DESIGN JOURNAL

THOMAS DAVIES

ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR

SEMESTER ONE 2013

TUTORS: GWYLL JAHN & ANGELA WODA

02

CONTENTS -

Introduction 04

PART A. EOI: CASE FOR INNOVATION

A.1 Architecture as a Discourse 06

A.2 Computational Architecture 13

A.3 Parametric Modelling 18

A.5 Conclusion 23

A.6 Learning Outcomes 24

References 25

PART B. EOI II: DESIGN APPROACH

B.1 Design Focus 28

B.2 Case Study 1.0 34

B.3 Case Study 2.0 36

Development 38

B.4 Technique: Development 46

B.5 Technique: Prototype 55

B.6 Technique Proposal 57

B.8 Learning Objectives & Outcomes 63

References 64

03

Cover Image: UK Pavilion Shanghai World Exhibition 2010. Source: http://upload.wikimedia.org/wikipedia/

commons/c/c2/UK_Pavilion_of_Expo_2010_2.jpg

PART C. PROJECT PROPOSAL

C.1 Gateway Project: Design Concept 66

Digital Design Process 70

Construction Process 81

C.2 Gateway Project: Tectonic Elements 82

C.3 Gateway Project: Final Model 85

Critique and Commitment 93

C.5 Learning Objectives and Outcomes 103

References 106

My name is Thomas (Tom) Davies. I’m in my

third year of the Bachelor of Environments

course here at Melbourne University. I plan

on Mastering in Architecture and so Architec-

ture Design Studio: Air is the perfect stepping

stone to completing that goal.

Back in Semester One of Year One I took

the Virtual Environments subject, and whilst I

found it extremely challenging, I believe that

was a terrifi c subject as it allowed as to ex-

plore different technologies to come up with

something that I would have only ever previ-

ously done by hand.

For that subject we were asked to create a

wearable lantern that had links to the natural

environment around us. We did this by using

the Paneling Tools Plugin on Rhino. Whilst

my design wasn’t successful and couldn’t

be fabricated, it really opened up my eyes

to the possibilities of digital fabrication and

model making on a large scale. It opened

up a whole new world to digital design that I

was not familiar with, and that I was keen to

investigate further in my studies.

Since completing Virtual Environments I have

tried my hand at learning AutoCAD and Revit

and since taking this subject I have become

slightly more profi cient at using Rhino.

I fi nd it extremely important that I learn all

these programs as digital design is very

much the way of the future. From my re-

search I have found that more and more

buildings are being constructed and designed

digitally and so if I am to fi t into this indus-

try then it imperative I excel at using these

programs.

Digital design can create some extraordinary

buildings and projects that could only be

dreamed of if we were to still only work by

hand. It is changing the world of construction

in a positive way.

I look forward to using Rhino with the Grass-

hopper plugin, as I think they can do wonder-

ful things together in creating new and inno-

vative designs.

Hopefully by the time I fi nish this subject, my

fi nal presentation will look as good as the

buildings I have been studying and looking at

as precedence for this studio.

INTRODUCTION -

04

Me

PART A. EOI: CASE FOR INNOVATION

Discourse and Digital Design

05

A.1 Architecture as a Discourse

‘[A]ny serious “rethinking” of architecture at the start of this century

cannot be undertaken without upsetting the structure and emphases

of the traditional profession, of traditional typologies, and of traditional

modes of envisaging the architectural subject […].’

Vidler, Anthony (2000). ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’,

Harvard Design Magazine, 11, pp. 1-4, p. 3

IMAGE ONE: Plug in City - Archigram

06

Anthony Vidler completely sums up the idea

of ‘Architecture as a Discourse.’ These days

more and more buildings are being digitally

designed. Fifty years ago, this idea would

have seemed ridiculous, however new soft-

ware makes even the most far-fetched ideas

seem possible. That is the changing face of

architecture. While not everyone will agree

that designing in this way is right, digital ar-

chitecture has created a new realm of think-

ing that goes against what traditionally was

taught about architecture and design.

Sometimes the use of architecture doesn’t

even have to result in a completed building. It

can just be an idea that changes the way we

humans see the world or the space around

us. It can provoke thought and cause con-

frontation. This is architecture as a discourse.

It is meant to be a solution to a problem that

causes people to follow this new revolution.

The Situationists of Europe in the 1950-60’s,

and Archigram of the same time period were

two groups of revolutionists who re-wrote all

that was been said about the world. Image

One shows a piece of unbuilt work Archigram

designed called the ‘Plug-In City.’ They had

experimented with architecture as a changing

medium that could be completely manipu-

lated and re-worked to meet the needs of a

particular time or situation. This Plug-In city

was made up of a number of different mod-

ules that could be included or excluded from

the whole structure as it was needed.

07

08

Image Two looks at a piece of work the

Situationists did regarding the city of Paris.

Instead of connecting the city via streets they

connected it via the feelings that each quad-

rant of the city made you feel. This psycho-

logical look at the world was something that

wasn’t that popular during the mid-1900’s,

and by completing the study, the Situationists

made people more aware of their surround-

ings. They helped people think about the

world they lived in not just look at it.

In Richard Williams’ 2005 paper ‘Architecture

and Visual Culture’ he spoke of how people

can only truly look at buildings once they

understand the ideas or meanings behind a

building. And he agreed that not everyone

will have the same idea about a built form or

will necessarily like it, but as long as it gets

people talking then it has been successful.

Williams also discussed that architecture is

a multi-disciplinary practice and involves the

cohesion of a number of different people.

Sometimes many different professionals

must be consulted so that the best solution

is achieved. This is what we will be doing

when we complete our main design task for

the Wyndham City Council. Architecture as a

discourse allows for this cohesion to create

an intriguing product that has elements from

every discipline coming together to create an

interesting whole.

IMAGE TWO: Invisible City - The Situationists

Masdar Institute of Science and Technology, Abu Dhabi, 2010.

Architects: Foster and Partners.

09

IMAGE THREE: Masdar Institute of Science and Technology

The fi rst building I will look at is the Masdar

Institute of Science and Technology in Abu

Dhabi. Designed by Foster and Partners and

completed in 2010, the building is used as a

library and is designed in such a way as to

make Masdar City; in Abu Dhabi, the world’s

fi rst carbon neutral desert community. Be-

cause it is situated in a desert the building is

relatively open to the elements, and its inte-

rior is fairly similar to most modern buildings

of this day and age.

The roof structure is the real hero of this

building. It was designed digitally to allow for

shade from the harsh sun and also to inte-

grate numerous PV panels. Using a number

of different programs, Foster and Partner’s

Specialist Modelling Group (SMG) were able

to simulate the sun’s impact on the site. They

were able to model where it would hit at dif-

ferent times of the day, and therefore where

these PV panels needed to be located in

order to gain the most sunlight. These panels

generate most of the power needed to run

the entire building. SMG were responsible for

the design and construction of the roof.

It was created by digitally formulating a

series of identical curves that could span the

length of the structure. The different lengths

of beam were all created using a single

mould which SMG would digitally manipulate

depending on how long the beam needed to

be. By designing and fabricating in this way,

they could be sure that the entire structure

fl owed as one smooth whole.

Rarely have companies used a single tool to

create a whole structure like SMG did with

their roof. This is economically much more

effi cient as it results in much less material

wastage. Also it means the building can be

constructed quicker because there should be

no mistakes when it comes to material selec-

tion and performance. Usually companies

would create a number of different moulds

based on a computed algorithm that they

could then build the structure with. This is

more labour intensive and time consuming.

SMG changed the way software was writ-

ten so that the process they employed could

be much quicker and easier to create an

environmentally world-leading project. Now

other companies are starting to follow suit.

By featuring the Masdar Institute of Design

and Technology in AD, the magazine is

making devoted architecture fans become

more aware of world leading processes. The

readers of this magazine will understand

that it was digital technologies that enabled

the roof structure to be created. It is creat-

ing a discourse that places an emphasis on

new design technologies and construction

techniques. While not overly well-known this

building should become central to architec-

tural discussions as it focusses on preserving

the environment something which in this day

and age is very topical.1

10

IMAGE FIVE: Roof StructureIMAGE FOUR: Masdar Institute

Sudpark Basle, Switzerland, 2010.

Architects: Herzog and de Meuron.

The building above is Sudpark Basle, an

apartment block in Switzerland. It was built in

2010 by the Digital Technology Group (DTG)

within the Herzog and de Meuron fi rm. The

DTG is a group of forward-thinking archi-

tects and designers who specialise in CAD

software. With each building they undertake,

the group use completely different software

depending on the type of building they are

constructing.

They then keep that software and use it the

next time they build a building of a similar

type. In that way, the buildings that Herzog

and de Meuron design are extremely special-

ised and unique to their practice.

The Herzog and de Meuron fi rm have a high

emphasis on the architecture of a space

meaning that they believe in designing build-

ings that can actually be constructed and that

give a sense of welcomeness to the users.

