
I had to step outside my comfort zone more than usual. Sometimes it was very discouraging however there were a more times that were very stimulating, and maybe even thrilling at some point. In regards to group work I enjoy that fact that we were able to work with different people with different skills. Even though it might have been harder to get each of our own concepts to translated purely in the end, the push for us to work like this resemble very much to the industry’s method. I find that the detail in analyzing a precedent to be very useful, as it not only helps us understand the end product but also what process was taken to achieve the intended design. Theses resources as well as having our tutors and the Facebook page have allowed me to be more critical about my design approach. I look forward to my next design studio, hoping for it to be as ‘challenging’ and interesting.
Bartsch, Marian (Producer), ‘Artscape: Life Architecturally - architect Robert McBride and interior designer Debbie Ryan’(DVD), Victoria, Melbourne: Mago Films, Screenwest and Screen Australia In association With Film Victoria. ‘Burnham Pavilion’ UNstudio, visited April 2012, http://www.unstudio. com/projects/burnham-pavilion Echelman, Janet, 2011, ‘Taking Imagination Seriously’, TEDtalks, United State, viewed on 8 May, 2012, http://www.youtube.com/ watch?v=9YekkGz1Eek Kahn Ned, 2007, ‘Wind Viel’, Charlotte, NC, viewed on May, 2012, http://video/gogle.com/videoplay?docid=7901501115882163997# ‘Subdivided Columns - A New Order’ (2010), visited April 2012, http://www.michael-hansmeyer.com/projects/columns_info. html?screenSize=1&color=1 ‘PHOSPHORESCENCE _ POP MUSIC CENTRE _ KAOHSIUNG TAIWAN’Biothings, visited April 2012, http://www.biothing. org/?p=421 ‘The Square Wave - Math and the Night Sea’, Reben Margolin, last modified 2011, http://www.reubenmargolin.com/wave/Square/ squareWave_text.html ‘Werribee, VIC 3030’, visited May 2012, http://wind.willyweather. com.au/vic/melbourne/werribee.html Wyndham City, ‘Paint The picture Summary of Outcomes’ PDF, viewed April 2012, http://www.wyndham.vic.gov.au/residents/ community/community_forums/paintthepicture/document
REFERENCES