Yuke Zhou_Air Final Journal by Yuke Zhou

STUDIO AIR ZHOU YUKE

2013

STUDIO AIR JOURNAL 2013, SEMESTER 2

ZHOU YUKE 644672

TUTORS: CHRIS GILBERT ROSIE GUNZBERG

THE UNIVERSITY OF MELBOURNE BACHELOR OF ENVIRONMENTS

CONTENT

INTRODUCTION

PREVIOUS WORK

PART A. EOI I: CASE FOR INNOVATION

A.1.

ARCHITECTURE AS A DISCOURSE

A.2.

COMPUTATIONAL ARCHITECTURE

A.3.

PARAMETRIC MODELING

A.4.

CONCLUSION

A.5.

LEARNING OUTCOMES

PART B. EOI I: DESIGN APPROACH

B.0.

BRIEF & SITE ANALYSIS

B.1.

DESIGN FOCUS

B.2.

CASE STUDY 1.0

B.3.

CASE STUDY 2.0

B.4.

TECHNIQUE: DEVELOPMENT

B.5.

TECHNIQUE: PROTOTYPES

B.6.

TECHNIQUE PROPOSAL

105

B.7.

LEARNING OBJECTIVES AND OUTCOMES

109

PART C. EOI I: PROJECT PROPOSAL

113

C.1.

GATEWAY PROJECT: DESIGN CONCEPT

157

C.2.

GATEWAY PROJECT: TECTONIC ELEMENTS

165

C.3.

GATEWAY PROJECT: 3D PRINTING MODEL

173

C.4.

GATEWAY PROJECT: SIMPLIED MECHANISM

177

C.5.

GATEWAY PROJECT: RENDERING

185

C.6.

LEARNING OBJECTIVES AND OUTCOMES

INTRODUCTION

now Australia, the driving force behind this decision is architecture.

y name is Zhou Yuke, but you also can call me Sky. I am a third year student studying Architecture within the Bachelor of Environments at The University of Melbourne.

To me, however, architecture is not just about buildings, it is a form of self-expression and it is the key that opens the door to this vast world. Thus, I have also fallen in love with different arts like photography, drama performance, painting and so on. They allow me to see the world in a new perspective.

My passion for architecture ignited with the experience of playing with sand at the bank of Yangtze River when I was a child. However, the journey of pursuing my dream was fraught with numerous challenges. After graduating from high school in China, I failed to get in my ideal major of architecture at Beijing Forestry University. The half-year school life filled without dream and passion made me realize that I had to fight for my future no matter how hard it would be. Hence, I went to Singapore Polytechnic(SP) to study architecture. From China to Singapore, and

Watching architects make peopleâ&#x20AC;&#x2122;s dream come true really inspires me. I believe, I am capable of being one of them.

PREVIOUS DESIGN WORK

URBAN COMMUNE

building, aiming to to improve the interaction between people to achieve the sense of community and help yuppies explore a brand-new lifestyle.

t is my second year project in sp. We were asked to design a ten-storey apartment. The project is revolving around the lifestyle of the New Generation Young Urban Professionals(Yuppies) who are single, in their 30s and are career driven.

Among the whole year, I used SketchUp to explore the form and generated 2D plan, sections and elevations by AutoCAD. Finally, I built and rendered the general model and interior model in Revit. Besides, I had the chance to use Photoshop to edit the renderings

I did research on Mis Van Der Rohe’s Barcelona Pavilion and theory in ‘tectonic’ to accomplish my design, from detailing and the qualities of material, to the circulation and form of the whole 3

Central Courtyard

PREVIOUS DESIGN WORK

BIO TRAIL

t is an idea competition launched by Singapore Redevelopment Authority to draw innovative and fresh new ideas from the public to address some of the key challenges and issues in planning for the future use of the former railway land which returned to Singapore on 1 July 2011.

plore the forms and build the model. The renderings are all generated by SketchUp with V-rays, plus some photoshop. Except the software mentioned above, I also built certain skills on 3Dmax, Illustrator and Rhinoceros when I worked as an intern in P.A.C company. After shocked by Zaha Hadid and Franck Gary, I realized there is another way to do design: Parametric Design. It does challenge the traditional design thinking and allow designer to jump out the box and do something â&#x20AC;&#x153;impossibleâ&#x20AC;?.

Our group made this tree house motel proposal to be a heritage institution, botanical education and sustainability involvement, thus, it can bring people closer to nature so that they can love them, protect them and learn more about them. Inspired by the Tjibaou Cultural Centre designed by Renzo Piano, we mainly used SketchUp to ex-

Spiral Staircase in Water Pavilllion

PART A. EOI I: CASE FOR INNOVATION

A.1. ARCHITECTURE AS A DISCOURSE

hat is Architecture?

Today, architecture is introduced as a practice of contributing influential ideas to the on-going As the development of the society, the real meaning of the architecture is ever-changing. disciplinary discourse and culture at large. It cannot be reduced therefore to simply form or At the very beginning, architecture was only seen function. While indeed it does serve functional purposes and possess aesthetic qualities, archias the shelter for people like caves. It prevented rains, winds and animals to provide a safer place tecture should be approached as a platform for discourse.[1] for people at that time to stay. The developing of Discourse is the communication of thoughts or the architecture started from the fundamental ideas. It is the formal discussion of a subject. [2] function that meets peopleâ&#x20AC;&#x2122;s basic needs Architecture can therefore be viewed as a platform for oneâ&#x20AC;&#x2122;s ideas and views on a subject to be Subsequently, people started to add on ornaments based on the primary needs. Generally, put forward.[3] architecture became more and more complex because of the religion. Therefore, architecture Due to the increasing needs from the society, architecture is given multi-dimensional meaning. was regard as the art piece to some degree. Architecture, as a system of communications (or discourse) is a greatly more inclusive conception than architecture as buildings, for example. It When people had the intension to use architecture to start expressing something that they may does provide a large platform for many designers to express and communicate their ideas even could not tell by themselves, architecture or opinions on materials, forms, even social or became a language. Using the regularity of humanâ&#x20AC;&#x2122;s language as a metaphor for the accuracy, philosophical issues. the standardization or the classic of the relation between different elements of architectural form, is where the origin of architecture as discourse comes from. 8

PRECIDENT STUDY 1: BARCELONA PAVILION ARCHTIECT: MIES VEN DER ROHE

The whole building was designed to a “passage” leading visitors to next attraction. The visitors were not meant to be led in a straight line though the building. Instead, they take continuous turnabouts since the position of the walls. Even though the entire pavilion is visually simple floorplan, its complexity comes from the strategic layout of walls. Walls play a role as “directors” rather than purely to definite the boundary of one space. It indicates the unforced direction of visitors’ movements allowing the space happens naturally.

ies Van Der Rohe once said “Architectural language requires permissive, may be the form of ordinary language, but if you’re good enough on the language, you can become a poet.”[4] One of his projects being selected is the Barcelona Pavilion. In the years following WWII, Germany started to turn around. The pavilion for the World Expo was supposed to represent the new Germany: democratic, cultural progressive, prospering and thoroughly pacifist. It represented the spirit of the new era. Therefore, the concept of the pavilion was generated which is the realization of the “free plan” and the “floating room”. Visitors would enter by going up a few stairs, and then face a big reflection pool. Due to the simplicity of the structural composition, the entire space becomes “an ideal zone of tranquility” for tired visitors. Due the lack of the trade exhibits, the pavilion itself became the exhibit.

Extreme simplicity does not mean nothing. “Less is more” is proved once again in Mies’s work such like the implicit spatial complexity. Several simple walls allow the creation of multiple spaces since the layout of the walls.

Fig1: Barcelona Pavillion Plan

Fig2: Barcelona Pavillion Pool

hat is typical Mies’s free plan. Spaces are designed to flowing throughout the entire building without clear declaration.

one of the yellow walls but has political statement as well showing German colors.

Thus, the interaction between spaces happens naturally.

As mentioned earlier, Mies wanted this building to become “an ideal zone of tranquillity” for the weary visitor. The color of material he chose is soft especially for the outside. For the exterior wall and floor slab, he chose the travertine. Water plays one material in this project. The sense of calmness is being achieved through the largescale use of simple material. Green, red marble walls and glass curtain wall are also introduced in relative large piece.

In addition, Mies blur the boundary between building and the outside through the floor slabs of the pavilion project out and over the pool—connecting inside and out. The entire building itself is a passage as mentioned earlier which plays a role of interaction. Mies use extraordinary detailing design to emphasize the relationship between inside and outside. He jumps out of a circle, and his detailing design is not only for Its elegant and sleek design combined with rich function but also is art. The notion of “tectonic” is natural material presented Mies’ Barcelona Pabeing interpreted in his work. vilion as a bridge into his future career, as well as architectural “Posts tagged with Modernism” .[5] The selective choice of materials for the Barcelona Pavilion is absolutely worthy of note. Mies respect the truth of the material, and demonstrate the beauty of chosen materials’ nature through smart use of the material. Glass, travertine, marble, onyx and steel were his only few choices. As far as color selection, Mies let the natural materials speak for themselves and added only black rug and red curtains in one area of the pavilion which not only contrast with 11

Fig3: Barcelona Pavillion Wall

Fig4: Barcelona Pavillion Furniture and Material

PRECIDENT STUDY 2: THE JEAN-MARIE TJIBAOU CULTURAL CENTER ARCHITECT: RENZO PIANO

he Jean-Marie Tjibaou Cultural Center is located at Noumea in New Caledonia, founded in memory of the New Caledonian political leader assassinated in 1989. It is a comprehensive representation of built structure, landscape and heritage issues of local Kanak Culture.

e huts encourages an ingenious process known as the ‘Venturi effect’, to harness the prevailing winds from the sea to naturally ventilate the Centre. The space between the two layers of slatted wooden facade works like a convection chimney. Towards the bottom of this facade, wide spaces between the slats allow wind to pass into and through the hut horizontally. This air movement pushes warm air inside the building up into the gap between the facades, from where it is drawn up the ‘chimney’ and out of the open top.[6] The adjustable louvers of the façade that can be closed to respond to the changes in weathers.