So they only use CAD software that will actu-

ally assist them in designing a practical build-

ing. They continually fabricate sketch models

throughout the design process so they can

realistically see what the computer is design-

ing.

11

IMAGE SIX: Sudpark Basle

Herzog and de Meuron are world-leaders

in their theories. Rarely do experts in CAD

software design with the practical use of a

space in mind. Usually these experts would

design wacky, out-there structures that can’t

actually be physically built. Herzog and de

Meuron have a focus on how someone will

use the space whilst also placing as empha-

sis on state-of-the-art building design. This

relates back to architecture as a discourse

as the architects are creating a new culture.

They are building ‘proper’ buildings whilst still

using modern technologies. They are proving

that the ‘out-there’ can still be functional.

The Sudpark Basle is amazing in that the

patterning on the facade (that was created

using the theories in Image Eight) make it

hard to establish from the outside where one

apartment starts and the other fi nishes. This

adds a sense of privacy to the space but also

creates a sort of ‘glued on’ feel to the facade

on what is a fairly rectilinear building.

When looking at Image Six on the previous

page, we can see that the streetscape sur-

rounding the Sudpark Basle is fairly scarce

and plain. The dynamic facade of the apart-

ment block creates an architectural discourse

as it would get the passers-by talking about

this new, strange and beautiful building

amongst what is a fairly boring area. It cre-

ates a discourse as these same passers-by

may then investigate the building further

and realise that it is an extremely innovative

building. Magazines like AD bring buildings

like this into the forefront of the public’s mind.

The architectural discourse of this building

created a new innovative system of the de-

signing that transformed a boring Switzerland

street into an icon of modern architecture.2

IMAGE SEVEN: The Facade

12

IMAGE EIGHT: The Process

A.2 Computational Architecture

13

Computer programs aren’t meant to be a

replacement to an architect’s imagination. If

used well CAD can effectively be a supple-

ment to an architect’s design ideas and can

make the design process a much simpler and

easier method for solving problems. Con-

trastingly, if a designer was to employ com-

putation then their imagination and ideas are

bounded by programs possibilities. These

programs can’t ‘think’ for a designer they can

only complete a series of commands that

they are ordered to complete from their user.

Greg Lynn’s Blobwall Pavilion (Image Nine)

is one example of computational architecture.

The whole structure was made from hollow

plastic bricks that were designed computa-

tionally and constructed using a computer-

controlled robotic arm. The entire process

from designing to fabricating was done

entirely electronically, something which is a

common theme throughout all of Greg Lynn’s

works.3

IMAGE NINE: Blobwall Pavilion - Greg Lynn

In Yehuda E. Kalay’s article ‘Architecture’s

New Media: Principles, Theories and Meth-

ods of Computer Aided Design’ the author

recalls how architecture was ‘offi cially born’

in the 1450’s. Since then it has steadily

progressed from being solely about construc-

tion, to more about design, and now about

computerisation. Before computers were

introduced architects began with a sketch

and an idea that slowly progressed via draw-

ings to incorporate every design idea to be

constructed.

Often during the design process an archi-

tect would create a model so that they and

the builders are able to envisage what the

fi nished product will look like. By designing

in this way both the architect and the builder

became aware of any specifi c construc-

tion techniques required and how the whole

building comes together. Kalay discussed

how now, with computers, this model making

process, which can be quiet time consuming,

is made much quicker and easier to do. Digi-

tal models can quiet simply be created using

programs like Rhinoceros and Grasshopper

and any changes needed can be quickly

adjusted via these programs. In the ‘olden

days’ any adjustment would require another

model being built which is extremely inconve-

nient and time consuming. Essentially com-

puterisation makes everything easier (Kalay,

2004).

Since computerisation became the norm

the traditional design process has begun to

change shape. According to the AIA Califor-

nia Council the design process has become

much shorter because of computerisation.

Right from the start architects are able to

conceptualise an idea and then work to make

it a realistic project by designing and ma-

nipulating it using CAD. Designing is made

much easier, resulting in a much shorter

design process. This has also resulted in the

architectural profession becoming less about

beautiful drawings and artists and more

about sophisticated designs and technical

wizards.

‘The dominant mode of utilizing computers in architecture today is that of

computerisation; entities or processes that are already conceptualized in

the designer’s mind are entered, manipulated, or stored on a computer

system. In contrast, computation or computing, as a computer-based de-

sign tool, is generally limited.’

Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p.xi

14

Museo Soumaya, Mexico, 2011.

Architects: Fernando Romero EnterprisE (Free)IMAGE TEN

The Museo Soumaya, Mexico, designed by

Fernando Romero EnterprisE (FREE) is one

example of a building that shows evidence

of computational design. The facade of this

building is made up of aluminum hexagons

that fi t together to create one coherent whole.

This design strategy was conceived at the

very beginning of the design development

stage. So during the rest of the design pro-

cess it was decided that the architects at

FREE should work out a way of making this

structure work. Only through the use of CAD

programs could a facade like this be created.

Without it, geometries in this fashion would

have been nothing more than an unrealistic

dream. For the Museo Soumaya, the design

really did challenge the construction process

and throughout it created completely new

ways of building. This building really is a child

of performance orientated design.

For the industrial area of Mexico this building

was really the fi rst in its class. Whereas we;

in this studio, and many other computerized

designers will use famous precedents to de-

sign and construct our sculpture, FREE had

no precedence from which to work off. It truly

was a unique innovation that the government

hope will redefi ne the area.

The FREE team used a modelling package

from Gehry Technologies to create a 3D

model of the project. This stage of the design

process was crucial as the hexagon pattern

couldn’t be changed and it was imperative

that it worked. The FREE team used the

model to check that the facade worked and

that everything they were doing was correct

and that everything worked together. Had it

not then they would have had to re-visit the

initial phases of the design process to con-

struct a more viable hexagon pattern.4

IMAGE ELEVEN: The Structure

16

Silk Leaf Stadium, Tokyo, Japan, 2012.

Architects: Coop Himmelblau.

This Silk Leaf Stadium by Coop Himmelblau

opitimises computational architecture. The

roof of the stadium is lightly perched on top

of the structure and gives the impression

that it is merely fl oating above ground. A lot

of planning went into this roof to enable it

to be ‘tied-down’ at only four different points

around the stadium.

Architects at Coop Himmelblau worked tire-

lessly to make sure that the parameters of

their roof design enabled it to be built with

these four anchor points in mind. Through

computational experimentation they were

able to get just the right curve on the roof to

make it sit evenly across the stadium and

appear symmetrical to the viewers. Too steep

and it would have been harder to construct,

and not steep enough and the roof would

impede too much on the surrounding con-

course. Computerization enabled the archi-

tects to model different roof structures quickly

before the fi nal one was chosen.

The wings to either side are an example of

more computational architecture as they

move to either close off or open up the roof

at the touch of a button.5

17

IMAGE TWELVE: Silk Leaf Stadium

A.3 Parametric Modelling

15

16

IMAGE THIRTEEN

20 IMAGE FOURTEEN: The Interior

The as-yet-completed Abu Dhabi Perform-

ing Arts Centre by Zaha Hadid Architects

(on the previous spread and the next) is a

world-leader in its use of parametric design.

The Performing Arts Centre was to be cre-

ated in this fl uid-like form as it was hoped

the structure would fl ow like ‘fruits on the

vine.’ This idea was conceptualised at the

very beginning of the design process and so

it was put to the parametric design team to

create a form like the one we see above. As

recent as two decades ago, a form like this

wouldn’t have been able to be created as the

programs and design techniques at the time

wouldn’t have allowed it. These days how-

ever; because parametric design is the norm,

designs like the one above for the Abu Dhabi

Performing Arts Centre are easily created

and can be fairly easily constructed.

Zaha Hadid is a world famous architect,

especially when it comes to parametric de-

sign. Hadid is known as a ‘deconstructivist’

because she strips back architecture to its

structure and it’s skin and manipulates these

with the use of parametric design. It has a

focus on non-rectilinear shapes that seem

to distort these main elements of architec-

ture. As a fi nished product, deconstructiv-

ism is said to highlight unpredictability and

controlled chaos. Parametric modeling helps

Hadid envisage her fi nal designs as it en-

ables her to quickly asses what parts of her

buildings can actually be constructed. It helps

her chose materials and calculates how they

are all joined together.

Once again, buildings in this style wouldn’t

have been able to be created without the

use of digital design and parametric model-

ling. These two things allow any shape to be

developed and as long as it is structurally

sound then it can easily be erected. As men-

tioned, Hadid is a massive believer in design-

ing in this way and her buildings are revered

all around the world. Because they are re-

vered, Hadid is more likely to stick to a win-

ning formula, that being parametric design.

Abu Dhabi Performing Arts Centre, 2007-

Architects: Zaha Hadid

Some traditionalists may not like Hadid’s

buildings or other buildings of the same style,

but the truth of the matter is there is no es-

caping the way of future.

