ARCHITECTURE DESIGNING STUDIO
AIR
STUDENT JOURNAL YUN ROH 387552 TUTOR: ROSIE GUNZBERG CHRIS GILBERT
CONTENTS ABOUT ME PART A. CASE FOR INNOVATION A.1. Architecture as a Discourse A.2. Computational Architecture A.3. Introduction to Parametric Modeling A.4. Algorithmic Exploration A.5. Conclusion A.6. Learning Outcomes PART B. EOI II DESIGN APPROACH B.1. Design Focus B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique: Development B.5. Technique: Prototype B.6. Learning Outcomes PART C. PROJECT PROPOSAL C.1. Gateway Project: Design Concept C.2. Gateway Project: Tectonic Elements C.3. Gateway Project: Final Model C.4. Learning Objectives and Outcomes REFERENCE
ABOUT ME
Hi there, my name is Yun and I am in my third year of Environments, majoring in Architecture. To be honest, I never really had a particular interest in architecture until high school. It was then I decided to pursue my dream as an architect on Open Day at the University of Melbourne, because looking at the models and presentations designed by current students, with their exquisite quality and visual techniques, I found myself thinking this might be it. So I might have a slightly late departure jumping into the architectural field than majority of you. But my passion towards it stays still and is always true. I had an opportunity to learn AutoCAD and other supplementary programs such as Photoshop, from a small Korean Traditional architectural firm at which I did a short internship. The only experience I had with Rhino was in last year during Visual Communications Rhino workshop. Neither have I really experienced parametric design before, so these Rhino and Grasshopper come to me as a bit of overwhelming challenge at the moment. Making my design visually appealing was always my weak point but through this Studio I hope I can learn how to make my design aesthetically appealing, as well as learning computational design to full extent through exploring parametric design and developing visual tactics. I am ready to embrace computer as a design tool that will guide me through the course and moreover, in the future where I picture myself as an architect.
PART A
CASE FOR INNOVATION
“architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.” Williams, Richard (2005). ‘ Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p.108
Case for Innovation
A.1. Architecture as a Discourse
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he definition of architecture has been differently interpreted through time and culture. In the past, buildings and designs had to meet the standard of “art” and “aesthetic” conditions to be highly valued. Stylistic quality had defined architecture, that “discrete objects that have their own integrity regardless of site”.1 Architecture and public engagement, and its level of social interaction was often neglacted. The phenomenon started changing, and started to take into consideration of many different perspectives and aspects that was mutable, contingent and arbitrary and finally beginned to encompass individual, social and cultural backgrounds of general public.
the high-rise buildings that they were ugly and matchbox-looking, but after reading the articles from this week I personally started to accept the fact that it can be regarded as another form of architectural phenomenon as it satisfies human needs, and it was designed with due-consideration of population increase. The context and many other parameters that can affect or be affected by architecture should not be neglacted even if it is possible to create a design that looks rather crude and unappealing. Today the discourse in architecture has become more about experience. By actually experiencing an architecture within the space, feeling it, it may stimulate the intimacy between human.
For instance, living in a highly compacted me- The two precedents in the next few pages tropolis (Seoul) I always had a perception on demonstrate how they have contributed to the architectural discourse.
Figure 1. Main Facade of Fallingwater
Figure 2. Fallingwater Basement
Case for Innovation
FALLINGWATER BY FRANK LLOYD WRIGHT
F
rank Lloyd Wright is believed to be America’s greatest modern architect, intimately connected with the development of modernism around the world. So what makes him so special? Not only was he a pioneer who consistently reinvented and changed his architectural style moving through time, he also was a strong nature lover. His design approach was always underpinned by the idea that refered not only to the building’s relationship with nature but also how the elements of the building (furniture, surrounding environment, etc) came to work as a unified organism. Here is the so-called Fallingwater, one of his masterpieces that sits upon a fall in rural southwestern Pensylvennia1. Perhaps anyone with slightest interest in architecture must have heard this work at some point. Some may not enjoy this architecture, maybe due to its poor engineering causing structural faulties or could be of some othe reasons. Yet one cannot deny that there is something much more special in this particular architecture. His intimate relationship with the nature is clearly visible in this work. The very idea of designing a building on a running fall and being enveloped by the glamorous forest is what fascinates me the most (Fig 1). I, as a person who comes from a country with numerous mountains and who loves tracking, know exactly how well this would work.