This design began to emerge that paid homage to Kanak Culture – past, present, and future. Instead of creating a historical reconstitution or a replica Kanak village in which to display and preserve local traditions, the idea was to strive to reflect the indigenous culture and its symbols, which, though age-old, were still very much alive. [6]

The design takes inspiration from local building methods and materials, and works with certain natural elements, such as the winds on this exposed site, the light and the existing vegetation. The cultural center draws on local building traditions and expertise, mixing the ancient and the modern. The centre preserves, displays and celebrates the traditions of the Kanak people, whilst also looking forward to their future.

The Centre is situated on a spit of land called the Tina peninsula, the sea on one side and a lagoon on the other, east of the country’s capital, Noumea. Inspired by the structure and, above all, the functionality of New Cledonian huts, Renzo Piano reproduce and adapted into his design, architecturally as well as socially. There are ten huts, of three different sizes, all interconnected by a footpath, serving various functions. The different architectural languages also represent the past and present, and the looking forward forms means future to certain degree. 13

Fig5: Tjbaou Cultural Center Cross Section

Fig6: Tjibaou Cultural Center Bir View

A.2. COMPUTATIONAL ARCHITECTURE

ndoubtedly, computers have already become an integral part of architectural design. There is more than 50-year history that computers have been used in architectural field. The use of computers has rapidly developed into a standard tool in the industries over the last ten years. Now, computation is even redefining the practice of architecture. [7]

on the organisation and definitions of data with parameters, rather than only used for representation of the preconceived design ideas as mentioned early. In the comparison diagram between traditional architectural design process and integrated design process, the most obvious advantage of integrated design process is that agency, design consultants, constructors and trade constructors are involved in the project much earlier than traditional design. That is to say, computation makes the whole design process more interactive and responsive. It will help to explore new design options, to analyse architectural decisions and to increase the efficiency of the work which is required in today’s working environment.

However, what does ‘computation’ mean? Most of architects use computers as a tool simply transferring the preconceived design into computer aid software in order to easily edit and increase the precision of drawings. It has always been a role of aided tool and this mode of working has been termed ‘computerization’. [8] ‘Computation’, on the other hand, allows designers to extend their abilities to deal with highly complex situations.[7] Sean Ahlquist and Achim Menges define computation as ‘the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.’[9] As the development of computation in architecture, it is changing the way that the design process approached. Computation allows computer being used to set out a program and generate designs from the beginning design stage based

Besides, computation incorporated a wide range of information and data that can help architects or constructors analyze the material performance or structural forces. As a result, it helps to improve the design. Terzidis once said, ‘It is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free their imagination.’ [11] According to personal experience, the geometries of the design maybe presacrificed, in order to present the design due to the limit of the 3D software. The creativity of the designers is usually being limited as a result. 15

from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.[7]

With the use of computational software such as Rhino and Grasshopper, it allows architects to explore various design options flexibly and deal with highly complex situations. Human always challenge themselves, as well as architects. They always want to explore something that never been done before. Computation provides this chance to help them explore, visualize and test their ideas.

The meaning of computation bring to us is not only feasibility and convenience for architecture design. It also enables new ways of thinking and encourages people keep challenging the so called ‘impossibility’.

As we all know, Frank Gehry’s Guggenheim Museum in Bilbao is a realization of computation. He stared with sketches and rough paper model built by hands, then, he scanned his sketches and models and used 3D software to build a exploring model. As illustrated here with new building projects by some of the world’s most forwardthinking practices, computation also has the potential to provide inspiration and go beyond the intellect of the designer, like other techniques of architectural design, through the generation of unexpected results. [7] Architects are increasingly experimenting with computation to simulate building performance. [12] These new digital tools allow feedback at different stage of an architectural project because they let architects predict, model and simulate the encounter between architecture and the public. Architecture is currently experiencing a shift 16

PRECIDENT STUDY 1: SAN GENNARO GATEWAY NORTH

to avoid wrinkling. [14] It is scarcely possible to build this without help of computation!

an Gennaro Gateway North is designed by SOFTlab in 2011. This modern twist colourful welcoming sculpture is 25 feet, and hangs suspended between a street lamp and the surrounding buildings.

Purely geometric CAD tools lack this physical behaviour, whereas traditional engineering approaches are slow and difficult to use for early exploration of design options.[14] Thanks to Kangaroo, it allows architects to build the simulation directly within the computer and let them explore the possibilities of structure as well as material at the same time.

As SOFTlab stated, the form was inspired “by one of the simplest and most effective classical architecture devices.” Two oculi form the piece: one pointing up and the other facing the ground defining where pedestrians pass. “The two forms are created using a minimal surface blending the two oculi together in a way that blurs the distinction between the two.”[13]

In the end, the sculpture successfully animates the traditional festival and changes depending on the natural light flowing through.

Over 4224 laser-cut Mylar panels with each a unique shape and custom colour, over 6000 aluminium grommets and aluminium pipe are assembled in a geometric pattern. It is relatively light for its size, weighing only 120 pounds.

This proves that computation indeed provides a platform for architects as well as public to see views that never seen before.

In tensile structures the form must be closely linked to the stresses in the material in order 17

Fig7: San Gennaro Gateway North

PRECIDENT STUDY 2: MOLTENI ARC TABLE

for direct manufacturing, SMG challenged the level of control and accuracy of a simulated geometry which is influenced by adding, subtracting and manipulating forces.

he Arc table is the latest addition to a range of products designed by Foster + Partners for Molteni & C, Milan. Drawing inspiration from tensile fabric structures, its free-form is generated by software developed to create flowing architectural designs.

Design intent and material logic of this project were embedded in the digital model through the definition of mathematical rules. [16]

The sculptural base is a single sweeping form anchored by three legs - between each extension, the material curves upwards to balance the table top. The top is a tempered glass disc, measuring either 140 or 150 centimetres in diameter, and is available in an extra light finish. Three thin stainless steel plates are UV bonded to the glass and allow the base to be safely and discreetly secured using just three small screws. [15] At first, Foster + Partnersâ&#x20AC;&#x2122; Specialist Modelling Group (SMG) adopted digital simulation for exploration of the table geometry. Then, they tested the structural forces, material properties such as thickness of different part through computation. Throughout the design process, two fundamental guiding concepts were ergonomics and material efficiency. [16] By developing the digital model 19

Fig8: ARC Table Force Test

Fig9: ARC Table Force

A.3. PARAMETRIC MODELING

rchitects are ultimately choreographers of systems, and the benefits of teaching programming in an architectural context are manifold. If architecture wants to survive as discipline, it needs to engage the culture of innovation and computing. (Mark Collins & Toru Hasegawa, Proxy)

make to do adjusting many other parts if there is anything incorrect and needed to be changed. The more complex the project, the more work and time should be made. In that way, creativity exploration of architects or designers is limited by design tool and has to sacrifice the creative freedom. Sometimes, that may even cause the failure of the design projects.

From Beijing National Aquatics Centre – Watercube to the Guggenheim Museum Bilbao, from eastern to western of the world, it is obvious that parametric modelling is making an incredible contribution to architectural design.

Nevertheless, parametric modelling aims to address limitations. Designers are supposed to take a step backwards to establish with the relationships that connect independent parts in the design modelling, build up a design using these relationships and edit the relationships based on the results produced, rather than creating the solution as in traditional design tools. This system ensures the consistence of the design with the relationships, therefore, it helps develop the ability of the architects or designers to explore and test their ideas.

Design is change. Parametric modelling represents change. [17] In Patrik Schumacher’s 2008 Manifesto on Parametric Design, Schumacher presents parametricism as a new ‘style’ for the 21st century of architectural design. [18] However, parametric modelling from my understanding is not new. The definition of parametric existed in mathematical equations initially but it is pretty common to see that there is the idea of having set number of parameters that are interrelated comes with practically any design today. Besides, it is used to imply that the entity once generated can easily be changed. [19] Making changes to a model by conventional design tools can be difficult compared to parametric modelling. [17] In traditional way of doing design, it requires amount of time and effort to

Parametric modelling is changing the way that people think and do from the conventional way. Due to parametric approaches to design aim to provide architects or designers with tool to capture design decisions in an explicit, auditable, editable and re-executable form, [17] Therefore conceiving data flow, dividing to conquer, naming, and thinking abstractly, mathematically and algorithmically form the base for designers to build their parametric craft. 21

In Scripting Cultures, Burry presents that there are mainly three advantages. First, scripting affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time. Then it can be the antidote to standardisation forced by an ambition to lower production costs, rather than any more sophisticated motivation: the previously elusive opportunities for multiple versioning and bespoke production can now be considered more seriously through the use of scripting. It also affords the designer opportunities to escape the strictures inherent in any software. [20]

design. [17] On the other hand, the cost may have a benefit. It would become a driven force that let younger generation work hard to be involved in development of architecture as a human endeavour.

To put it simply, scripting frees the inventiveness of designers by equipping them with the capability to further test architectural ideas that bridge cross related disciplines such as engineering and construction, (MESNE) so that vary relative design opportunities. Besides, it helps to increase the productivity of architects. Of course, there is a cost. [17] Parametric design and scripting culture depend on the ability of the architects and designers to consider the relationship 窶電efinition phase as an integral part of the broader design process. To be able to master scripting and parametric modelling, it is required for an architect possess the abilities mentioned above. The parametric medium is complex, perhaps more so than any other media in the history of

PRECIDENT STUDY 1: GUGGENHEIM MUSEUM BILBAO

Fig10: Guggenheim Museum Bilbao

still remember that my lecturer showed me the picture of Guggenheim Museum Bilbao at the first time. I was totally shocked that how crazy silver colour metal sheets can form! I had no idea that this amazing master piece started with a physical model formed by a piece of paper.