I must admit that I can sometimes sym-

pathise with the ‘traditionalists’ when I see

a building that is just so ‘out-there’ that it

seems extremely misplaced in relatively ‘nor-

mal’ surroundings.

For me Hadid’s buildings don’t do this. To

me they fl ow well with their environment as

they are so curvilinear and abstract that the

surrounding landscape seems to be included

in the shape of the building. Perhaps this is

because so many of her buildings are only

realised on computer and are yet to be con-

structed. Perhaps once they are built they will

look so out of place they will be categorised

with Gehry’s Dancing House.

But I certainly hope they don’t. I hope her

buildings are a stepping stone for parametric

modelling. I hope her processes are copied

and replicated in new ways by architectural

practices the world over.6

21

‘Post Modernism and deconstructivism were mere transistional episodes

and parametricism will be the great new style after Modernism.’

Schumacher, P, 2010, pp. 43.

Parametric Modeling and the use of paramet-

ric modeling techniques are widely regarded

as the way of the future for architecture.

More and more these days, global architec-

ture fi rms are using parametric modeling to

enhance their designs and their construction

capabilities. In Robert Woodbury’s reading

‘Elements of Parametric Design,’ the author

discusses how architecture is changing and

that it is now becoming a multi-disciplinary

profession. He says that these days archi-

tects have to be ‘computer scientists, ama-

teur programmers and mathematicians.’

Decades ago architecture was all about

communicating through drawing, mainly fl oor

plans, elevations and sections. And while

these are still very relevant today, the use of

parametric design means that greater em-

phasis is placed on the computer, and the

designs an architect can make it generate

that will; and already has, completely revolu-

tionize the building industry.

Like most things in life, learning to become a

parametric designer can be quite challeng-

ing. From my experience it is a learning pro-

cess that involves a lot of trial and error and

cannot be done by reading a textbook. Expe-

rience in the fi eld comes from learning from

your mistakes and developing your designs

as you learn more about parametric design.

I believe that it is a very precedent-driven

profession as once I see something made by

a professional practice I try to emulate that in

my projects. However it must be understood

that these professionals have a lot more skill

than me and so fi nd it much easier to create

what I wish to make.

22

Through research however, it is obvious that

many parametric designers are careful not

to replicate what has already been achieved.

As mentioned a few times in this journal,

architectural fi rms like FREE and Herzog

and de Meuron develop their own parametric

modeling programs so that they can create

new and exciting projects. However, even if

they didn’t create new programs, because

such a vast array of things can be created

using parametric modeling, the likelihood of

two projects being exactly the same are very

slim. It is so easy to manipulate a design by

changing just one parameter that really the

possibilities for a design are endless.

As Daniel Davis mentioned in the lecture,

the use of parametric modeling does have a

slight downside. It can be very hard to keep

tabs on your whole project and any slight

change may be unrecognicable is the big

scheme of things.

Also it can be hard to relate your paramet-

ric ideas to another person. It takes a very

trained eye to see a parametric design and

relating that to someone who isn’t as familiar

with your design can mean a breakdown in

communication. This isn’t ideal as a designer

has to be in constant contact with their client

and if the client can’t follow your parametric

model then your design is inappropriate.

IMAGE FIFTEEN: Abu Dhabi Performing Arts

My Gateway Design Project for the Wynd-

ham City Council will be designed parametri-

cally and will incorporate all aspects of the

computational design process. Since investi-

gating architecture as a discourse, computa-

tional architecture and parametric modeling,

I have come to realise that designing via the

use of computers and parameters is much

more benefi cial for creating state-of-the-art

and innovative designs.

The Wyndham City Council should want to

be state-of-the-art and innovative and so

choosing my design would have them ‘on the

map’ in terms of publicity for this new and

exciting project. People will talk about this

new design and through further research will

come to understand the way it was designed

and the story it is trying to tell.

23

A.5 Conclusion

A.6 Learning OutcomesAs mentioned in the Introduction, I’m not

very profi cient at using any CAD programs.

My previous attempt at using Rhino wasn’t

very successful at all and it scared me some-

what from delving deeper into the world of

parametric design. However, since taking

this subject I am glad that I have opened my

eyes to the wide world that is computational

architecture. Literally so much more can be

done via the use of computers and the re-

sults (as seen in the precedents investigated

above) are gob smacking. Buildings look so

much better when they seem to fl oat on the

land, and when they curve to the landscape

around them. They evoke so much more en-

thusiasm in the public when they don’t even

look like actual buildings that are structurally

sound. But they are and computational archi-

tecture allows for it all to happen. It really has

re defi ned the world!

24

A.1 Architecture as a Discourse

Vidler, Anthony (2000). ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’,

Harvard Design Magazine, 11, pp. 1-4, p. 3

Image One - http://simbiosisgroup.net/wp-content/uploads/2009/02/116.jpg

Image Two - http://www.d-log.info/situ-map-brum.jpg

Image Three - http://www.waterandclimatelab.net/images/background/MIST1.jpg

Image Four - http://www.constructionweekonline.com/pictures/Masdar-Institute_3.jpg

Image Five - AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd.

1 Masdar Institute of Design and Technology - Architectural Design (AD) Magazine, March/April Edition, Volume

83, Issue 2 and http://www.fosterandpartners.com/projects/masdar-institute/.

Image Six - http://oberli-management.com/images/S%C3%BCdpark%20Fassade.jpg

Image Seven - http://farm6.staticfl ickr.com/5305/5609307334_ed04c1248d_o.jpg

Image Eight - Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd.

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

A. 2 Computational Architecture

Image Nine - http://blobwallpavillion.fi les.wordpress.com/2008/06/img_1575.jpg

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

Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), p.xi.

Image Ten - Source: AD Magazine, Vol 83, Issue 2, Wiley and Sons Ltd.

4 Museo Soumaya - Architectural Design (AD) Magazine, March/April Edition, Volume 83, Issue 2 and http://fr-

ee.org/projects/soumaya-museum-mexico-city-mexico/

Image Eleven - http://homesthetics.net/wp-content/uploads/2012/12/Museo_Soumaya_-_LAR_Fernando_

Romero.jpg

Image Twelve - http://www.e-architect.co.uk/images/jpgs/japan/silk_leaf_stadium_c091112.jpg

5 Silk Leaf Stadium - www.coop-himmelblau.at

25

References

A.3. Parametric Modelling

Image Thirteen - http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

Image Fourteen - http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

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

Schumacher, P, 2010, pp. 43.

Image Fifteen - http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/

26

27

PART B. EOII: DESIGN APPROACH

Developing and Prototyping

B.1 Design Focus

Image Sixteen shows the existing freeway

installation at Wyndham called ‘Seeds of

Change.’ The new freeway installation that

we design should keep this installation in

mind and aim to work with it to make Wynd-

ham on of the most iconic places in Victoria.

The Wyndham City Council requires the

design and construction of a new installa-

tion along the Princes Freeway, that is excit-

ing and eye-catching and that inspires and

enriches the municipality. The installation

should become a new identifi er for the mu-

nicipality and create a sense of pride within

the community.

In addition to these requirements, the instal-

lation should be modern in its approach to

design, and should be compelling as it is

viewed by motorists travelling at 100km/h

along the Freeway. It should ‘work’ within the

surrounding landscape and be dynamic in

its application of computational design pro-

cesses.

IMAGE SIXTEEN: Seeds of Change - Wyndham

28

‘The installation will enhance the physical environment through the intro-

duction of a visual arts component. It will have longevity in its appeal, en-

couraging ongoing interest in the Western Interchange by encouraging

further reflection about the installation beyond the first glance.’

Western Gateway Design Project document, 2011.

To create an installation that covers all

these areas, I believe that creating a struc-

ture which incorporates ‘Tessellation’ will

be appropriate. Tessellated structure; as

seen in the precedents below, is generally

self-supporting meaning that the structure is

incorporated into the design and not sepa-

rate to it. The whole thing can fl ow as one

thing as not look like a mish-mash of different

components. They are usually lightweight

structures, which can be made from a range

of different materials, all of which are easily

maintained. Most importantly though, tessel-

lated structures can span quite large distanc-

es which is appropriate and almost required

for this site. Large spans like this would

be suitable for the Gateway Design Project

as it could possibly create a Gateway; an

interchange between the ‘country’ and the

Wyndham City Council, with Melbourne CBD

as a backdrop. This Gateway would create

a transition for motorists as they experience

the journey the installation would create.

Through the possible manipulation of light

and views motorists would notice the change

between the boring life behind them and the

excitement that comes with the Wyndham

City Council, Melbourne and this new instal-

lation.

29

30

Voussior Cloud, Los Angeles, 2008.