The horizontal and vertical blocks are used in very particular ways to provide a contrasting mood. He also introduces domestic materials into his design such as local stones used in the fireplace that comes up through the floor, giving the sense of harmonising with nature2. This idea makes no reference to the previous architecture and entirely brand new way of thinking about the creation of space, planning and decoration. The living space is incorporated by the waterfall where there is an opening that you can walk down to the suspended platform that floats above the water as a part of it (Fig 2). Surely the user experience would be maximised in this sense. The whole ideas in Wright’s mind is melted in the architecture. Of course not to doubt that he never followed standardised way of dealing with domestic or commercial architecture at that time around the world. Through these design approaches and continuously reinventing himself rather then depending on the precedents or history is what makes Wright the most influential modern architect of the era. His effort to precisely articulate his idea in order for the architecture to harmonise with its context and always pushing himself for innovation is what I think has made the greatest contribution to the discourse on not only modern architecture but also beyond the architectural realm.
TOD'S OMOTESANDO by toyo ito
Figure 3. Tod’s Building in Aoyama District
Case for Innovation
“Architecture has to follow the diversity of society, and has to reflect that a simple square or cube cannot contain that diversity” - Toyo Ito
I
n Omotesando, the so-called mecca of fashion in Japan, exclusive boutique shops are lined up showing off their sleek structures. Given the characteristics around the site, by selecting concrete as a building material, the building proposes strength and boldness which is missing from the adjacent ‘glass architecture’3. I personally like this idea as it successfully stands out among the other buildings. It fits into the context ‘just like fashion does’, main intention which is to flaunt. Fashing industries are fast moving, and everything, even the building design, needs to pop out and be unique. Surely there is something more than just showing off that makes this building valued and innovative. When it comes to Toyo Ito’s work, I am always fascinated by his adornment towards nature. He sets ‘trees’ as design agenda, which are natural objects that stand by themselves, with their shape having essential structural rationality. The pattern of overlapping trees creates a rational flow of forces. Having adapted the branched tree diagram, it shows structural rigidity. The tight and narrow site condition also put the design into difficulties yet the tree shaped
load bearing concrete wall allows internal space free of internal columns for more effective use of interior space.3 Ito’s designs have been often inspired by modernism. The use of reinforced concrete and free standing walls with wide open internal space, that he believes the modernist architecture to have brought a significant change in architectural paradigm4. These days architects tend to neglect and put down ‘fashion’. Yet Ito represents the legitimacy of ‘fashion’ as a form of architectural design process that commercial buildings are also a part of society that needs to be appreciated, through the vivid structural tactics as well as organically developing his design from nature. It is never known if Ito was under direct influence of Frank Lloyed Wright, but surely Wright’s contribution to architectural discourse with his extraordinary design philosophy may have reached Ito in creating such a distinct piece of architecture at some level. This tendency for me is significant, as architecture not only touches the social realm but also can influence across the world and generations.
“Computation augments the intellect of the designer and increases capability to solve complex problems.� Brady Peters and Xavier De Kestelier
Case for Innovation
A.2. Computational Architecture
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t seems inconceivable today to imagine designing buildings without the help of computers. ‘computational design’, the relatively new phenomenon, has been a substantial influence to designers serving their role as an assistant hence it has been widely adapted in architectural industries5. Architectural design is the cumulated activity of analysis and creativity dealing with both externally imposed problems and internally drawn inspiration. When computers first came into play, design process aided by computer changed architectural practice dramatically by replicating drawings and creating the main benefit: efficiency5. It was much easier to share drawings with multiple parties yet this was still a traditional process which was paper-driven, still with constraints in terms of representation and production as they were only working with orthogonal projections (plans, sections and elevations). One could only conveniently design rectilinear buildings that do not specifically refer to how nature exists around humans, or the way how we perceive spaces. Yet the development of digital media and emerging technology have rapidly expanded what we thought to be formally, spatially, and materially possible, yielding the realm of architecture with invention and innovation.