Frank O. Gehry & Partners was the first bureau to implement this CATIA (Computer-Aided ThreeDimensional Interactive Application) system without all of this knowledge. After winning the Guggenheim Museum commission in Bilbao with their curvy model, they started looking for ways of making the design a reality. Realising that existing architectural design programs would not suffice, they turned to software (CATIA) intended for the airplane and automotive industry. This unusual methodology was an unprecedented success, the building was finished before the settled deadline and with less money spent than expected. [21]

Itâ&#x20AC;&#x2122;s incredible! While modest from street level, it is most impressive when viewed from the river. Eleven thousand square meters of exhibition space are distributed over nineteen galleries, ten of which follow a classic orthogonal plan that can be identified from the exterior by their stone finishes. The remaining nine galleries are irregularly shaped and can be identified from the outside by their swirling organic forms and titanium cladding.

This represents the beginning of an era. Maybe it is not pure parametric modelling as we seen today, but it does free the creativity of architects. I believe that people have dreamed of this kind of complex and crazy design before which represent the potential deep inside of architects or designers, however, people are stuck inside the limitation of the software which is kind of ironic because they were designed to help people design. Something similar was happened to me.

The futuristic sculpture look building itself start engage with visitors whoever has come to this site before, it demonstrates liability of this building together with art pieces, which attract people moving forward to figure out how the artistic gallery space works internally. Thanks to the introduction of parametric modelling, the museum has succeeded in creating an iconic identity for Bilbao, twisted forms that break conventions of building design. This sculpture has a strong intend to communicate with us that it is representing art in Bilbao, attract people to go in.

Fortunately, The Guggenheim Museum Bilbao made me see the potential of parametric modelling as well as human cultural development. I really want to change, jump out the box, and let my imagination free by parametric modelling.

Fig11: Guggenheim Museum Bilbao Metal Sheets Facade

PRECIDENT STUDY 2: GALAXY SOHO

Fig12: Galaxy SOHO Interior Courtyard

t seems that parametric design comes along with Zaha Hadid’s design projects.

Parametric design is an emerging concept of design process in which the parameters are interconnected as a system. One parameter’s change affects the whole network and causes global influence. Parametric design creates systematic, adaptive variation, continuous differentiation, and dynamic figuration from the scale of urbanism to the scale of architecture, interior and furniture. [22]

Compared to the previous Frank Gehry’s Guggenheim Museum Bilbao, Galaxy Soho is chosen because its soft and fluid dynamic form based on the mature use of the parametric modelling. Courtyards and pathways weave between the buildings, while bridges and platforms form connections on the upper levels. “The design responds to the varied contextual relationships and dynamic conditions of Beijing,” said Zaha Hadid at the opening. “We have created a variety of public spaces that directly engage with the city, reinterpreting the traditional urban fabric and contemporary living patterns into a seamless urban landscape inspired by nature.”

Through these two big scale projects that they both have futuristic looking but in different ways, we can get a roughly idea what parametric modelling can do. It is not only about the crazy or curvy appearance. More importantly, parametric modelling means changes. It changes the way people think and design even facing the same social problem.

Blurring the lines between form and function, interior and exterior, beauty and curiosity, the Galaxy SOHO landscape invites the visitor to experience a series of dramatic views that are ‘out of this world’. The canyon nestled between the sweeping curves of the buildings overhead, crisscrossed with graceful bridges, serves as the central open air space for shopping, cafes and entertainment for all ages. [22]

Let us be free by using parametric modelling.

Fig13: Night View of Galaxy SOHO Interior Courtyard

A.4. CONCLUSION

new approach we will take allows us to explore more various options and develop a cutting-edge design. Moreover, parametric design allows us to test our new forms, materials, geometric and construction methods.

ith the use of parametric design via computation, architects have gained a new approach to design and construct. It opens new windows to design that it bridges between deferent disciplines. To certain degree, parametric design is becoming a language for communication. At the same time, aesthetics of a building do not need to be separate when using parametric design.

Parametric design is making its contribution to architecture as a discourse. It is believed that using parametric design which is brand-new for us generates more thoughts about architecture.

Generally, parametric design provides a broader platform for architects or designers to explore and test their ideas that hidden inside for quite a long time. It frees the architectural design as well as human imagination. This parametric design approach would be employed for the Wyndham City Gateway project. Based on the comprehensive site analysis, the 31

A.5. LEARNING OUTCOMES

Besides, I had a basic understanding of difference between computation and computing that depend on the way we use computers.

hroughout the last 3-weekâ&#x20AC;&#x2122;s course study, I gained better understanding of what is parametric design and what does it mean to architectural development.

I also learn some new basic skills regarding to parametric modeling in Rhinoceros and Grasshopper. More importantly, I am much more passionate to study this new technique than before because I see its potential that can free my imagination.

Before I entered this course, I made misunderstanding about parametric design only based on my last three-year architectural studies. I used to believe that parametric design is only about architectural form exploration. I was kind of stuck in my own box. When I re-look at the architectsâ&#x20AC;&#x2122; standpoints and projects looked familiar, I gained new thoughts. For example, I used to disagree to the Zaha Hadidâ&#x20AC;&#x2122;s viewpoint but I found her just use her understating of the world to express herself instead of being extraordinary by ignoring the surrounding. 32

REFERENCE TEXT [1]: Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 [2]: Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 [3]: Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 [4]: Kenneth Frampton edited by John Cava (1996). Studies in Tectonic Culture: the Poetics of Construction in Nineteenth and Twentieth Century Architecture [5]:The Architectural Review, viewd 3 August 2013,< http://www.architectural-review.com/essays/mies-van-der-rohe/8622955.article > [6]:Inhabitat, design will save the world, viewd 3 August 2013, <http://inhabitat.com/jean-marie-tjibaou-cultural-center-inspired-bynative-architecture/> [7]: Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2) , p. 10 [8]: 1. Kostas Terzidis, Algorithmic Architecture, Architectural Press (Oxford), 2006, p XI. [9]: Sean Ahlquist and Achim Menges (2011). ‘Introduction’, in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking, John Wiley & Sons (Chichester) [10]: AIA California Council, comparing project phases between traditional and integrated delivery, viewed 11 August 2013, <http:// www.aia.org/ groups/aia/documents/ pdf/aiab083423.pdf> [11]: Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx [12]: Branko Kolarevic and Ali Malkawi (eds), Performative Architecture: Beyond Instrumentality, Routledge (New York), 2004. [13]: Inhabitat,viewed 11 August 2013, < http://inhabitat.com/nyc/softlabs-colorful-sculpture-brings-a-modern-twist-to-little-italys-sangennaro-festival/san-gennaro-north-gate-by-softlab-10/> [14]: Daniel Piker (2013). Kangaroo Form Finding With Computational Physics from Architectural Design (AD) Special Issue - Computation Works V83 (2) , p. 137 [15]: Foster + Parteners, Projects / Molteni & C-Ac Table, Italy 2010, viewd 11 August 2013, < http://www.fosterandpartners.com/projects/molteni-&-c-arc-table/> [16]: Jethro Hon (2013). Mathematical Ensemble Molteni ARC Table from Architectural Design (AD) Special Issue - Computation Works V83 (2) , p. 32 [17]: Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7 [18]: Patrik Schumahcer (2010) ‘Patrik Schumacher on Parametricism: Let the style wars begin’, Architects Journal (accessed 18 Augst 2013) Available: [Online] http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-warsbegin/5217211.article [19]: Yessios 2003. 263 [20]: Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 – 9

[21]: Anthony Askew (2012) ‘An Introduction to Parametric Design’(accessed 18 Augst 2013) Available: [Online] http://anthonyaskew. wordpress.com/2012/02/29/an-introduction-to-parametric-design/ [22]: Galaxy Soho (2012) ‘Design & Architecture’(accessed 18 Augst 2013) Available: [Online] http://galaxysoho.sohochina.com/en/ design

PICTURE Cover: Parametric Design, 2012 [Online]< http://www.christoph-hermann.com/generative-design/parametric-design-barotic-interiors-l/ > Fig1: Barcelona Pavillion Plan Archdaily, 2011 [Online] < http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/ > Fig2: Barcelona Pavillion Pool Archdaily, 2011 [Online] < http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/ > Fig3: Barcelona Pavillion Wall Archdaily, 2011 [Online] < http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/ > Fig4: Barcelona Pavillion Furniture and Material Archdaily, 2011 [Online] < http://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe/ > Fig5: Tjbaou Cultural Center Cross Section Fondazione Renzo Piano, 2010 [Online]< http://www.fondazionerenzopiano.org/project/85/jean-marie-tjibaou-cultural-center/drawings/enlarged/890/ > Fig6: Tjibaou Cultural Center Bird View The Space Between, 2013 [Online] < http://jacobogordonlevenfeld.es/the-cultural-center-jean-marie-tjibaou/?lang=en > Fig7: San Gennaro Gateway North Flickr, 2012 [Online]< http://www.flickr.com/photos/softlab/7795809848/lightbox/ > Fig8: ARC Table Force Test Daniel Piker (2013). Kangaroo Form Finding With Computational Physics from Architectural Design (AD) Special Issue - Computation Works V83 (2) , p. 137 Fig9: ARC Table Style Home, 2013 [Online]< http://www.stylehomes.net/modern-round-glass-dining-table-by-molteni/modern-round-glass-dining-tablemolteni-arc-05/ > Fig10: Guggenheim Museum Bilbao paulvonplace, 2012 [Online]< http://paulvonplace.wordpress.com/2012/04/01/a-brief-iconology/ > Fig11: Guggenheim Museum Bilbao Metal Sheets Facade Wallpaper Feed, 2012 [Online]< http://www.wallsfeed.com/guggenheim-museum-bilbao/ > Fig 12: Galaxy SOHO Interior Courtyard Flickr, 2013 [Online]< http://www.flickr.com/photos/fred_z/8496857185/lightbox/ > Fig 13: Night View of Galaxy SOHO Interior Courtyard The Superslice, 2012 [Online] < http://thesuperslice.com/2012/12/31/superslice-100-best-of-2012/ >

PART B. EOI I: DESIGN APPROACH

WHAT IS TENSILE? WHY TENSILE IS CHOSEN?