Architects: Iwamoto Scott

Voussior Cloud by Iwamoto Scott is an ex-

ample of a tessellated surface. The light-

weight wood panels differ is size throughout

the whole project, showcasing how the re-

quired strength for the installation to stand

up, can be achieved by the size and span of

the panels. Smaller, more close-knit panels

are installed around the base of the col-

umns where more strength is needed. Big-

ger panels spaced further apart are installed

throughout the canopy of the structure, as

less structural strength is required there.

This wider spacing also allows for sunlight to

penetrate the structure, something that has

to be taken into consideration in our Gateway

Design Project.

The Voussoir Cloud is an example of how

structure can be incorporated into a design

and that the two can work harmoniously to-

gether. This will be a big focus of ours when

it comes to designing our installation.7

IMAGE SEVENTEEN: Voussior Cloud - Iwamoto Scott

Carpenter Centre Puppet Theatre, Harvard University, Cambridge, 2009.

Architects: Pierre Huyghe and Michael Meredith.

IMAGE EIGHTEEN: The Interior IMAGE NINETEEN: The Exterior

31

Like the Voussior Cloud, the Carpenter

Centre Puppet Theatre at Harvard University

uses a tessellated pattern that allows the

structure to span long distances. The com-

plex geometric pattern allows for the distribu-

tion of forces across the surface of the Pup-

pet Theatre meaning spans of up to fi fteen

feet can be achieved. It is made up of fi ve

hundred unique panels; assembled via bolts,

and created through the use of computational

design.

The fl uid nature of the tessellated surface is

able to frame views of the stage giving differ-

ent perspectives from different areas within

the theatre.

The simplistic nature of construction means

the Puppet Theatre can be easily assembled

and disassembled so maintenance and the

longevity of materials is important and easily

achieved.

All of these factors are important to consider

for our design of the Gateway Project. Our

structure should be self-supporting and span

long distances. It should give glimpses of

the CBD and Wyndham itself through the

use of geometric patterning. And the longev-

ity and maintenance of the materials should

be paramount; however it is ill-advised that

our structure be disassembled in order to be

maintained.8

Aegis Hyposurface, Birmingham Hippodome Theatre, 2003

Architects: dECOi Architects

IMAGE TWENTY: Hyposurface - dECOi Architects

32

Hyposurface by dECOi architects is another

precedent that uses tessellation to create

an interesting and innovative installation.

Constructed in the Birmingham Hippodrome

Theatre, the Hyposurface wall moves via

computer controlled pistons which react to

the movement of sound in the theatre or to

movement from human passers-by.

It works in a similar way to the Cirriform Re-

sponsive Facade in Seattle, Washington by

Future Cities Lab.

This facade reacts to the closeness of and

the movement of people both inside and out-

side the building. It was created using Firefl y;

a plug-in for Grasshopper, so therefore is

relevant to this studio.

These precedents could be useful for our

Gateway Project as we could incorporate the

use of a fl uid, tessellated surface that moves

in conjunction with cars and the speed they

are travelling along the Princes Freeway.

33

B.2 Case Study 1.0

Voussior Cloud Grasshopper File Experimentation

34

1 2 3

Voussior Cloud Grasshopper File Experimentation

35

4

Voronoi-Graft-Loft-Mesh-Tessalate-Smooth

In the matrix on the left we

experimented using the

prescribed Voussior Cloud

Grasshopper fi le to see if we

could create some interesting

forms that could possibly be

implemented for the gateway

Design Project.

Column 1 is the simplest of

the four columns as it only

looks at the overall form of

the Voussior Cloud and how

that can be manipulated to

create trunks of differing

heights.

Column 2 uses the Tessel-

lation parameter to create a

form which we then changed

by making the base of the

columns bigger or smaller.

Obviously the bigger the base

the sturdier the overall struc-

ture is and so the last image

in Column 2 is probably most

appropriate for the Wyndham

site. It could be used to cope

with the wind loads that are

forced onto the structure. It

could also be broken up into

individual columns that could

line the Princes Freeway as

a series of monuments high-

lighting the signifi cance of the

space.

Column 3 again uses the tes-

sellated surface but this time

the lengths of the columns

are repeatedly changed. A

fi nal design that looks some-

thing like this would fi t into

the criteria of the Gateway

Design Project as it would

be an eye-catching feature

that could rise high above the

horizon. This would give a

sense of verticality to the site,

something which the Mel-

bourne CBD does to an ap-

proaching visitor. Therefore a

structure like this would bring

the city to the suburban town

of Wyndham and literally put

it on the map.

Column 4 experiments with

the Delaunay Mesh and

Smooth Mesh parameters to

create a form with a number

of spikes protruding from

it. These spikes could be

extruded more to become

the predominant part of the

structure. They could then be

placed in the landscape so as

to create a sharp cut between

the country life behind Wyn-

dham and the metropolitan

life in front of it. These forms

would need a lot of adjusting

to create the fi nal structure

yet, as a starting point, a

number of possibilities have

arisen.

36

B.3 Case Study 2.0

Voussior Cloud Grasshopper File Re-engineering

1 2 3

Voussior Cloud Grasshopper File Re-engineering

4As previously mentioned

we want to create a tessel-

lated structure that can hold

its own weight and that can

stand the longevity required

to sit on the Princes Freeway

in Wyndham.

All of these experiments op-

posite fi t this brief. Personally

I feel column 1 is the most

successful. Aesthetically it

is the best and structurally it

is sound. The smaller base

that leads to the wide open

top means that any structural

forces run down the ‘trunks’

of the structure.

Column 2 was constructed

so that the overall shape of

the object could follow the

curve of the Princes Free-

way. Whilst good in theory

the straightness of the curves

combined with the large

areas they cover mean that

the fi nal result isn’t overly

pleasing. A fi nal project that

uses this curved base would

need to be severely refi ned

so that the whole design is

one smooth fl owing, coherent

piece.

The structure is Columns 3

and 4 is very different to the

rest in that the whole defi ni-

tion was repeated twice so

that the structure could fl ow

back over itself, like the

waves of the ocean. The fi nal

two experiments in Column 4

are quite a long way removed

from the original Voussior

Cloud. They would create

quite a contrast from the fl at

landscape that surrounds the

Princes Freeway if they were

to be installed.

I think we require something

more simplistic and curvilin-

ear for the site as it would re-

late to the road and the way it

fl ows across the land. Also it

would relate to Wyndham on

a wider scale as it is a place

that tourists can meander

through and investigate as

they make their way to Mel-

bourne.

To develop these experi-

ments further I would like

to create columns that can

cantilever and stand up by

themselves so that they could

frame the road as people

travel to Wyndham. These

markers could instigate fur-

ther discussion into what the

project is and what it is trying

to achieve which is a prin-

ciple goal of the whole design

idea.

Voronoi-Graft-Loft-Mesh-Tessalate-Smooth

37

Development:After experimenting in both the case stud-

ies above, it became evident that we should

focus on the idea of bringing the landscape

of the city to Wyndham. When looking at a

bird’s eye view of the area it becomes appar-

ent that Wyndham is the start of dense sub-

urbia. It leaves behind the vast countryside

and farmland and is instead full of housing

estates and populated life. We felt it nec-

essary to exploit this and make Wyndham

known as the start of metropolitan Mel-

bourne. If implemented correctly Wyndham

could be known as the fi rst town of metro-

politan Melbourne, a landmark in the wider

Victorian context.

38

Renderings, 1912-1920

Artist: Hugh Ferriss

IMAGE TWENTY-ONE

39

The Hugh Ferriss renderings are just one

example of how we could implement the

city landscape on Wyndham. Using a very

lightweight tessellated structure, we could

project lights up the form creating interesting

shadows that would bounce off at different

intensities. These lights would hit the struc-

ture at different intensities creating sharp

points of light that contrast directly to the

areas of shadows, seen vividly in Ferriss’

work. Essentially we could create a series of

landmarks that can only be seen when these

lights are acting on it. So possibly this city

may only be seen at night or when the sun is

hitting the structures directly.

IMAGE TWENTY-TWO IMAGE TWENTY-THREE

A JOURNEY THROUGH A DENSE CITY THAT ISN’T THERE

Essentially we wish to create:

or a

A JOURNEY THROUGH A NON-EXISTENT CITY

40

Danish Pavilion at the Shanghai Exhibition, 2010.

Architects: Bjarke Ingels Group (BIG)

The Danish Pavilion at the Shanghai Exhibi-

tion 2010 is an important precedent for our

project as it uses a perforated steel facade to

highlight the Copenhagen skyline. We could

use this idea in a similar way, by transpos-

ing the Melbourne skyline onto a tessellated

structure that we create in Rhino and Grass-

hopper. We could then backlight it so that

while it will be visible during the day, it would

become a lot clearer as light penetrated

through at night, highlighting the details of

the structure.10

IMAGE TWENTY-FOUR: Danish Pavilion - BIG

41

UK Pavilion at the Shanghai Exhibition, 2010.

Architects: Heatherwick Studio.