Does computation encourage “fake” creativity? Still there is skepicism persisting towards computational design in many areas of practice including architectural field that is: computer surely is a superb analytical tool yet it may conspire against creative thought by encouraging “fake” creativity. The fact that a designer uses other geometric material produced with the help of computer, other than standardized materials such as brick or concrete, does not make the person’s creativity “fake”. There is not in any way that makes the design and manufacturing processes fundamentally different form that of traditional architecture. In fact there is numerous range of possibilities while one use computer to produce the outcome. Yet the outcome is very much constraint by what computers can and cannot do. We cannot say that computers create “fake” creativity, yet they are simply constraining and redirecting our creative process.
Figure 4. Frank Gehry’s Disney Concert Hall
So if we use computers creatively, what can they give us? Technology is developing much faster than any other fields such as social, business and political changes. Today in architectural area, the most important collaborators such as architectural designers, engineers, fabricators and builders work all separate from each other. Computing serves a fundamental role to bring the different parties together by creating a uniform flow of data housing different types of information to deliver great benefit. Unlike traditional process, computing encourages team-building and interdisciplinary.
Such symbiosis let the design subsequently move back and forth and communicate with designers, that today; computational design became compatible with intuition and creativity. Computational design, acting as the fourth eye, then enhances designers to see rules as things to be interpreted freely and to see contingency or the natural phenomena as opportunities for creative change and innovative adaption to circumstances. My stance on computation in relation to architectural study is that the future of digital realm is paramount, and everything now we see is a potential and fun for our work.
Case for Innovation
DISNEY CONCERT HALL BY FRANK GEHRY
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here the maestro contemporary architect, Frank Gehry, gives a clear and successful demonstration on how computer can be utilized. His architectural approach generally involves “form-driven� designing process, first exploring and deciding the sculptural definition6. Due to the complexity of the design constructed of iterative and non-linear geometries, integration of computer was necessary. The firm Gehry Technology then played a pivotal role in the process of importing his design into a 3D design environment. What makes this project great piece of architecture is in the successful establishment of digital fabrication7. To construct a building like this could be expensive, difficult to manufacture and is of structure with a lot of embedded energy. The Disney Concert Hall is very much against the modernistic idea of honesty, transparency, harmony with all of the structures exposed on the building. Yet in this work such idea is not visible. He does it in a very successful fashion. - does not lose creativity - fun
Computational Design Research Pavilion by ICD-ITKE
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his is a temporary research pavillion that successfully demonstrates the latest developments in material-oriented computational design, simulation, and production processes in architecture8. First impression one can have on this is that the architecture allows people to fully engage with the spatial experience. This “structure-driven� computational design is clearly an exceptional exercise since it tries to look inwards as to what architecture will be like in the future. This is an experiment in understanding how architecture can behave, through analysing material performance and more importantly, the experimenting with structure via computer. It tries to understand a single structural component first, then replicate the very component using parametric design technique into something that starts being habitable place, a shelter and a load bearing structure. This work again demonstrates the symbiosis of humans and computers advanced by the help of computer successfully and intellectually analysing possibilities and short-comings, constraining and redirecting the human in terms of creative thought.