Fig1: Tensile Structure

B.0. BRIEF & SITE ANALYSIS

-2013-2017 WYNDHAM CITY PLAN -WESTERN GATEWAY DESIGN PROJECT BRIEF

-Wyndham is the one of metropolitan Melbourne’s designated growth corridors and has a rich and wide range of unique and distinctive features – natural, cultural, social and historical.

-Wyndham is known for its nature based attraction such as Werribee Open Range Zoo, National Equestrian Centre and Melbourne Water Western Treatment which is one of the world’s most significant wetlands.

-In both past and ther present there is an intensive relationship between the natural environments and the activities of human settlement and associated industries.

-Wyndham features 27.4 km of coastline bordering Port Philip Bay to the east, hence tagline of ‘City, Coast and Country’ was created. 39

MELBOURNE WYNDHAM

GEELONG PORT PHILIP BAY

Fig2: Wyndham Map

Fig3: Western Gateway Site Map

OBJECTIVE • Create a Visual Focal Point • Be a New Identifier which encourages a sense of pride • Has Longevity in appeal • Encourage further reflection about the Gateway beyond a first glace leading people for closer interaction •

Engaging in Abstract Form

ateway is the entrance for the city, hence it is supposed be impressive and welcoming. Through understanding the Wyndham city plan and Western Gateway project brief, we

realized that there is potential for us to generate an architectural discourse through this project, as this city is rapidly growing requiring responsive installation beyond first glace. 43

MIND MAP

B.1. DESIGN FOCUS

ccording to Wyndham City’s 2013-2017 Plan, the city identified itself as community focus and is proud of their strong sense of community based on the high responsive and interactive community engagement. [1] The Wyndham community‘s vision also stated:

design focus. It is considering our initially shallow comprehending of the tensile structure, as its form is usually determined by the conversation between the structure itself and the membrane. In order to gain a systematic understanding of tensile structural elements, we did research about it.

Wyndham will be buit on a human scale scale encouraging individual, family and group interaction, a strong community atmosphere and a distinct sense of place.

We checked out the basic definition of the tensile structure, which is a construction of elements carrying only tension and no compression or bending. [2] Hence, the soft surface of this system is usually being pulled or stretched out based on anchor points. The dynamic and organic effect may be caused by this reason. Thus, the lightweight and softness of the membrane help increase the possibilities of sculptural and dynamic visual impact design, which respond to the Wyndham city’s support for public art according to the Western Gateway Design Project brief. Meanwhile, the material itself is responsive to the environment which is also matching with the interaction and communication design concept.

Wyndham will do this while protecting its natural assets, to ensure that future generations will be able to enjoy the beauty of its waterways, grasslands and coastline. [1] We noticed that interaction and nature are two of most important aspects that Wyndham city’s plans focus on. These ideas profoundly influenced our material chosen for design project. Besides, parametric modeling, as discussed in Part A of the journal, allows designers to moderate the design ideas based on parameters or the relationships between different elements and components.

Due to the flexibility of this system, it is still hard for our group to understand and analyze the system according to these literal definitions. So some projects are chosen to study and help us figure out what tensile structure exactly is and what kind of effect it can create.

Thus, interaction and communication are derived from the above two points. Our group consisting of Thanida, Yonghong and myself, has chosen “relaxed and minimal” belonging to the characteristics of the tensile structure as our initial 45

DENVER AIRPORT ROOF

Architect: Fentress Bradburn Architects (Denver, CO). Roof Structural Engineer: Severud Associates (New York, NY), with specialized roof design and engineering by Horst Berger (New York, NY) Location: Denver, The United States Project year: 1995 Materials: Steel Structure and whitecolored PTFE fiberglass membrane Area: 210-foot wide by 900-foot long

SPACIAL QUALITY AND INTERACTION

riod without help of parametric modelling, this is the hardest part but which is also fun. Anchor point needed to be tested one by one in order to get the self-balanced structure.

e started our research with traditional tensile project to develop the understanding of the tensile structure.

The fabric roof enclosing the 210foot wide by 900foot long Great Hall of DIA’s Jeppesen Terminal is truly a milestone for the tensile membrane structure industry. The world’s largest transportation terminal enclosed by a tensile membrane roof unites structural engineering with architectural design to produce a magnificent and expansive interior space with a volume three times that of New York City’s Grand Central Station. The nineacre roof’s dramatic peaks and valleys give it a unique shape emulating the profile of the Rocky Mountains that are synonymous with Denver and provide a striking backdrop to the Terminal’s western view. [5] For its structure, manual form finding technique was introduced to help architects analyse and establish the double curvature shape. In that pe-

The use of translucent lightweight tensile membrane for roof structure instead of concrete or other rigid heavy material broke through tradition. At the same time transmission of sufficient diffused daylight in the Great Hall was assured. It not resulted a significant cost cutting to fit the budget but also create a different spatial experience for visitors, as the natural lighting brings them closer to the environment so that brings them a different journey and interact with physical environment at the airport which is the first impression of the city.

Fig4: Denver Airport Roof

GREEN VOID

Architects: LAVA â&#x20AC;&#x201C; Chris Bosse, Tobias Wallisser and Alexander Rieck Location: Sydney, Australia Project year: 2008 Materials: Specially treated high-tech Nylon and light Area: 300 sqm Volume: 3,000 sqm

VISUAL FOCAL POINT

ased on the concept of the Frei Otto;s soapbubble experiments for the Munich Olympic Stadium since 1970â&#x20AC;&#x2122;s, Green Void, adopted natural evolving system idea with digital workflow, is a 3-dimensional lightweight sculpture, solely based on minimal surface tension, freely stretching between wall and ceiling and floor. [3]

softness and flexibility. Its sexy appearance suspended over 5-storey high void contrasts to the square of the heritage interior, thus creating an amazing special focal point within Customs House with projection and lighting. The installation would not be achieved with digital fabrication and engineering techniques. Anchoring five rings by cabling on the top, bottom and two sides, allows the relaxation of the fabric surface. Basically, the rings structure determined the form of the design that is similar to the San Gennaro Gateway North which was discussed as precedent study in part A.

With the induction of the new way of digital workflow and a tensioned Lycra material, it optimized the whole process from design to transportation and installation. The use of lightweight fabric allows its natural double curvature and creating the sense of

Fig4: Green Lava Void

GERMAN PAVILION -For the Prague Quadrennial of Scenography and Theatre Architecture 2007

Architects: Archim Menges, OCEAN NORTH, Scheffler + Partner Location: Centre Pompidou Paris Project year: 2007 Materials: Elastic Strings

UNIQUE SPACIAL EXPERIENCE

ifferent from San Gennaro Gateway North and Green Void, this German Pavilion study for the 11th Prague Quadrennial of Scenography and Theatre Architecture 207, showed another approach to design tensile structure, and envisioned the pavilion as a performance environment of deliberately ambiguous relations between space, time and the convergence of protagonist and playgoer. [4] What interested us is that they use manifold densities of interweaving elastic strings as the fabric for tensile structure, replacing the membrane. Hence, it pushes the discussion about tensile structure forward by changing with more flexible materials and allowing more sensory interaction with the users. With the help of parametric mod-

elling, it creates the sense of illusion by changing the density of the strings and achieves blurring the role of actor and audience through exploring the orientation of rulings dependent on the definition of base curves and the increment of material ruling interpretations. Moreover, tensile structure allows the design to be more dynamic because the form is determined by strings interweaved on the curved structural element. Hence, it also generates a unique special experience for the organic curves that bring people out of everyday context.

Fig5: German Pavillion for the 11th Prague Quadrennial

Fig6: German Pavillion for the 11th Prague Quadrennial: Force Study

TENSILE

hrough the precedent study, we found that the importance of conversation between membrane and structure to the tensile structure. And we also realised that the geometry of a tensile structure is not arbitrary and cannot be precisely defined before analysis. It is established through a shape generation or form finding technique to ensure static equilibrium of the tensile system. In that way, various forms will be explored in our further studies.

Inflatable

Hypar 1

Hypar 2

Barrel Vault

Fig1: Tensile Structure

B.2. CASE STUDY 1.0

Species 1 plays around the parameters on the springs such as: stiffness, damping and plasticity.

Species 2 plays around the parameters on the Exoskeleton.

n this case study, no matter how we changed anchor points or structural elements, it is still easy to tell the sim mining the overall aesthetics of the form. It highly depends on the expression of the material of the membrane tion for our further exploration in Gateway project. 55

Species 3 plays moving the anchor rings with setting one ring fixed.

Species 4 using Decompose function to get the individual anchor points and moves around.

milarity between deferent diagrams. It is because the structure in this project plays minimal role in the detere structure in creating double curvature. Hence, the behaviour of this type of the tensile structure create limita56

B.3. CASE STUDY 2.0 PLAYA VISTA BANDSHELL

Architects: Michael Maltzan Architects Fabrication: FabriTec Structures Location: Playa Vista, California, USA Project year: 2010 Material: PTFE-coated Fibreglass Fabric Area: 9,200 sq ft footprint

esting transforming of the bandshell could not be achieved without fabric membrane.

imilar to the Gateway, the Playa Vista Bandshell is an outdoor amphitheatre that serves as the focal point of the park designed by MMA. The park provides an infrastructure of recreation and performance spaces for public.