The UK Pavilion at the same Shanghai

Exhibition in 2010 is an incredible structure

that uses clear acrylic tubes to create both

the interior and exterior fi nish of the building.

These tubes give the impression of grass as

the fi nished facade and create an extremely

eye-catching building. Upon further inspec-

tion of the tubes one would fi nd that in fact

little seeds from different kinds of native UK

plants and grasses are embedded into the

tubes (Image Twenty-Six). This creates a

sense of dynamism with the building as not

only is it state of the art in terms of design

and construction, but it also relates back to

nature and the ground that it ‘grows’ from.

Another interesting part of this building that

is relevant to my Gateway Design Project is

the fact that the structure is lit naturally dur-

ing the day, and artifi cially at night. So from

inside the building you would be able to see

the sun move across the sky, creating shad-

ows in different parts of the building. Then at

night it is internally lit to create areas of sharp

light and others of complete darkness.

42

IMAGE TWENTY-FIVE: UK Pavilion, Heatherwick Studio

It is perhaps an even more relevant prec-

edent as instead of literally lighting images

of the Melbourne skyline like I mentioned

above, I could use fi bre optic cables and

lights to create points of interest on a large

structural surface. Using the UK Pavilion as

an example, my fi nal design could be noth-

ing more than a series of lights that give the

impression that a structure is there. Only

when the lights are lit would the evidence of

a structure be obvious. Therefore people who

travel through the site at high speed during

the day won’t be able to tell what the design

is until they research it further, or until they

visit the site again at night.

Designing in this way would create an archi-

tectural discourse about Wyndham and have

people interested in what else the municipal-

ity has to offer. What else would people be

missing out on by bypassing the town? My

design would have people thinking this and

so would create a much greater interest in

Wyndham. These are important factors in the

Gateway Design Project and ones that I am

keen to exploit in my design.11

43

IMAGE TWENTY-SIX: Seeds implanted in the acrylic tubes

IMAGE TWENTY-SEVEN

B.4 Technique: Development

46

Image Sampling

a b

c

Image Sampling was one

technique we looked at to

create a cityscape on a tes-

sellated structure. Images

‘a’ and ‘b’ use Melbourne’s

Flinders Street Station which

is an extremely iconic Mel-

bourne landmark. Image

‘b’ uses fewer points in the

x direction to create a less

dense image. I feel that Im-

age ‘a’ is better as you can

clearly see what the points

are trying to highlight.

Images ‘c’ and ‘d’ use anoth-

er iconic Melbourne land-

mark this time using the Arts

Centre. Image ‘d’ has fewer

points in the y direction but

once again the more dense

image (Image ‘c’) is aestheti-

cally better.

To take these further we

would investigate what

structure these images

would be placed on. And

also we would make the

points points of light so that

they would become invisible

during the day and promi-

nent at night as previously

discussed.

d

Surface-Divide-Image-Polygon-Graft

1

47

Circles around Points

2

Brep-Mesh-Decompose-Circle

e

f

g

h

i

j

The images on this page experiment with

creating circles around points. These circles

could be manipulated further to incorporate

lights, creating areas of sharp light on the ob-

jects above. Images ‘g’ and ‘h’ are probably

the most successful as their points diminish

is size as the intensity of the light acting on it

decreases. Unfortunately all the other objects

created points in a regular grid pattern mean-

ing that all the circles are the same size and

at the same distance apart. These would

need to be manipulated further in order to

create a desirable outcome.

I do like how these fi nal images look and I

think they refl ect Hugh Ferriss’ renderings

accurately as large amounts of light could be

emitted at some spots on the buildings and

no lights at other parts.

Surface over Object

3

Brep-Triangulate-Mesh-Decompose-Circle48

Image ‘k’ continues on from the form created

in the fi nal two columns of Case Study 2.0.

To create this surface we applied the ‘Sur-

face over Object’ parameter in Rhino. This

created an interesting shape that appears to

rise up from the fl at surface that surrounds

it. This is a perfect analogy for the dense city

landscape that we are trying to create as it

forces the viewer’s eyes up above the fl at

horizontal plane that surrounds the Princes

Freeway in Wyndham.

Image ‘l’ works in a similar way.

After creating these objects we then manipu-

lated them further to include a tessellated

surface that could have points applied to it

(Images ‘m’ and ‘n’). Whilst the points ap-

pear too regularly on the fl at surface, the

irregular nature of them at different stages

on the vertical elements adds an interesting

visual component to the object. This could be

exploited further to create areas of sharp light

and dull light to signify the city landscape and

the points of contrast within that.

Once again these lights would only appear

at night so that the structure seems to disap-

pear during the day, creating a ‘dense city

that isn’t there.’

k l

49

m

n

50

OctTree

4

Geometry-PopulateGeometry-OctTree

Following on from the form created on page

49, we used the OctTree parameter on

Grasshopper to create a city like landscape.

I feel that this structure could become very

striking on the Wyndham site as it creates a

different horizon for someone driving along in

their car. The sharp verticality of the structure

moves one’s eyes from the fl at landscape

around them up into the structure above.

This OctTree object could be taken much

further so as to incorporate lights, something

which; as I have stressed before, is extreme-

ly important for our fi nal Gateway Design

Project.

o p

q

51

Curves

5

Curves-Loft

Image ‘r’ shows three undulating curves that

we have created to represent the curved na-

ture of the Wyndham site. Using Grasshop-

per we lofted them to create Image ‘s’ which

manipulates the verticality of the site and

draws the viewer’s eyes up. Whilst the con-

nection in the middle of Image ‘s’ becomes a

little complicated, something like this wouldn’t

be too hard to fabricate manually. However

it does need further manipulation in order to

be a successful installation for the Gateway

Design Project.

r

s

Curve Manipulation

6

52

t

u

Curves-Loft-Arc-Mesh-Triangulate

By creating a mesh over the loft (Image ‘t’)

we were able to create a smooth surface

that could be further manipulated either

parametrically or manually after fabrication.

The mesh created would be much easier to

model if it were to be our fi nal prototype or

even our fi nal design for the Gateway Design

Project.

Image ‘u’ shows a tessellated triangular pat-

tern placed onto the surface of the mesh.

This creates quiet a detailed structure that

could be used to create a wireframe that is

then manipulated with lights to create ‘the

dense city that isn’t there.’

Curves-Loft-Arc-Geodesic

As a continuation from page 51 we used

the arc parameter between the three curves

shown in Image ‘r’. We found that the result-

ing arcs we too simplistic and rigid for the

form we were trying to create. So by apply-

ing the Geodesic Curve parameter (Image

‘w’) we were able to create a much smoother

curve that fl owed nicely across the outer face

of the loft. This is a good starting point for

us to manipulate the curves further to create

some interesting shapes or possibly some

point sources for lights.

v

w

53

Curve Manipulation

6

54

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

From the Geodesic Curve manipulation in

Image ‘w’ we then grafted and divided the

curve into a series of points that could then

create circles. These circles could be the

basis upon which we design the layout of our

lights. Image ‘x’ uses a larger radius for the

circles. This manipulation created a much

more regular grid pattern for the circles,

something which isn’t really desirable.

So we decided to lower the radius of the

circles, and the resulting layout of circles is

much better. As previously mentioned, we

wish to create points of harsh light and points

of dull light and the layout of circles in Image

‘y’ does this effectively.

This is the digital model which we will fabri-

cate for a prototype.

x

y

B.5 Technique: Prototype

55

To fabricate our prototype we thought it

would be best if we used the three initial

curves in Image ‘r’ to make a wireframe

structure that could stand by itself. The use

of wire would replicate using lightweight, mal-

leable steel or metal cables that were rooted

into the Wyndham site using some sort of

footing system.

We used fi bre optic lights to create the tes-

sellated light pattern that we modelled using

Grasshopper. The same could be used for

the fi nal structure in the Gateway Design

Project they would obviously just have to be

bigger so as to stand out in that vast land-

scape.

IMAGE i: The wire for base curves IMAGE ii: The fi bre optic lights

We felt it important to cover up the structure

for the lights both in the prototype and for the

proposed fi nal design as it creates a much

cleaner and sleeker monument. Also it would

relate back to our invisible by day, visible by

night scheme because the material placed

over the structure would block out the details

of the lights during the day, and then at night

the lights would shine through the material in

different areas creating a vertical cityscape.

Similar to the Geodesic curves in Image ‘w’

we used wire to create a spine for the struc-

ture to be built around. These could be made

using wire or thin steel when constructed

on site, as it is lightweight and barely visible

when travelling at high speeds.

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

The white material that would go over the

entire structure to hide it could be made

from the same sort of material that is used

for shade sails. It is fl exible and can be seen

through so is perfect for this installation. Most

importantly however the material moves in

accordance with the wind meaning it won’t

try and resist the wind force on the structure

which could potentially create a break in the

structure. We should aim to create a movable

design that is rooted in the ground.

IMAGE iv: Material covers the structure behind.