Case for Innovation
Figure 5. Computational Design Research Pavillion
Figure 6. Connection Detail
Case for Innovation
A.3. Introduction to Parametric Modeling Is parametric design a temporary trend? What is the relationship between parametric design and architectural world and why do architects choose to adopt such complicated interface? What seems to be the future of parametric design? This chaper will discuss the ongoing discourses on parametric design. The term Parametric has various definitions which makes it a vague field of study. One definition that addresses the idea of parametricism is “a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as parameters.” In other words, it is a geometric outcome that people produce out of the inputs (independent variables) through the connection of explicit functions (nodes). Well known examples can be a spreadsheet or Grasshopper. What seems to be clear though is that parametric modeling brings about a designer a new condition to generate a model, and clearly provides a new way to explore design through the explicit connection with parameter. When it comes to dealing with explicit geometry such as Rhino, changes to model can be such a pain that a designer might have to build
a new version every time he/ she wants to make changes. With parametric model, even a tiny bit of changes into a model is actually feasible as one is making changes inside the model. This way the design can be achieved with great efficiency and it is all able due to the explicit connection between parameter and geometry9. This development has led to a nonstatic design environment, as the architect is able to manipulate and adjust the conditions of design at different stages. Also, being able to control the really fine details of the project is the advantage of parametric models. Parametric modeling does not technically let an architect to just draw sketches and come to work out how it works later on. With algorithmic thinking people are forced to think about these relationships between an object and parameter. Therefore, by limiting oneself the person actually frees him/her to design and think about this
project rather than thinking about what is going to come later on. Constraints a person is putting upon himself could actually be a positive thing in his design process. Such process eventually gives parametric model a dynamic, fluid and organic form composed of interdependent and bifurcating structures. There are many examinations that need to be taken to further define the parametric design. It features such a complicated set of equations therefore the steps can be ‘lost in translation’ thus requiring a clear and concise communication between computer and the designer. This is disadvantageous as when bringing many individuals into one project there is limitation regarding other people reading into the equations.
TECHNICOLOR BLOOM BY BRENNAN BUCK
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echnicolor bloom is a full-scale prototype installation that produces doubly curved, digitally designed geometry, using standard fabrication technology10. Some may describe it as ‘just a sexy modeling but nothing more in it, lacking discourse’. Yet this work adapts tessellation algorithms to produce initial patterns, parametric design, with its associated discourses of efficiency and was suppressed in favor of specific design intention and the precise control of visual effects. Once one enters the space, the person can feel the proliferating continuity of surface morphology, the structural patterns across those surfaces, and the various interrelationships of depth and color from one surface to the next. The user experience is amplified through the dynamic, intense, yet elegant piece of installation.
Case for Innovation
Figure 7. Technicolor Bloom in Different Perspectives
Figure 8. Mafoombey Acoustic Space
Case for Innovation
Mafoombey Acoustic Space by Martti Kalliala & Esa Ruskeepaa This work is an award winning corrugated cardboard sound installation designed by two Finnish architecture students. The brief was to create a space for listening to and experiencing music within the set of dimension of a 2.5m cube structure11. The resulting design is a very powerful sculptural form which plays with the difference between the cubic volume and the irregular free form interior. The project was executed with 3D software and scale models, sectioning free form into cubic volume of stacked cardboard. The interior contours of the cube were designed mostly via 3D computer modelling. Once an appealing form was decided upon, the 3D model was sliced into horizontal layers in order to produce the cutting files for the computer-controlled cardboard cutter. I personally enjoy this work, looking inside the installation there seems to be dynamic and relaxing atmosphere co-existing together.
A.5. Conclusion
Every human has different perspective on architecture and as a result it has continuously opened up the paradigms of discourses. Through the history social and cultural values have been reflected in architecture, communicating and engaging with our life experiences. Then there comes technology. Today, wih the help of digital media, architecture comes more as fun and enjoyable field of study, that allows us to nevigate the realm of what we previously considered impossible. Parametric design is one of them. Not only does it contribute to asesthetics of design, it also reflects discourses on architecture. Through consistently moving back and forth with history and precedents, and developing the ideas with computer, it is conceivable for me to bring out a design outcome that socially and culturally maximise their experience with the people of Wynnum
Case for Innovation
A.6. Learning Outcomes
Architectural computing is fundamental necessary in today’s architectural world, and it simply makes people difficult not to adapt such technology to assist them in these days. Since I never experienced this type of computing program, it came to me as an overwhelming task at first. Yet the more I experimented with rule based the geometry, the better I started to understand how the interface worked. My previous projects and their representation always ended up being rectilinear and orthogonal. With the help of this fluid and soft form generating tool, it might have been more natural, as in better reflecting on how we perceive spaces. Through this Gateway Project I would like to demonstrate how contraints of the computational tool can free yourself from imagination.