Moreover, the general formal expression is given by a latticework of irregular-appearing meridian steel pipe members with PTFE-coated fiberglass membrane wrapping around. The tensioning of each panel into place to minimize any wrinkles is By day it’s a brilliant white turban, or a scoop of achieved by precise measuring work point locaice cream hollowed out; by night it glows like a tions on the curved pipe steel framing. As a relantern, afloat in a dark sea of grass. Michael Maltzan’s bandshell is an astonishingly light afsult, the “lantern” with soft and organic appearance cantilevers 15m above the concrete stage fair, a sheet of canvas stretched over a dramatic curve of scaffolding that Maltzan likens to “bones that could not be done by other materials. set under the skin”. [6] This case study further explores the relationships Translucency of the fabric membrane is the key between structure and membrane in a tensile structure to achieve aesthetic expression. feature that allows designing this unique shape and form that could be illuminated at night and also allows the expression of the complicated and dynamic structure at the same time. It forms striking contrasts to the seamless wrapping pure formal appearance during the daytime. The inter57

Fig7: Playa Victoria Bandshell

Sweep is used initially to study the form of the structure and how it is articulated.

Due to the similarity to the grid shell, the similar approaches were applied. However, the curvy was not achieved beacause Geodesic function is a self-generated property which does not allow to modify the curves.

In order to achieve the curved intersection, control points are baked to get two rings. The structure is formed based on these two rings. However, the truss structure is modeled separately so that we cannot control it together with other elements parametrically.

This is the final outcome; we have succeeded in building truss structure parametrically. The interesting dynamic structure is achieved. We see the potential of the form and material exploration.

B.4. TECHNIQUE: DEVELOPMENT

ased on the previous study, it is very clear that the behaviour of membrane fabric mostly relies on the structural element such as irregular lattice steel pipe in this Bandshell case. However, it is membraneâ&#x20AC;&#x2122;s transpar-

ency that allows the expression of the skeleton. Therefore the following exploration will further study the various formal expression of membrane based on the different structural forms.

B.4.1 TOP RING SHAPE MANIPULATION

he top curve is manipulated while the rest are kept as constrains to explore the shape in relationship with the rest of the structure and effect on the relaxed surface. Though some

forms are quite dynamic and interesting but this exploration is rather limited to further exploration possibilities. 63

B.4.2 CENTRAL RING SHAPE MANIPULATION

iddle curve is manipulated and the rest are kept as constraints to study the relationship between the shape and relaxed surface. 64

B.4.3 TWISTING OF LATTICE STRUCTURE

nchorpoints on the central ring are shifted to create more tension and sharp edges for relaxed surface.

B.4.4 DENSITY OF LATTICE STRUCTURE

he density of the lattice structure is altered as one of the study of the structure. It is very clear can be told from the matrix that less dense lattice is able to create the dynamic

curvature better than denser lattice that the effect is hard to be expressed. 66

B.4.5 STRUCTURAL ANCHORPOINTS

ifferent radius of fillet is altered to observe the tension on the relaxed surface. The resulting effects can be manipulated to create undulating surfaces.

B.4.6 STRUCTURAL TENSION + SCALE

he top and bottom curves are moved, scaled and rotated to study the organic form generated from relaxed surfaces. The

tension between each curved in forming doublecurved surfaces. 68

PRECEDENT STUDY 2.0

tensegrity system, also called floating compression, is a structural principle based on the use of isolated components in compression inside a net of continuous tension, in such a way that the compressed members (usually bars or struts) do not touch each other and the prestressed tensioned members (usually cables or tendons) delineate the system spatially. [7] The balance of the whole structure is based on the self-balance of the each vertex in the structure. Every node must have one compression element, and at least three cables. It is lightweight structure and has a very high resistance to weight ratio. Hence, its â&#x20AC;&#x2DC;floating â&#x20AC;&#x2122;effect attracts lots of people and architects to tried to take advantage of this significant structure to generate more ideas. 71

Fig7: Flexible Tensegrity Structure

Fig9: Needle Tower

PRECEDENT STUDY 2.1 -TENSEGRITY MODEL OOZES MOVEMENT

21 strut tensegrity with a computer-driven air compressor, pneumatic valves and human-activity-tuned sensors was deployed by Yosuke Ushigome, a masters student in Informational Science and Technology at the University of Tokyo. He named it Archi/e Machina. In his words, it is a large tensegrity-based structure with sensors that activate changing tension members in its tendon net. [7] Apart from the technical information, what interested us more is the special quality and interaction with people it creates. The movement let us to see the potential of tensegrity that gives public a new experience which is what we looking for. 73

Fig10: TENSEGRITY MODEL OOZES MOVEMENT

Fig11: Diagram for TENSEGRITY MODEL OOZES MOVEMENT

PRECEDENT STUDY 2.1.1

PRECEDENT STUDY 2.1.2

eing attracted by tesegrity structure, our group used chopsticks and rubber band to build a tensegrity model with the help of tutorial model. During this process, we were able to understand and analyse the interaction between the sticksâ&#x20AC;&#x2122; compression and rubber bandsâ&#x20AC;&#x2122; tension. From our previous study, membrane fabric relying on the structural elements in most of tensile cases that sometimes even zero contribution to basic geometry. Compared to these, the intercontrol between sticks and rubber band is quite a different way to form tension. Moreover, due to the flexibility of rubber band, the final outcome still has certain flexibility, that allows more interaction between people and the structure. 77

PRECEDENT STUDY 2.1.3

n order to avoiding wrapping around the structure using membrane while make sure the membrane is contributed to the structure, we replaced the rubber band with tensioning fabric. From the model picture, it is clear that the fabric indeed succeeded in replacing the rubber band and holding the structure. 79

PRECEDENT STUDY 3.0 -THE BUBBLE BUILDING

Architect: Dus Architects

his precedent investigates the use of bubble as part of a temporary pavilion. The bubble membrane formed from steel pool creates spatial volume within which a person can stand inside, giving unique temporary enclosure which contains rainbow colours and reflections of surrounding environment. The walls generated are always different, unpredictable and last only within few seconds. It is in this nature that draws attention and curiosity to the pavilion as no one bubble will be the same. It is said that temporary experiences are perceived as more beautiful, because they only last for a short time. The distinctive characteristics of bubble used as part of architecture make us think about what can be used to keep people interested. 81

Fig12, 13 : Bubble Building

PRECEDENT STUDY 4.0 -THE SOLACE

Architect: Nicky Assman

ubbles formed under different conditions are different in forms and appreciated for their formal variations. However it is also the reaction of the film membrane with light and the fluidity of the liquid within which further enhance the aesthetic of the bubble beyond its transparency. This is shown in this precedent study where bubble film colourful swirling pattern is revealed with light refraction. This beautiful effect creates dramatic effect as the screen of soap film formed a wall after metal rod is raised slowly from a pool of soap bubble. 83

Fig14, 15: Reflective Lighting from Solace

PRECEDENT STUDY 5.0 -WINDSWEPT AT RANDAL MUSEUM

Architect: Charles Sowers Studios

t is undeniable that bubble formation relies greatly on the physical condition especially wind. Wind would determine the direction and formation of bubble. Therefore this precedent study is useful to understand the relationship of wind with the environment. The sensitive freelyrotating directional arrows reveal the complex and the ever-changing ways the wind interacts with the building and its surrounding environment and hence create interesting pattern that are never uniform in direction as one might expect. The sensitivity of bubbles thus has the potential to do the same where changing wind would generate dynamic bubble of dynamic shape and sizes. 85

Fig16,17: Facade for Windswept at Randal Museum

B.5. TECHNIQUE: PROTOTYPES

ntil this stage, our group is still thinking about how to use tensile to generate an architectural discourse since tensile structure limited by structure and material.

1. Measure the guar gum powder into a container big enough to hold a litre. 2. Add the glycerine or alcohol. Stir the mixture so that it is clump-free. 3. Add the boiling water to the guar gum mix while stirring. Stir the mix for a minute or so until it thickens. 4. Add 750ml warm water while stirring. Stir for about a minute. 5. Add the dishwashing liquid to the container and mix it gently so it doesn’t bubble up. 6. Add the baking powder and again, mix it gently.

From our previous study, we summarized as following: 1. Similarity always caused by formal expression highly determined by the behaviour of the membrane fabric since structural elements plays minimal role. 2. Or the overall aesthetics almost depends on the structure such as membrane wrapping around. 3. Even for the tensegrity structure, it relies on the interaction of the structure element‘s compression and fabric or strings’ tension. Hence the demanding of the joints between structure and fabric offers the limitation for our further exploration.

The effect would be better adding each ingredient step by step, and the guar gum powder is the key to thicken the mixture to make bigger bubbles.

However, the study for Green Lava Void’ concept that was derived from Frei Otto’s soap-bubble experiment for the Munich Olympic Stadium inspired us that there is potential to explore tensile structure from its origin since soap-bubble is formed by the surface tension.

Before we can design the installation to generate bubble, different condition needed for bubble generation was tested such as weather involving wind, movement, lighting, and rain. As we realized that bubble is sensitive to the physical environment which can be a challenge however, it is its unpredictability makes the installation more exiting.

In order to push this design to the extreme, making giant bubble became our experiments’ starting point.

Bubble’s form is already unique, the structure for formation of bubble as part of design should be minimal.

We searched for different recipes to get stronger stickiness of bubble mixture to get lager bubble, it turned out the one found in Three Thousand was the best so far based our study:

And from the lighting test, we found the bubble cannot be projected but it can reflect nice fluid and dynamic lighting on other surfaces. 91

B.6. TECHNIQUE: PROPOSAL

WIND FREQUENCY ANALYSIS (IN KM/H)

tering the city, the wind responsive soap membrane is selected for its simplicity and dynamism. The motorist will not be greeted in the same way when entering the city due to the ever changing physical environment.

ince we realised that wind is one of the most key elements for bubble generation, we study the wind direction which is north and south are prevailing wind direction. So we looked at the wind channelling to capture the wind.