As mentioned on page 42 we could create a

tessellated surface that then had points for

lights associated with it, in order to fabricate

this model in a different way. However I think

that the more structural wire or steel you add

the more rigid the structure becomes. These

structural elements are supposed to be the

secondary element to this design so we don’t

want to overcomplicate it too much by adding

too many elements. We also found that the

tessellated structure would have been much

harder to fabricate for a prototype, so instead

we went for the Geodesic experimentation.

56

IMAGE v: Lightweigt steel structure is a secondary element to the ma-

terial overlay and more importantly; the lights.

B.6 Technique Proposal

57

As previously mentioned this possible design

could be implemented on the site quite easily

using lightweight steel and a covering mate-

rial to highlight the use of fi bre optic lights

within the structure. From the photos on Pag-

es 57-61 we can see that the use of lights

adds quite a striking element to an amazing

structure. Something that is so lightweight yet

so strong and which can incorporate areas

of light like it does has to be utilised by the

Wyndham City Council.

I will admit that at this stage the areas of light

and darkness haven’t be completely adhered

to or fi gured out, however when they are

implemented the structure will seem to glow

in all the right places.

I could imagine so much more intrigue in the

city of Wyndham as a result of the implemen-

tation of this freeway sculpture. As mentioned

time and time again the fact that this design

will be ‘invisible’ during the day and fantasti-

cally vibrant and alive at night-time means

that it gives two perspectives to the people of

Wyndham and their visitors. Someone driving

through during the day would see the sculp-

ture jutting out vertically from the horizontal

landscape that surrounds it. They would see

some hint of structure behind a moveable

material which would get them thinking ‘what

more could this possibly be?’ It wouldn’t be

until they travelled through at night or if they

did some online research that they would

become aware that in fact the sculpture re-

sembles a whole new world at night. People

would come fl ocking to Wyndham to see this

structure with previously unnoticed, incorpo-

rated lights that seem to move in the wind as

if they are alive. People would realise that in

fact Wyndham is too alive, and they would

fl ock to the township in droves to celebrate

all that is has to offer.

While there is still a long way to go to fi nalise

this design and add different pieces to the

overall fi nished product, it can be safely as-

sured that this design meets all the require-

ments for the Gateway Design Project. It

creates a discourse into the city of Wyndham

and it puts it on the map by transforming it

from a quiet interchange town between the

city and the country, to a dense, vibrant city

that isn’t actually there.

62

B.8 Learning Objectives & Outcomes

63

It is evident from the feedback we received

after the Mid-Semester Presentation that we

have to work on a way to bring tessellation

into the design more. Whether it be through

the actual structure that makes up the Design

Project or the use of tessellated columns in

another part of the design, we have to create

a structure that can be easily fabricated using

tessellation.

Throughout the last part of this journal and

this course I have become much more pro-

fi cient at using Rhino and Grasshopper. My

group and I have been able to successfully

work off each other to create some extremely

interesting designs.

My previous attempt at using Rhino wasn’t

very successful at all and it scared me some-

what from delving deeper into the world of

parametric design. However I have since

realised that the only way to get better at

something is to continually use it and practice

it in the hope that you will create a memory

bank big enough to remember how you can

design what it is you want to design!

This subject has opened my eyes to the

wide world that is computational architecture.

Even a topic as narrow as ‘Tessellation’ can

create a wide range of intriguing forms that

can withstand even the largest of forces.

From the Voussior Cloud to the Hyposurface,

architecture is continually being redefi ned

because of computational architecture and

parametric design. Whilst my attempt at

recreating the Voussior Cloud wasn’t perfect,

it’s amazing to think that I could use Grass-

hopper and Kangaroo to create exactly the

same thing as what a professional practice

(in this case IwamotoScott) created. Coming

from a person who hasn’t successfully made

anything using computational techniques be-

fore, it is quite an astonishing realisation and

happy achievement. Literally so much more

can be done via the use of computers and

the results (as seen in the precedents investi-

gated above) are gob smacking.

64

B.1 Design Focus

Image Sixteen - http://farm4.static.fl ickr.com/3265/3193135219_c9fb70b278.jpg

Western Gateway Design Project document, 2011

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

Image Seventeen - http://www.iwamotoscott.com/

Image Eighteen - http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/

Image Nineteen - http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/

8 Carpenter Centre Puppet Theatre, Harvard University - http://cubeme.com/blog/2009/07/07/puppet-theater-at-

harvards-carpender-center/

Image Twenty - http://slmilne.fi les.wordpress.com/2010/05/hyposurface-moving-wall.jpg

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

Development

Image Twenty-One - http://25.media.tumblr.com/tumblr_loyty4eb4d1qlrkw8o1_500.jpg

Image Twenty-Two - http://newsfeed.kosmograd.com/images/ferriss_292.jpg

Image Twenty-Three - http://media-cache-is0.pinimg.com/192x/39/2e/90/392e90e21f7eeb.jpg

Image Twenty-Four - http://www.dac.dk/media/8867/Expo_high.jpg

10 Danish Pavilion, Shanghai Exhibition - http://www.dezeen.com/2010/05/01/danish-pavilion-at-shanghai-expo-

2010-by-big/

Image Twenty-Five - http://fc-asset1.freekeylabs.com/fi le/0/328/thumb/1920_1200_min.jpg

Image Twenty-Six - http://thebreaksover.com/wp-content/uploads/2010/03/e31_22636437.jpg

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

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

References

PART C. PROJECT PROPOSAL

Developing and Presenting

65

C.1 Gateway Project: Design Concept

We received some very helpful constructive

criticism from the guest crits in regards to

our design and fi rst prototype. As previously

mentioned we need to work on a way to bring

our main theme of Tessellation into the de-

sign more. In addition to this, it was decided

that we should make a more conscious effort

to create sharp points of light and dark, rath-

er than areas of light that fl ow over a large

area of the structure. To do this we need to

create sharper angles in our Gateway struc-

ture rather than curved surface that allows

light to dissipate over it.

Keeping these comments and design ideas

in mind it was decided that we could work at

creating shapes that look more like buildings,

with straight edges, sharp angles and some

hidden reveals that would allow us to cre-

ate these points of light contrasted with the

points of shade.

As a continuation from these investigations

we looked at the Princes Freeway site (Im-

age Twenty-Eight) in Wyndham and exam-

ined how we could use it to create an effec-

tive Gateway Design for the city council. We

thought it would be best if we used the 4m

hill in the middle of Site A so that forms we

created could stand out in the fl at landscape

that surrounds it.

66

IMAGE TWENTY-EIGHT: Site A hill

67

Basing our design around Hugh Ferriss’ ren-

derings, we felt it necessary to create large

structures that gave a sense of verticality to

the site. We felt it important to change the

horizon line for the drivers from the fl at angle

they see when driving their cars to a high

perspective that draws their eyes up and to

our design. This would create added interest

in Wyndham as the drivers would feel that

because their eye line has shifted up to this

new installation then obviously they are view-

ing something important. Only upon refl ection

or further research into the installation and

the Wyndham site would these drivers come

to realise Wyndham is a place of adventure

and should be explored further.

With this in mind we began experimenting

with some forms and explored how they

could be vertically manipulated to add a

sense of dynamism to Wyndham. The ex-

periments below highlight this exploration

process. In Image Twenty-Nine we see how

some building-like forms can be placed on

poles to push them even further into the sky.

This plays with the ‘non-existent city’ theme

as even though these forms are supposed

to be buildings, because they are abstracted

so brilliantly it adds a sense of intrigue into

the design as the driver’s would be thinking

what are these things; a city or an abstract

artwork?

IMAGE TWENTY-NINE: Design Idea

North Sydney Bus Shelter Competition Design, 2006

Architects: Tribe Studio Architects and Super Colossal (Mark Trimble)

One precedent for our new design idea was

Tribe Studio Architects and Super Colossal’s

competition design for the North Sydney Bus

Shelter. Set in an urban context this design

really creates a discourse for the area and it

leaves people pondering the question what is

the design supposed to be? Are they build-

ings abstracted to blend into the city scape or

are the elongated umbrellas that cleverly play

on the idea of shelter? Whatever the case

Tribe Group and Super Colossal really did

create an interesting design that beautifi ed

was is normally a pretty mundane structure.12

We hope to do something similar with our

Gateway Design. While sculptures and instal-

lations aren’t usually mundane and boring,

our Gateway Design will hopefully set the

benchmark for all freeway designs to better.

It would be fantastic if the town of Wyndham

could become famous for having the most

interesting and spectacular freeway scullp-

ture in the world. It would really put the city

of Wyndham on the map and create a much

larger discourse into the town.

IMAGE THIRTY: The Exterior IMAGE THIRTY-ONE: The Interior

68

69

The next phase of our design process was

to create areas of light and dark that would

replicate Hugh Ferriss’ renderings and add a

greater sense of verticality to our structure.