PART B
EOI II DESIGN APPROACH
Design Approach
B.1. Design Focus
It has come to our understanding that the fundamental starting point of our design should be to question ourselves as to which design approach can best represent and help defining the identity of the rapidly developing Wyndham City. When we move from one space to another, transitional space is the critical area to give best impression, and it was considered that Gateway should act as the space of transition. The design then should consider engaging users with experience, that creates discourse, not stopping as mere a static monumental object on site. In Wyndham City’s case it should be of approximately forty seconds of quick impression, mainly by the users with automobile. Due to the speed, the experience and engagement will be best met by visual effect that is amplified. eye-catching, dynamic . This is why tessellation meets the best choice out of all the other approaches. Tessellation in general is a collection of pieces that fit together to form surface or structure. In its fundamental characteristics, tessellation can let a surface to continually evolve and shift, creating a dynamic architectural element that regulates light and airflow, as well as controlling views. The flexibility it gives is a tramandous advantage to our design decision as it has rich aesthetic properties involving dynamic and repetitive morphology, that maximizes engagement and experience of users not only within the structure but also with the surrounding environment. Our group discovered that the structural properties of tessellation can be of two ways: one being self-standing and another being associated with a soft surface that relies on the supporting structure. The two structural properties are to be further discussed with precedents.
Figure 9. Voussoir Cloud Internal Space
Design Approach
Voussoir Cloud by IwamotoScott Voussoir Cloud is one of the examples that is self-standing structure, that takes advantage of structural strategies that the compressive modules holds, inspired by Antonio Gaudi. Greater cell density of smaller ‘petals’ hold each other at the column to strengthen the base, while at the upper part of the structure, the shell loosens and gains porosity. Such porosity successfully creates sensorial effect and devining mood12.
Figure 10. Polyp.lux Internal Space User Interaction
Design Approach
POLYP.lux by SOFTlab POLYP.lux is tessellation prototype created by SOFTlab, which is hung within the entrance of St. Patrick’s catholic school. The form is consisted of three funnels of varying depth hanging downwards, through a gravity driven process. The surface contains more than 1400 battery powered LED, installed onto the mylar panels which make up the form. What seems to be intriguing is that the light flickers and the form blows in the wind with. This is the designer’s intention to slow down traffic through thought-provoking experience, engaging and encouraging visitors to co-mingle and interact with the work13. Questioning how the engagement of design with users will be successfully carried out is one of the considerations in our design.
B.2. CASE STUDY 1.0 Outcome of adjusted height paramter
Toggle blow up
new definition that enables change in corner added to the existing one.
new definition that enables change in size added to the existing one.
Toggle blow up after new definition added - the more the toggle lines increase the more the outcome gets unexpected
Design Approach
B.3. CASE STUDY 2.0
Design Approach
B.4. TECHNIQUE: DEVELOPMENT
Our group’s initial idea is to produce design by the kinds of experiments we are doing, instead of becomin the recipients of design. This exercise adopts ‘Kalay’s technique of ‘Search’ to develop a variety of design pos sibilities. New materials engender new forms, and architectural design benefits from addressing and applyin new materials. We have specific geometries and materials in mind, that are chosen from Case Study 2.0. W combine these together and experiment them under different set of criteria to figure out how they respond t energy and natural environment such as heat, shaking, gravity, wind and light. Mix this geometry and mate rial property, they can be transformed into variety of distinct dynamic form. We found this process of ‘reac tion and interaction of the design under different conditions essential, as our design focus is on ‘experienc
ng sng We to ecce’.
Design Approach
B.5. TECHNIQUE: PROTOTYPE This design prototype has been associated with the metaphor of conch-shell. The nature of conch shell is divine, glorifying, protecting and celebrating and purifying the consciousness of people who see it. At the same time, we used Alvaro Siza’s design philosophy: to control the path of users to create different experiences. In our case narrowing / enlarging of space that can be achieved by the spiral characteristic.The design then is expected to create intimacy and reciprocity between the users, the architecture and the environment, evoking prosperous journey towards Wyndham City.