Instead of using material to mimic that have been done, our group aims to use existing material -bubble in a new way to generate the architecture which is our proposed architectural discourse. It is true that bubble cannot last for a long time but as mentioned earlier, it is said that temporary experiences are perceived as more beautiful, because they only last for a short time. From forming, flying away, to bursting, the transforming of different form of bubbles should be respected as a nature of fact, and cannot be down with other material.

To achieve this with minimal structure design, the form of the ground was explored with parametric approach that allow us to create design wind changeling and preview how the terrain work with bubble formation and surroundings. The reason why we chose this form is because it is simple so that it will not overshadow the bubble while maximising the chance of wind capture. Wyndham City is proud of its strong community atmosphere with interaction of people of diversity. As the project aims for innovative ideas, bubble is chosen as a material system to create an architectural discourse where it forms spatial experience. To generate interest for motorist en-

Breaking through the tradition is the best way to display the fast growing and changing city.

DIAGRAM

sing motor and bendable material â&#x20AC;&#x201C; fibreglass allows continuous bubble generation. The structure lifts up the string where bubble surface formed in between, when wind blowing through the surface, bubbles will be formed.

DIFINATION

Daytime View of the Site

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Nightime View of the Site

101

102

Top View of the Site

103

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B.7. LEARNING OBJECTIVES AND OUTCOMES

FEEDBACK

3. Even if bubble cannot be projected, we found the reflective lighting created by bubbles is very attractive and exciting. Based on this aspect, we should do more lighting test on how bubble is going to incorporate with colorful lighting.

uring the interim presentation feedback session, our design was criticized in different aspect:

1. In the design process, parametric modeling was not properly explored in the right aspect â&#x20AC;&#x201C; terrain. Instead, we should apply parametric approach to explore how it influences the formation of bubbles. 2. Our design lacks of control of bubble formation. We should go further to explore what elements can influence the generation of bubbles even though bubble is uncontrollable, rather than let the bubble anyhow flying away. We need more experiments on how basic geometry can affect the bubble generation with both physical testing and parametric exploration.

4. We need to consider how different wind direction and wind strength affect our design. There may not be bubble generated when there is strong wind, how our design is going to address this issue. With these directions, we can explore further based our basic design ideas to make our design more exciting and unique to create an stronger architectural discourse.

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OBJECTIVES AND OUTCOMES Since our design requires lots of physical testing, I am capable to search and find proper material to build the physical model to conduct my experiment as well.

Within the course of Studio Air, I have felt a definite engagement with digital design. Flexibility of design exploration is given by parametric design tools such Grasshopper with different functional plug-in. After 8 weeks training, I am now capable of generating several of design solutions in given situations and understand foundational logic and function behind data flows. Besides, I also realized that being able to use parametric tools to build the definition is the ability of problemsolving. Unlike the way I use other 3D software, I need to step backward in the beginning, and gain more possibilities for further exploration at the later stage. And it allows me to see much wider range of design possibilities than before and give a faster reaction to given situation.

With help of the architectural theory even though it is bit hard for me to understand all of them as English is my second language, I am still fascinated by how other people generate thinking so that lead to an vibrant architectural atmosphere. Wynham gateway project provides me a chance to use what I learn from studio and even pushes me further to generate new ideas with the help of parametric tools as well as architectural theory.

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REFERENCE

TEXT [1]: Wyndham City Council, Wydham City Plan 2013-2017, retrieved from http://www.wyndham.vic.gov.au/aboutwyndham/planspolicieslocallaws/cityplan, 15 September 2013 [2]: Tensile Structure, Wikipedia, Retrieved from http://en.wikipedia.org/wiki/Tensile_structure, 20 September 2013 [3]:Green Void, Archidaily, Retrieved from http://www.archdaily.com/10233/green-void-lava/ ,20 September 2013 [4]: Pavilion for the 11th Prague Quadrennial, Achimmenges, Retrieved from http://www.achimmenges.net/?p=4450,20 September 2013 [5]: Dever Airport Roof, Retrieved from http://www.rci-online.org/interface/2006-cts-barden.pdf,20 September 2013 [6]:Playa Victoria Bandshell , Iconeye, Retrieved from http://www.iconeye.com/read-previous-issues/icon-095-%7C-may-2011/playavista-central-park ,24 September 2013 [7]: ^ G贸mez-J谩uregui, V (2010). Tensegrity Structures and their Application to Architecture. Servicio de Publicaciones Universidad de Cantabria, p.19. [8]:Tensegrity Model Oozed Movement , Tensegrity Wiki Blogspot, Retrieved from http://tensegritywiki.blogspot.com.au/2010/08/ tensegrity-model-oozes-movement.html ,24 September 2013

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IMAGES Fig1: http://www.tensilestructuresofindia.com/gallery-tensile-structures-india.html Fig2: http://www.lonetreephotoclub.com/cccc-2013-first-quarter-images/denver-international-airport/ Fig3: http://www.archdaily.com/10233/green-void-lava/281882239_081210-green-void-build-up10cb/ Fig4: http://www.achimmenges.net/?p=4450 Fig5: http://www.achimmenges.net/?p=4450 Fig6: http://www.pitchengine.com/usashadefabricstructures/central-park-at-playa-vista-bandshell-earns-fabritec-industrys-highestaward-at-international-awards-expo Fig7: http://www.aasarchitecture.com/2012/12/Playa-Vista-Park-Michael-Maltzan-Architects.html Fig8: http://www.aasarchitecture.com/2012/12/Playa-Vista-Park-Michael-Maltzan-Architects.html Fig9: https://picasaweb.google.com/lh/photo/pcIYe_d7OkNgvws7os-t7A Fig10: http://en.wikipedia.org/wiki/Needle_Tower Fig11: http://tensegritywiki.blogspot.com.au/2010/08/tensegrity-model-oozes-movement.html Fig12: http://tensegritywiki.blogspot.com.au/2010/08/tensegrity-model-oozes-movement.html Fig13: http://www.architizer.com/blog/the-bubble-building-the-pop-up-that-goes-pop/ Fig14: http://www.architizer.com/blog/the-bubble-building-the-pop-up-that-goes-pop/ Fig15: http://www.looksfeelsworks.com/solace-a-rainbow-wall-made-out-of-bubbles/ Fig16: http://www.looksfeelsworks.com/solace-a-rainbow-wall-made-out-of-bubbles/ Fig17: http://www.flickr.com/photos/sfac/6773192053/ Fig18: http://www.flickr.com/photos/sfac/6773244003/

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PART B. EOI I: PROJECT PROPOSAL

SITE B

Fig1: Site Plan

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C.1. GATEWAY PROJECT: DESIGN CONCEPT -FORM IN MOTION

s Frank Gehry said â&#x20AC;&#x153;When I look outside the door, what do I see? An airplane is flying, car is passing by. Everything is moving. That is our environment. Architecture should deal with that.â&#x20AC;? [1]

n addressing the brief which aims at creating an icon which has an impact and possesses longevity in appeal, our proposal take shape of a pavilion that generate bubble and soap film. It aims to generate an architectural discourse around tensile membrane that would capture media attention and thus help in raising publicity of the city for its innovative design. The pavilion allows for the up-close interaction and appreciation of the self-organizing soap film which transforms into bubble under changing wind conditions that would delight kid and even adults. Therefor site B is chosen as it is located next Caltax Petrol station.

variations shape of bubbles that would refresh on every arrival. The temporary nature of the bubble creates beautiful experience that left people longing as formation of bubble is like a performance. From here we derived our concept based on the idea of form in motion that would inject a sense of interactivity that would make the installation stand out among the vast landscape. Hence our project aims to create a discourse through innovation by designing a framework that let nature of soap and wind display its beauty through motion.

The visual function of the gateway, on the other hand, is great platform in presenting limitless 111

Fig 2: Bubble Shower

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Fig 3: Child Bursting Bubble

DESIGN APPROACH -TENSILE VS BUBBLE

From our previous study of the tensile membrane, we knew that it is an interactive material because of its softness unlike other rigid material such as timber and concrete. Since the Wyndham City that is proud of its community interaction, we approached the design in looking at the tensile membrane for its sculptural and responsive qualities that can capitalized the outdoor context. This would inject a level of interactivity to our design that would introduce excitement to motorist when entering the city. Understanding that the origin of tensile membrane is a result of soap film experiment by Frel Otto, we found potential in incorporating this original inspiration and to create an innovative design that presents purity formation of minimal surface that is superior to the mimicked membrane structures we can see the seams of LAVA installation.

Besides, people are so fascinated by bubbles due to its few secondsâ&#x20AC;&#x2122; temporary existence. Hence, it has potential to draw more attentions for its high interactivity to physical environments and ever-changing forms, the properties which architects would want to achieve with membrane material. Motorist would never be greeted the same way. The installation not only aims to deal with motorist but also visitors. It explores and exploits new material in the service of creating a new concept of space and structure through manipulating the viewerâ&#x20AC;&#x2122;s understanding of space with constantly producing different bubbles as a result of constantly changing wind direction and strength. The temporality of bubbles unlocks the curiosity in us, so the longevity in appeal is achieved.

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Fig 4: Minimal Surface

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Fig 5: Green Void Lava

PRECEDENT STUDY -THE BUBBLE BUILDING

Architect: 3GATTI Architecture Studio

n recent project, The Bubble Building, the concept was to “create an icon-building, a kind of landmark very easy to recognize, a kind of sculpture with a strong character able to detach itself from the boring cityscape” with the ultimate aim to attract customers to rent both the office and commercial spaces.