Image Thirty-Two shows a very simple exper-

imentation into this design idea. By placing

points of light of the lower sloping faces, the

light would then feed up the structure creat-

ing sharp points of light at the source that

then slowly dissipate across the rest of the

face. This would allow areas of the structure

to seem completely invisible as they would

be bathed in darkness (where applicable).

This effect would work best at night therefore

creating two designs in one. The fi rst would

be the structures that are seen during the

day, as abstracted buildings with holes cut

in them. And the second design would be at

night when the buildings come alive. All that

the driver would be able to see would be tall

sources of light that seem to fl oat in the air.

IMAGE THIRTY-TWO

70

Digital Design Process

To begin with we created a Tessellated grid

in Autodesk’s Maya that became the basis of

our built forms. The highlighted shapes were

chosen as we felt that the sharp angles and

lines draw the drivers into our city, similar to

how Melbourne and its grid system of streets

engulfs people as they travel in. The fi nal

form that we wished to build upon works as

a kind of cannon, pushing the viewers out

and into Wyndham - the city that they should

explore.

Grid

1

71

These forms were then extruded using Maya

to create city-like buildings. We then manipu-

lated them further from the perspective of

a driver viewing the forms from the Princes

Freeway. We felt it was very important that

each form was slightly different and very

abstract so as to create a discourse about

Wyndham. We didn’t want it to be obvious

what this installation was. It needed a bit

of deeper thought similar to how Wyndham

needs deeper exploration to truly fi nd all its

hidden qualities.

Extrude

2

72

73

74

As mentioned (and as seen on the last

spread) each form was individually manipu-

lated to give the driver a different experience

for each of the different forms they drove

past. Some receded back, others had little

‘wings’ connected to them. Not one point was

created as a 90 degree angle. This is obvi-

ously not like regular city buildings where

most points are at 90 degrees for ease of

constructability: however our design has

more chaos to it than a simple city building.

Because we wanted to create a false yet

dense city we felt it necessary to design a

small number of interesting forms rather than

a large number of simple ones. This adds to

the intrigue of the Gateway Design as it once

again plays on the viewer’s mind. What is a

city? What is a building and how do these

forms differ from the ones in Melbourne?

What is Wyndham and what does it have to

offer? All these questioned can be answered

if the viewers of this design investigate a little

further and delve into the depths of the vi-

brant Wyndham City.

The next step in the digital design process

was to tessellate the forms. This tessella-

tion could then be transported to Rhino and

Grasshopper and used to create the holes

in the structure from which light could pen-

etrate.

Once again each form was manipulated to

give the best effect from the viewer’s per-

spective. The tessellation (which was created

using the commands below) was created

on points of interest like those ‘wings’ men-

tioned before, as well as on hidden reveals

that could shine onto blank faces, creating

a dispersive effect as seen in Hugh Ferriss’

renderings.

Divide-Tessellate-Grow Selection-Smooth

Tessellate

3

75

76

Mesh-Decompose-Circle CNR

Dots

4

These tessellated forms were then exported into Rhino and Grasshopper where the algo-

rithm for the dots could be applied.

77

The fi nal dots took a lot of manipulating to

get right. We decided to make them 1mm in

diameter as anything bigger was overlapping

because of their density. This overlap was

undesirable as it would have created large

holes when fabricated and this would go

against the whole design intent, which was to

create little points of light that can join togeth-

er to create one large beam of light.

78

Unfold

5

Once the forms from Maya had been turned

into a Mesh and had had the dots applied to

them, they were now ready to be fabricated.

We chose to Laser cut our design as not only

did it make for simpler construction, but also

it most replicated the fi nal construction tech-

niques used for the Gateway on site. For the

fi nal model we felt it most appropriate to use

3mm Laserply as it once again most replicat-

ed the actual Gateway. We constructed a few

prototypes as well to make sure that the ma-

teriality was correct and that the entire thing

was actually buildable. (These are explained

further on Pages 83-84).

11

1

2

A

A

B

B

C

C

79

5

4

6

3

5

A

A

7

A

8

B

8

A

B 8

80

Throughout this whole experimentation

process it was important that we continually

considered the materiality of these design

ideas and how they would be constructed.

Obviously with the structures we were wish-

ing to create it was important that they could

be cantilevered so as to give off the idea that

they are fl oating. With this in mind; and as

shown in Image Thirty-Three, it was decided

that the poles would be made out of large,

hollow steel columns that would be strong

enough to hold the structures in place. These

columns would need to be cemented into the

ground using large concrete pads.

In terms of the actual buildings themselves

it was felt that they could be made out of

structural steel elements with a timber, rusted

steel or aluminium facade. That way the

buildings would be extremely resistant to the

live loads like wind that would be placed on

it. The fi nishing clad would look much more

aesthetically pleasing than large pre-cast

concrete elements or some other monolithic

material like that.

1

IMAGE THIRTY-THREE: Structual Elements

6

5

4

3

2

81

Construction Process

1 Site is excavated to allow for individual square footings underneath each of the structures.

Excavation would have to be dug to adequate bearing capacity (as specifi ed by the Geo-

technical Engineer.)

Footings for each of the structural poles are constructed and a base slab is laid for the

structural columns to fi x onto.

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

upright position as determined by the fi nal design. It is fi xed to the base slab using a base

plate and steel ties. This would root the structure fi rmly into the ground and stop it from tip-

ping over when it is subject to high winds and other live loads whilst it sits on the Princes

Freeway in Wyndham.

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

fl ush with ground level. This would reinforce what is already a strong connection between

the structural steel and thee ground and stop the structures overturning. Movement joints

would have to be designed so as to allow the concrete to move without creating fractures

in the overall integrity of the structure.

4 Lightweight steel framing is connected to structural steel using connection plates and bolts

and/or welding. This process could either be done offsite and the whole structure erected

on site via a crane, or it could be done on site as outlined here. This would be determined

once the fi nal design is complete, as only then would the layout of the structure be known

and can then be connected accordingly.

5 Facade with digitally designed and fabricated holes is fi xed to the lightweight steel fram-

ing. The layout for this will be designed parametrically and compliment the main design

theme of Tessellation.

6 Lighting system is attached so that the best effects for day and night time viewing are

achieved. This too will be designed parametrically.

Final face of facade is attached to fi nish entire structure off.

C.2 Gateway Project: Tectonic Elements

83

The image on the previous spread shows the

most important prototype model we con-

structed. Using a simplifi ed version of one of

our forms, the model highlighted what could

have been some massive defi ciencies in our

fi nal model. First of all, the joints between

the faces are not fl ush with each other and

some of the light is seeping through these

gaps. This is far from ideal because with the

light like this the form becomes easily visible

and that is something which we don’t want to

show in our design. If the fi nal model were to

look like this then the design would become

the ‘existent city’ rather than the ‘non-existent

city’.

In order to fi x this problem we are going to

need to chamfer each edge at a 45 degree

angle so that the 2 panels can sit fl ush with

one another. Experimentation in this way can

be seen in the image below which is another

prototype we constructed. While not per-

fect, it could easily be manipulated further to

achieve a perfect fi nish. Any gaps could be

fi lled with wood fi ller if necessary.

Another problem is the fact that because the

wood is so thin and light in colour, it is quite

obvious to see where the light source is. This

once again is undesirable as we want to give

the impression that each light which shins

through the dots has its own light source, like

a city building’s windows at night. If a viewer

could see the light source then ultimately the

project has failed.

In order to fi x this we may need to either

use a thicker wood, or a different material all

together (like the card used in Image Thirty-

Five), or we could simply paint the forms a

dark colour so that no light shines through.

This latter solution is probably most practical

as not only would it make the model easier to

construct, but secondly it could replicate the

use of an aluminium cladding in the on-site

Gateway.

IMAGE THIRTY-FOUR: Second wood prototype IMAGE THIRTY-FIVE: Card Prototype

84

While not overly helpful towards defi ning our

fi nal model, this prototype; which was con-

structed in the earliest stages of the design

concept, was very helpful in outlining a vision

for us to follow. However it does show that

large cantilevers can be achieved and this is

something we are aiming to do with our fi nal

design. Lots of planning must go into how big

cantilevers are and where the form should

be suspended off the structural pole. We will

need to experiment where the poles should

go as we work to fi nalise our presentation

model.

IMAGE THIRTY-SIX: Form and cantilever prototype

85

C.3 Gateway Project: Final ModelIt was decided during the design process that

our model would be quite large but compact

at the same time. Instead of building across

the entire (approximately) 1km site it was felt

that we would create a much sharper disloca-

tion between city and country if we used only

50m of the site. This also worked because it

allowed us to create a sense of density with-

out covering the entire site in buildings.

Proportionally, the 50m in length meant that

our tallest building would be 10m high. This

is once again ideal as it would effectively

shift the driver’s horizon line from the hori-

zontal, up and to these structures towering

over them. Especially at night when the lights

are ablaze, these structures would seem to

be city buildings that rise high above the fl at

country landscape around it. These buildings

mark Wyndham as a place and create a dis-

course about the town and its new fame.