Design Approach
LIGHT STUDY
Design Approach
LIGHT STUDY
Design Approach
LIGHT STUDY
Design Approach
EXTERNAL FORCE STUDY: COMPRESSION
Design Approach
EXTERNAL FORCE STUDY: SHAKING
B.6. Conclusion Grasshopper exploration was rewarding in terms of provocation of mathematical and algorythmic thinking. It surely took a very distinct design approach from the previous design thinking that we had trained over years in this course. All of the parameters and unexpacted outcomes became potential. I am still not used to Grasshopper and am underdeveloped to professionally manipulate the algorythm, but interested in learning more fluently as I feel the sense that parametric design and these software programs are inextricable. Through this phase there are several things I have learnt: How the external environment can change, react and intereact with our design. The relationship between material, geometry and the natural environment was a critical inspirational booster to manipulate, differenciate and produce a variety of models. Group work was highly satisfacting, each member had different and unique ideas that another would not have come up with. It has been a quick experience of interdisciplinary that will of paramount necessity in our future careers. After presentation, we realised that to establish a firm design idea is the challenge our group has to take from now. This studio encouraged me to look further towards architectural discourse through the project of Wyndham Gateway by giving an opportunity to research and analyse the past and present onwards architectural environment.
Design Approach
PART C
PROJECT PROPOSAL
It was considered interesting and worth to look further into the transformation of material that becomes something else and structurally viral process. The crit found it interesting to see the results that paper brings, by itself not standing but by folding it becomes to be able to stand. The transmutation of paper, static forms of paper cannot speak of but by manipulating process the narrative was clear. From our group’s feedback on interim presentation, we realised that our main problem was the lack of solid design idea and theme. We failed to develop one strong theme since we explored various designs and it was clearly visible that we urgently needed to establish a conceptual idea. The idea of experiencing nature through translucent paper was considered tenuous, therefore leaving us question as to how we can take a different material approach.
Project Proposal
C.1. Gateway Project: Design Concept Visualization of the abstract idea “speed� as a signage to Wyndham City.
In order for the city to achieve its identity of space, our design considered engaging users with experiences, that creates discourse, not stopping as a static monumental object on site. Form generating process was undertaken through transforming and distorting images of car light that represents speed. The pattern was achieved by origami folding of 8000 pieces of elements with wings put into the pockets then being able to form a smooth surface as well as being a self-supporting structure. The rich aesthetic properties involving dynamic and repetitive morphology will maximize engagement, intimacy and reciprocity of user with not only within the structure but also with the surrounding environment. During the night, the glowing pattern through the porosity in structural property of the design juxtaposed with lights will create sensorial effect and divining mood.
Our initial deseign was based on the spiral tunnel created for users to have kientic experience. Each square boxes made of convex glasses would contain wax and water. As the sun approaches, the lens refract the light to the focal point where the wax is, and the wax can be melted without being dissolved into water. This way we intended to create a kinetic motion, and with sunlight creating interesting shadow that the main users - drivers - can experience divining mood both from the direct structure with melting wax and the passive experience from shadow. Weekly feedback was that the tunnel idea was felt cliche, and using clear material was insufficient in creating a strong eye-catching and engaging user experience environment.
Project Proposal
The previous design was considered cliche and boring. Our group was seeking more dynamic form that could also be easy to undertake digital fabrication.The pyramid experiment from the interim phase was adopted. The object was intended to have holes on each pyramid surfaces, and by using attractor point giving a level of difference.
Project Proposal
Form Generating Process
Project Proposal
Visualization of the abstract idea “speed” as a signage to Wyndham City.
After few design achievements, we still felt the concept fell short that was not strong enough to be convincing. Designing based on free-form structure, that tessellation brings as an advantage, was not enough to create a narrative and flow. Then our group decided to look back into the basic site information. Speed was the main phenomenon dominating the site environment, thus we decided to incorporate the abstract idea “speed” into design concept. How can we visualise and formalise speed? we chose an image of car light trail, started distorting it by manipulating its scale of wave and amplitude, and simplified design to less confuse and create stronger impact. The final form we got was simple but strengthened the argument of ‘Visualisation of abstract idea “speed” as a signage to Wyndham’s aspiration’.