According to the designers, “the bubble façade will not be a static façade, it will oscillate with the wind and will interact with its inhabitants: the inflatables will be in full tensile capacity when many people are working and the ventilation is at its maximum. When no people are in the room the sensor will switch the ventilation down to its minimum and the facade will become almost deflated.” The site, located near one of Shanghai‘s most popular sculptural parks, the “building

can perform as a large scale interactive sculpture itself” with both day and night strategies to help it engage with the surrounding city. [2] Architects also try to mimic bubbles’ interactivity through motion, however, limited to inflation and deflation in accordance to air pressure that aims to engage the viewers with the unusual design. Creating real bubbles, on the other hand, offers visitors a more beautiful and exciting experience with limitless variations shapes. Hence, instead of mimicking the bubbles, we aims to design the installation that can create bubbles, a way never done before.

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Fig 6: Bubble Building Night View

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Fig 7: Bubble Building Daytime View

IDEA 1 BUBBLE WATER FEATURE WALL

he idea is to create a series of water feature wall along the road. The liquid is bubble solution instead of pure water. There will be different patterns or holes on the wall to affect the formation of bubbles. It looks like a normal decorative fountain wall when there is no wind. When wind blows through the wall, bubbles will be generated from the holes. When car passing by, bubble come out from the side of the road. It offers motorist the chance to experience to celebrate with bubbles.

We were not sure whether bubbles would be generated as the way we imagined. Hence we did the test (as seen in Exploration 8), it turns out the key factor of this idea is controlling the speed of the solution. In reality, even with automatic device, it is still very hard to achieve that because of the ever-changing wind at the place. What is worse is that the strong wind will make the solution fly away. Without bubbles, this idea is nothing special anymore.

IDEA 2 BUBBLE TUNNEL

n order to generate an architectural discourse, we had some brave idea. We wanted to control the soap films and maximize the effect of formation process, and use bubbles surface to create a more architectural space.

This idea is seated at the road. Sensor will be introduced into the design, located at certain distance from the installation. When sensor sense the car, the structure containing bubble solution will split and move along the track. Bubble surface will be formed between the structures. Motorist will pass by a unique and real bubble space. It maximizes the interaction between visitors and the material itself through displaying the

whole process including formation and bursting. However, according to our exploration, the generation of giant bubbles requires gentle speed wind. The chance of formation the surface is very low. Besides, how to ensure the whole structure contain solution all the time has not been figured out. Therefore, the idea was given up since the high requirement of formation.

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Fig 8: Bubble Water Feature Wall

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Fig 9: Bubble Tunnel

IDEA 3 NON-VISIBLE TUNNELS

his idea aims to maximize the purity of the bubbles. Instead of creating some extra structure to generate bubbles, we hide the tunnels underground, which are used to capture and tunnel different direction of wind to produce bubbles. Hence visitors will see nothing but bubbles coming out from ground alternatively. It will be a scene full of liveliness. Nevertheless, the underground tunnels are very hard to catch the wind at the certain direction, according to the exploration. It causes the formation of bubbles is not successful unless the wind is coming from at the right angle. When there is no wind , there will be nothing for the visitors.

IDEA 4 MODULAR UP-DOWN STRUCTURE

ccording to the testing, we found out the traditional dipping system is the most effective way to produce bubbles. So we come back and try to incorporate this technique with our design. Hence this modular up-down structure is generated in order to generate bubbles simply. It is realistic that can be achieved but it does not has the potential for us to further explore the form using parametric tools. And it is too simple that the experience generated is not that exciting and attractive.

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Fig 10: Non-visible Tunnels

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Fig 11: Modular Up-down Structure

IDEA 5 BUBBLE GATE

ased on idea 4, we tried to modify it and make it more interesting. We had an idea that the whole dipping structure is put on top of the structure. So the bubble will come out on top the motorist and fly as the direction of the car. However, the aesthetics of the design is one challenge because the whole structure on top will look very heavy which is opposite to the lightness of the bubble. Besides, this idea focus more on motorist so that the responsiveness of the design reduced compared to last one.

IDEA 6 CREATING BUBBLE THROUGTH MOTION

his idea is simply to create bubbles through movement of the flipping strings. Due to the motion of the string and bubbles, the place will become a playground that improves the interaction between children. However, this idea is too primitive that we feel there is no potential for us to further develop it since every element is soft.

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Fig 12: Bubble Gate

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Fig 13: Creating Bubble Through Motion

IDEA 7 BREATH GROUND

n this idea, the installation is incorporated with the ground. The form generated is placed into the site to study the scale and overall outcome. The narrow end of Site A is chosen because it provides the approachable distance for bubbles that be blown towards the road.

on testing, we realized that bubbles cannot be projected light, but can reflect lights and help to create more dynamic effect. So spot light will be used to shine on the bubble and let the bubble create dancing light that can be received by the gentle and organic ground surface.

In order to minimize other elements except bubbles, the undulating ground is blended with surroundings. The form of the site hence would not become a distraction for motorist.

However, it did not incorporate with parametric tools very well and lost control of formation of bubbles.

At the same time, the form of the dipping structure is kept simple so that the bubble can stand out become the focus of the installation. Moreover, we consider the night effect. Based

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Fig 16: Dipping System

Fig 14: Breath Ground Night View

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Fig 6: Bubble Building Bird Eye View

EXPLORATION 1 LIGHTING ISTANCE

P EXPLORATION 2 LIGHTING ANGLE

ased on our observation, we realized that the soap surface would reflection light at an angle (approximately 90 degrees). The receiving wall contains organic and moving colours as it received the reflected lights. Surface will move and change with wind creating more movement in the reflection. This interactive effect can be incorporate to our design for the night viewing of the gateway. As the one colour light is projected on the surface at different angles, we observed another colour emerged. This can enhance the overall effect as it adds unexpected colours. 125

lacing the surface too near the light source would cre Optimum distance would have to be tested to achieve

eate the flat reflection with not much gradient in the colours and placing too far the overall effect is too faint. e the effect seen in second and third distances, which are more organic in outline and stronger in colours.

EXPLORATION 3 LIGHTING FABIRC

ensile membrane are used as a receiving surface to test whether it has the ability to receive reflective lights.

EXPLORATION 4 RELYING ON WIND DIRECTIONS TO FORM BUBBLES

n creating variations in bubble formation, we tried layerin bubbles formed are unpredictable as it relies on wind co and burst. The effect is quite messy and there is lack of

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ng the minimal surface in trying to achieve bubble within bubble result. However as the shape and size of onditions, the bubble formed behind would sometimes hit the frame of the one in front or the bubble in front control.

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EXPLORATION 5 TUNNELING WIND FROM VARIOUS DIRECTIONS TO FORM BUBBLE UPWARDS

EXPLORATION 6 DIPPING TO FORM MINIMAL SURFACE

his idea developed from the concerns of the earlier e ture the wind is crucial as it would help to directing a

or this idea, mechanism would be needed to dip the f door condition, we need to consider if the possibilities

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explorations. Upward generation of bubbles would ensure 360 degrees viewing. Here the form designed to capand potentially increase or decrease the strength of the wind to generate bubble.

frame in and out of a pool of solution. This is the traditional method of forming the minimal surface. Under outs of solution contamination and how it would affect the bubble formed.

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EXPLORATION 7 USE OF ABSORBANT SPONGE TO FORM MINIMAL SURFACE

EXPLORATION 8 DRIPPING TO FORM MINIMAL SURFACE

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his idea explores the possibility of eliminating the use and soak the top and bottom sponge frame elements about the vertical elements of the frame, which has t

he idea is to let bubble solution cascade along the su solution has to be flown through. This can be quite m be blown away and thus forming the surface would b

e of pool of solution. Hence tubes containing continuously flowing solution are thought of and are used to wet s. Therefore when they meet and open up, the minimal surface would be formed. However we did not think to be wet for surface to be formed.

urface to form the soap surface. However it was not easy for the surface to be formed on the surface as a lot of messy and maybe overpower the overall design. Furthermore, during strong wind condition, the solution would be even harder.

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EXPLORATION 9 PATTERNING TO STUDY BUBBLE FORMATION & SHAPES

ifferent sizes of frame would affect the size of the bubble. From here we also realized that small bubbles are more resilient from bursting and are also easily formed. The small and big framework can be incorporated and their placement and design can affect overall result of bubble formation. In the symmetrical framework, under strong wind, the minimal surface formed in the big frame has the tendency to burst first and thus only small bubbles are formed from the small frames. The generated bubbles are in radial organization. On the other hand, the small frames arranged in column would product horizontal wall. For close relative sizes of frame would have close resilience, hence when constant wind strength is applied across the whole surface, the small bubbles would stick together or even join to form big bubble, hence the impact achieved is similar to that on a single big bubble from big frame.

EXPLORATION 10 PATTERNING TO STUDY BUBBLE FORMATION & SHAPES

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EXPLORATION 11 PATTERNING TO STUDY BUBBLE FORMATION & SHAPES

EXPLORATION 12 PATTERNING TO STUDY BUBBLE FORMATION & SHAPES

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EXPLORATION 13 SHAPES TO STUDY BUBBLE FORMATION & SHAPES

ngular and articulated star shape is as the basic tes same.

EXPLORATION 14 3D FRAME TO STUDY BUBBLE FORMATION & SHAPES

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hree-dimensional frame is tested to study the format complexity of our design.

st. From here we can see that no matter what shape of frame is used, the resultant bubble shape would be the

tion of minimal surface. The bubbles formed within and blown out are quite chaotic. This limits the extent of

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EXPLORATION 15 TWISTED MINIMAL SURFACE TO STUDY BUBBLE FORMATION & SHAPES

he design of this system is to capture different wind directions as the minimal surface is twisted to form three-dimensional shape. The frame would be rotated around ball-bearing mechanism after it is dipped into the pool of solution. By doing so, we are able to have a system where bubbles can be formed most of the times.