Grasshopper Exploration
Project Proposal
As first step we created a surface based on the theme ‘transformation and visualisation of speed’. Then the element was generated through point xyz. The element was used as a reference to morph on the surface.
C.2. Gateway Project: Tectonic systems Structural Rigidity Fabrication Feasibility When paper itself is left alone it does not provide The structure will be fabricated with recycled paany structural support. By folding the paper it is per to benefit in terms of cost effectiveness. able to stand by itself, and when each module is plugged into each other it creates a rigid structure as a whole. The structure was already free to bend, with compression forces acting between each module. When the structure bends it may fail under certain degrees, if it bends over 45 degrees. Therefore we needed joints that fixed each module in the middle to form an arch without failing. Element Performance In reality a module will have a dimension of 1.8m (L) x 1.8m (H). When the modules are plugged into each other it will have large overlapping area which in result will require numerous gradual amount of elements (about eight thousand pieces) to reach 100m in total length.
Project Proposal
C.3. Gateway Project: Final Model WHERE -
The gateway is situated along the north east boundary of site B near patrol station. It acts as an iconic land marker for those who enters the City to signify their approach to the location. The big scale of the gateway is intentional to convey a strong level of direct influence over the users. Its massive and dominant symbolic structure depicts a level of awe and spectacular effect that drags the user’s attention to have a broad look, evoking thoughts of welcoming and divining experiences in relation to personal experiences. Also the gateway increases the value of patrol station by making it a stop that people can get out and get intimate with the structure. The dominating nature of structure not only stimulates the experiential qualities of the gateway as well as the gestural effects towards Wyndham City that clearly communicates the importance to the direction in which it points.
Project Proposal
WHY - Signage Visualisation through transforming the abstract idea “speed” to identify the aspiration of Wyndham’s fast growing. Each cell represents Wyndham City’s desire to populate the public. It is the signature and focal point at transitional space, in wish to engaging users with experiences, that creates discourses, not stopping as a static monumental object on site.
Project Proposal
Project Proposal
HOW Eight thousands of origami pieces are combined together to create a smooth surface. Curvilinear surface is enabled through fixing each module with joints that give strong connection among the cells that bends without falling apart. According to physical charactersitic the structure acts as a compressed arch.
WHO The rich aesthetic properties involving dynamic and repetitive morphology will maximise user engagement. During the day users will experience welcoming sense driven by the use of everyday material, paper, overall creating intimacy and reciprocity not only within the structure but also with the surrounding environment.
Project Proposal
During the night, the glowing pattern through the porosity juxtaposed with car lights will create sensorial effect, evoking the feeling of wonder and divining sensation.
Project Proposal
Project Proposal
C.4. Learning Objectives and Outcomes Limitations acknowledged from final presentation feedback Our group encountered a number of difficulties throughout preperation process of final presentation. One of the difficulties was to put our idea into Grasshopper. Our knowledge to the programme was limited, thus we were unable to come up with a strong digital rationale to examplify our design. Another limitation was that we had too many ideas that we failed to combine or choose from. We had to pull back and focus on one thing, and explore that - understand the process of origami and choosing design reflecting that rather then arbitrary form. In the presentation itself What, Why and How was not clearly delivered. The majority of our given time was spent for model making, thus the process to clarify presentation content was neglacted in the end.
Project Proposal
At the beginning of this course, the term ‘parametric’ was unfamiliar to me. Throughout the lecture, tutorial and journal, it came to me more and more significant to acknowledge how powerful today’s parametric design is to the contemporary architectural world. The most powerful advantage of parametric design is perhaps creating new possibilities with original meanings attained at the same time. Conventional design process sometimes get lost in translation after few continous alterations, yet parametric design is able to create an entirely innovative design with few adjustment of parameters and still retaining the original intention. Although our group did not get a chance to use laser cut, 3D print or any other digital fabricating tool, I would definitely continue and develop the process - from Grasshopper design approach to digital fabrication - in future studios and design projects. To be introduced with computational design was a fruitful experience as we are the new generations to fully explore its potential, and it makes no sense to neglact and avoid such a daily device. This semester’s project brought me to the world of Parametricism, the way to think differently and design differently, how the discourse is changing through the introduction of Parametricism, and its fundamental characteristics that puts paramount influence on the world of architecture.
REFERENCE Figure 1. Perez, Adelyn (14 May 2010). ‘AD Classics: Fallingwater House / Frank Lloyd Wright’ http://www.archdaily.com/60022/ad-classics-fallingwater-frank-lloyd-wright/. Figure 2. Carnegie Melon Design (12 December 2006). ‘IDSA Students Visit Frank Lloyd Wright’s Fallingwater’ http://www.design.cmu.edu/files/1855fallingwater_450x338.jpg Figure 3. Onelargeprawn (12 February 2009). ‘Tod’s Omotesando Building’ http://www.onelargeprawn.co.za/2009/02/12/tods-omotesando-building/ Figure 4. HDwallpapers.com. ‘Walt Disney Concert Hall Wallpaper HD’ http://www.hdwpapers.com/walt_disney_concert_hall_wallpaper_hd-wallpapers.html Figure 5. Institute for Computational Design. ‘ICD/ITKE Research Pavilion 2010’ http://icd. uni-stuttgart.de/?p=4458 Figure 6. Institute for Computational Design. ‘ICD/ITKE Research Pavilion 2010’ http://icd. uni-stuttgart.de/?p=4458 Figure 7. Dezeen. (9 July 2008). ‘Technicolor Bloom by Brennan Buck’ http://www.dezeen. com/2008/07/09/technicolor-bloom-by-brennan-buck/ Figure 8. Industrieel Ontwerpen. ‘Mafoombey Acoustic Space’ http://cloevandamme2010. blogspot.com.au/2011/02/aesop-store-cat-cocoon-mafoombey.html Figure 9. Design Exchange Magazine. ‘Voussoir Cloud‘ http://www.demagazine.co.uk/architecture/voussoir-cloud Figure 10. Design Boom. ‘Softlab: Polyp.lux’. http://www.designboom.com/design/softlabpolyplux/
1. Perez, Adelyn (14 May 2010). ‘AD Classics: Fallingwater House / Frank Lloyd Wright’ http:// www.archdaily.com/60022/ad-classics-fallingwater-frank-lloyd-wright/. 2. The Laurel Highlands Visitors Bureau (2013). ‘Fallingwater & Frank Lloyd Wright Architecture’ http://www.laurelhighlands.org/laurel-highlands/falling-water-frank-lloyd-wright 3. Kenneth Frampton, ‘Modern Architecture 1851-1945’, (New York: Rizzoli International Publications, 1983), pp. 398 4. Open Buildings. ‘Tod’s Omotesando Building’ http://openbuildings.com/buildings/tod-somotesando-building-profile-1552 5.
Riken Yamamoto, ‘Toyo Ito’, (Phaidon Press Inc.; Ill edition, 2008), pp. 147 – 176
6. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 – 28 7. Dean Bruton and Antony Radford, ‘Digital Design: a Critical Introduction’, (London Published 2012) p.9-14 8. ‘Gehry’s Philosophical Approach’, http://frankgehryproject.blogspot.com.au/2012/10/gehrysphilosophical-approach_16.html 9. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of ComputerAided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 10. Institute for Computational Design. ‘ICD/ITKE Research Pavilion 2010’ http://icd.uni-stuttgart.de/?p=4458 11.
Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48
12. Lisa Iwamoto, ‘Technicolor Bloom’, in Digital Fabrications, (Princeton Architectural Press, 2009), pp. 56-60 13. Lisa Iwamoto, ‘Mafoombey Acoustic Space’, in Digital Fabrications, (Princeton Architectural Press, 2009), pp. 81-86 14. Dezeen (8 August 2008). ‘Voussoir Cloud by IwamotoScott’, http://www.dezeen. com/2008/08/08/voussoir-cloud-by-iwamotoscott/ 15. Designboom (24 May 2011). ‘Softlab: Polyp.lux’, http://www.designboom.com/design/softlabpolyplux/