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EXPLORATION 16 PATTERNS TO STUDY BUBBLE FORMATION & SHAPES

EXPLORATION 17 2D FRAME TO STUDY BUBBLE FORMATION & SHAPES

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EXPLORATION 18 STRONG WIND TO STUDY BUBBLE FORMATION

e did the test on the overhead bridge. Since the wind is much stronger than lower space, the bubble was very hard to formed and burst very fast. In the final design, we have to deal with different wind condition.

EXPLORATION 19 PASSENGERS TO STUDY CURIOUSITY AND EXCITEMENT OF BUBBLES

uring our testing, many people especially little kids are really exciting to watch our experiment. They even applause and took videos. Little kids played with bubbles, and their parents also had a great time with their children because of our explorating.

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DESIGN DEVELOPMENT REVISIT BANDSHELL

fter discussion with tutors, we need to provide more control for the formation of bubbles with parametric tools, so we revisit Bandshell and used it as our new start point. In order to increase the impact of the installation, we aimed to create an iconic sculptural installation on the flat ground, and Bandshell has similar iconic effect to the surrounding. It stands out from a vast landscape, and offers the opportunities for public to gather around the space. The translucent fabric covering the twisting skeleton allows creating enclosed space inside that will allows us to create another different journey. It also can be illuminated during the night to attract people. It provides us potential to replace the membrane with bubbles and soap films to generate a wind responsive and interactive fabric. So we reverse engineer this project and further explored the form according to our specific condition by using parametric tools.

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Fig 17: Bandshell

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Fig 18: Bandshell Close-up View

FORM FINDING EXPLORATION PARAMETRIC DESIGN

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ur group explore parametrically, through different form finding process, looking for an effect, which expresses our concept, the idea of form in motion. So we chose this one (coloured in red) that is curving in and out, and have a strongest characteristic in its forms

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FORM DEVELOPMENT PARAMETRIC DESIGN

sing paramedic design, we manipulated the highlighted curves rings, different parameters which are derived from our exploration and according to the site condition

irstly, we tilted the bottom ring to draw the people from the direction of the approach from Caltex Petrol Station. 149

econdly,We broaden this ring (base ring); to create a receiving surfaces allow the reflection of the light on the minimal surface. We also shift this ring (middle ring); to allow the dancing light to be visible for the incoming motorists.

astly, our propose design. Through shifting of the ring, we are able to create a curve and flatten surface which express movement in the structure as well as responds to wind speed from different direction. The top ring is narrowed down to let the inflated part to become the focal point. 150

WIND STUDY

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WIND STUDY

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rom our experiment, we realized that wind is one of key factor to affect our design, so we did research on local wind condition. The above chart is the average wind condition of the Wyndham City, throughout the year, and it shows these 3 prevailing wind directions from north, south and south-west which would help us to develop our faรงade design.

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FABRIC DESIGN RESPONSE TO WIND STUDY

he locations of the fabric are derived from the wind study we have research. Where which direction has stronger wind, that part will be covered up to prevent bubbles from been ripping off by strong winds. This is the surface pattern we have design, the location where have stronger wind will have smaller surface pattern, to increase the chance of generating bubble, which is more resilience. These small bubbles sometime join together to form bigger bubble, which can be seem in our earlier exploration. And larger pattern is design for slower wind speed, to create giant bubbles.

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C.2. GATEWAY PROJECT: TECTONIC ELEMENTS

1 2

PERSPECTIVE SECTION

here are 4 main detailing we focus on. The overall structure system shows how this machine is able to generate bubbles with the help of the wind energy. The solution is located on the main structure as showed in 3 highlighted blue coloured rings. And we proposed 2 location for lighting fixed as shown in perspective section.

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STRUCTURE JOINERY

Secondary Structure Cladding Finish Secondary Structure

Slab

Nut & Bolt Joint Base Plate

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STRUCTURE SYSTEM

Rope Joinary

B Round Elastic Rope : Nylon

High Duty Rubber Belt

Cladding Finish I-Beam

Rope Pattern

Solution Pool

I Beam 159

Gear System

To be welded

Cladding

Motor

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B Metal Wire

Metal Cap

Rope

Rope Compressed under High Pressure

he gear is fixed together by a curved structure (I beam), all the gears are connected by a belt, and is connected to the stretchable nylon rope, which allows the bubble surface to run smoothly on the curve structure. The bottom part of the rope is soaked in the solution pool, and was been constantly pull up to form bubble surface. All we need to do is to let the wind to run across the structure and forms the bubble 160

FABRIC JOINERY

Double Hinge Come With Extra Toggle Cable Base Plate

Pocket Finish

Fabri Membrane Cable

Fabri Membrane: Silcon Coated Glass Cloth Catenary Cable I-Beam

Anchor Point

Fabric Poket with Cable Finish 161

LIGHTING DETAILS

he one that is in the centre, is design to lighten up the whole structure and shine spotlight up into the sky. Another one is located outside on the base of the structure, where light is shine up to the bubble surface and reflect special illusion (dancing lights) onto the ground, to get the attention of the people.

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BUBBLE MAKING MECHANISM SYSTEM PARTS

Fig 19: GEAR SYSTEM

Fig 20: GEAR BELT

Fig 21: ROPE JOINT

Fig 22: STRECTABLE NYLON

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BUBBLE SOLUTION DIPPING SYSTEM

For the bubble wand – Two bamboo stakes. I took mine from the dead tomato plants in my garden. Before that, I bought them at a nursery. – Cotton twine. For the bubble mixture – 1 cup of boiling water – 3 cups of warm water – 2 tbsp + 2 tsp of dishwashing liquid – ½ heaped tsp of baking powder – ¼ heaped tsp of guar gum powder – ½ tbsp of glycerine

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C.3. GATEWAY PROJECT: 3D PRINTING FINAL MODEL

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C.4. GATEWAY PROJECT: SIMPLIFIED MECHANISM

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C.5. GATEWAY PROJECT: RENDERING BIRD EYE VIEW

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C.5. GATEWAY PROJECT: EXTERIOR PERSPECTIVE VIEW

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C.5. GATEWAY PROJECT: INTERIOR VIEW

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C.5. GATEWAY PROJECT: NIGHT VIEW

n conclusion, our group making use of the parametric design, explore for new form to express the materials that approach architecture in a different way. Using soap firm as our chosen material create an inflatable membrane on the structure, which generates bubbles. Bubble can become the representation for the Wyndham city, which make every arrival a unique experience, that left people deep lasting impression.

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C.6. LEARNING OBJECTIVES AND OUTCOMES

believe that I have been able to achieve most of eight learning objectives of the coursework over the whole semester.

Objective 1: “Interrogat[ing] a brief” by considering the process of brief formation in the age of optioneering enabled by digital technologies.

We learnt skills in order to thoroughly investigate the City of Wyndham Gateway Project brief to pick out keywords and themes in the brief that needed to be emphasized throughout the design process. For us, these were themes such as “innovative design”, design that generates an architectural discourse. Objective 2: developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration. We were able to generate more than ten design ideas for a given situation and further developed

them into around 70 possibilities according the site condition by using parametric modelling. Objective 3: developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication. We improved our various skills in three dimensional media for generating a design especially modelling in Rhino through Grasshopper, rendering in Rhino with Vray, and exploring 3D printing as well as laser cutting. Objective 4: developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere. I always understand that architecture should deal with issues such as surroundings. That is the purpose of site analysis. Our design aims to welcome motorist and draw people from Caltax in is one of our strategies.

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Objective 5: developing â&#x20AC;&#x153;the ability to make a case for proposalsâ&#x20AC;? by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse. I believe we made a successful proposal by introducing new material to generate an architectural discourse. Objective 6: develop capabilities for conceptual, technical and design analyses of contemporary architectural projects. Due to the language problems, critical thinking and analyses is still one my major challenge, but I already improved a lot through various precedent studies.

explore with parametric tools more efficiently. But I struggled to understand the concept before I applied into our own design. Objective 8: begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application. I was able to gain a personalised repertoire of computational techniques as I explored Grasshopper and various other plug-in. At the same time, through learning different definition in Grasshopper 3D and other videos, I am more capable to develop more complex repertoire.

Objective 7: develop foundational understandings of computational geometry, data structures and types of programming. Weekly online videos help me develop my understanding of computational geometry, data structures and types of programming which allow me 186

REFERENCE

TEXT [1]: Motion as modern way of expressing architecture, retrieved from cgg-journal.com/2005-3/04/#conc, 28 October 2013 [2]: Bubble Building / 3GATTI Architecture Studio, Archdaily, Retrieved from http://www.archdaily.com/437560/, 28 October 2013

IMAGES Fig2: http://www.fotocommunity.com/pc/pc/display/25777908 Fig3: http://forum.expressobeans.com/viewtopic.php?f=2&t=111969&start=345 Fig4: http://stiekemedansers.wordpress.com/ Fig5: http://www.archdaily.com/10233/ Fig6: http://www.achimmenges.net/?p=4450 Fig7: http://fridge.gr/49943/stiles/blowing-bubbles Fig8: http://fridge.gr/49943/stiles/blowing-bubbles Fig17: http://andrewsreese.wix.com/asr6#!__parksnrec/central-park-playa-vista Fig18: http://andrewsreese.wix.com/asr6#!__parksnrec/central-park-playa-vista Fig19:http://www.kaitaimetalproducts.comimagespowder_metallurgy-1.jpg Fig20: http://pdf.directindustry.com/pdf/tab/gear-belt.html Fig21: http://fc09.deviantart.net/fs70/i/2011/112/f/0/green_rope_wallpaper_by_dwolf34-d3elf26.jp Fig22: http://eimagini.info/data/media/7/Coloured_Rope_Wallpaper_HD_eImagini.info.jpg

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