IMAGE THIRTY-SEVEN: Final Digital Model

86

Our model making process was quite in-

volved. To begin with we sent off our un-

folded fi les to be laser cut. To save time we

decided to only get the panels with holes in

them laser cut, and we cut the rest by hand.

This was quite time consuming but in the end

it worked to great effect. The panels we cut

would have been a replicar of the facade that

was attached to the lightweight steel struc-

ture on the Wyndham site. Making such large

panels is not only aesthetically pleasing but

also it works at reducing the number of joins,

therefore maximising surface area and mate-

rial costs.

Once all the panels were cut we strategi-

cally numbered them and collated the faces

together so that we knew exactly how the

shapes went together. We then had to cham-

fer every edge before fi nally starting the fabri-

cation process. We referenced everything we

were doing off the digital model to make sure

that both were exact replicas of each other.

IMAGE vi: 3mm plywood panels were cut to replicate the unfolded shapes. Their edges were champhered and

then joined using high quality wood glue. Any holes in the joins were fi lled with a putty as seen above.

87

How our model sat in relation to the site was

an important part of our design. As previously

mentioned we wished to use the 4m high hill

in the middle of site A, further increasing the

verticality of our structure and the horizon

line. In order to show this effectively we had

to make a contour model to house our model.

It was made from 10mm plywood (0.5m at

1:50 scale). Fortunately the contour model

was also going to work as a place for us to

connect our lights that run under each of the

individual forms and up the hollow tubing.

The contour model had to be big enough to

fi t all of our forms, plus the battery, the switch

and the wiring.

In terms of real life application I envisage

each structure having its own power source

and lighting circuit. The wires would run up

the structural poles and sit inside the struc-

ture, where the lights are housed. They

would be automatically timed to turn on, the

same way that street lights work. And there

may be days where the lights are left on all

day. These events could perhaps signify

important days for Wyndham or even the

Melbourne CBD. Why not mark an even in

Melbourne at its new little sister - the dense

yet non-existent city.

IMAGE vii: 10mm contour model with 12mm copper tubing used as the hollow structural steel columns. Col-

umns are painted brown to match the forms to ensure that no light penetrates through except at the holes.

88

Next job was to sort out all the electrics by

connecting the wires from the light inside the

forms, down the columns and into the con-

tour model underneath. After the light was

placed inside, every form was sealed with

connecting wire hanging underneath.

Wire was then cut to the appropriate lengths,

as determined by the columns, and the re-

maining wire was put in place under the con-

tour model ready to be attached to the forms.

IMAGE viii: Forms sealed, columns connected, wires

attached. Ready to be painted and joined with the

contour model.

We then painted all the forms because, as

previously discussed, it was required so that

no light can been seen through the structure,

only through the dots where it’s needed. The

brown colour also gives a sense that the

fi nal fi nished model will be made from either

an aluminum clad or possibly a rusted steel

material. Both these would look great as it

would give the sense of high-tech coming to

Wyndham.

Once the forms were painted we connected

them to the contour model. The wires were

then fi xed together, before we set everything

in place and turned the lights on!!!

IMAGE ix: Forms were painted and then attached to

the contour model in their right positions as outlined

by the digital model.

Most of the crit panel was extremely happy

with our design idea, our engagement with

the project and Wyndham and the way we

presented it together as one cohesive whole.

However they were critical of our model, say-

ing it looked unfi nished and a little rushed.

So, on their advice, we decided to spend

more time fi nishing the model by making sure

that all the forms were smooth and solid. We

then repainted the whole thing. The forms

were made black - more aesthetically pleas-

ing than brown and produces the same effect

where no light can penetrate through. The

poles were made white so that they sat in the

landscape better and made the forms seem

to fl oat above. And the contour model was

stained a ‘Japanese Black’ to fi nish it off and

join forms with the landscape.

Critique and Commitment

93

94

While it was extra time and effort to rework

the model, I can safely say that it was a very

smart decision to do so. The new paint job

gives the whole project a sense of sophistica-

tion and now gives our presentation a very

big full stop. We now have a good design

idea, a solid argument for its implementa-

tion in Wyndham and a beautiful digital and

physical presentation to go with it.

103

C.5 Learning Objectives & Outcomes

Throughout the entire design process and

the subject as a whole we have been working

towards completing the desired learning ob-

jectives for the course. This next part of the

journal will look at these objectives individu-

ally and thoroughly access their completion

throughout the journal.

Learning Objective One:

‘Interrogating a brief’ by consider the process

of brief formation in the age of optioneering

enabled by digital technologies.

Using programs like Rhino and Grasshopper

allows one to design parametrically so that

a number of possible options can be quickly

achieved and manipulated further if neces-

sary. Both Case Study matrices 1.0 and 2.0

and the Technique development section

(Pages 34-37 and 46-54 respectively) looked

at possible ways of answering the brief

through the use of computational design.

Learning Objective Two:

Developing an ‘ability to generate a variety

of design possibilities for a given situation’ by

introducing visual programming, algorithmic

design and parametric modeling with their in-

trinsic capacities for extensive design-space

exploration.

Essentially one must be able to adapt their

design to not only meet the needs of the

brief but also so that it addresses any criti-

cisms or downfalls the design may have. A

design must meet the needs of the site, the

construction requirements as well as the

loads that are placed on it. Parametric design

enables any chances to be made quickly and

effi ciently so that more time can be given to

the design concept. The technique develop-

ment phase (Page 46-54) and the digital

design process (Page 70-81) address Objec-

tive Two.

Learning Objective Three:

Developing ‘skills in various three-dimension-

al media’, and specifi cally in computational

geometry, parametric modeling, analytical

diagramming and digital fabrication.

Once again one must be profi cient at using

many different types of media to convey their

design idea. Each method should comple-

ment one another rather than confl ict it in any

way. Throughout this entire design journal I

have effectively combined parametric design

with digital modeling and fabrication and

fi nally physical modeling to achieve a realistic

and appropriate design for Wyndham.

Learning Objective Four:

Developing ‘a relationship between archi-

tecture and air,’ through interrogation of the

design proposal as physical models in the

atmosphere.

As mentioned on Page 28 the Wyndham

City Council required a freeway sculpture

that enhanced the physical environment, had

longevity and encouraged further refl ection in

Wyndham beyond the fi rst glance. All these

major points in the brief relate back to incor-

porating ‘air’ into the design. The best way

to address the relationship is to effectively

design the sculpture in relation to the site

and its context. As mentioned on Page 66 I

intended to use the hill on the site to increase

the verticality of the structure. This sculpture

would change the landscape of the site, inter-

rupting the atmosphere and adding a sense

of dynamism to the project.

As mentioned our project comes to life at

night therefore manipulating the environment

that surrounds it. It acts in accordance to the

atmospheric conditions around it.

104

Learning Objective Five:

Developing ‘the ability to make a case for

proposals’ by developing critical thinking and

encouraging construction of rigorous and

persuasive arguments informed by the con-

temporary architectural discourse.

Throughout the journal I have continually

highlighted my design idea and thoroughly

supported it with evidence both from the built

world and the wider community. Our design

concept had a very sound back story high-

lighted the reasons we chose it as the fi nal

design. We wanted to create a non-existent

city through the use of a structure that can

disappear and night but remain visible during

the day. In our research we recognised that

Wyndham was the start of dense suburbia so

we looked at manipulating this idea of a false

city.

We introduced verticality to make the struc-

tures stand out and also to interrupt the fl at

horizons that the driver’s so often experi-

ence. Making such a striking design and

argument creates a discourse around Wyn-

dham as its visitors will become aware that

this town is somehow important. Only upon

further refl ection and investigation will the

these visitors be able to discover Wyndham

and all that it has to offer.

Learning Objective Six:

Develop capabilities for conceptual, technical

and design analyses of contemporary archi-

tectural projects.

At almost every stage of this journal I thor-

oughly investigated precedent project that

related to my design and the wider architec-

tural discourse. Most of them used paramet-

ric modeling to design and especially early

on this was important, as my inexperienced

mind needed to be able to see how paramet-

ric modeling can enhance the design process

and the fi nal outcomes.

It is important to choose precedent projects

wisely as while some may look nice, they

may not address the design intent or idea

that I am trying to achieve.

Learning Objective Seven;

Develop foundational understandings of

computational geometry, data structures and

types of programming.

As previously mentioned my knowledge of

computational and parametric design at the

start of this course was very limited. I feel

that this knowledge has increased tenfold

as not only have I become more confi dent in

using all the programs, but the theory behind

why you use them has become clearer. It can

be seen in my journal that I have explored

Maya, Rhino and Grasshopper and been

able to combine their functions to create

an exciting Gateway for the Wyndham City

Council.

Learning Objective Eight:

Begin developing a personalised repertoire

of computational techniques substantiated by

the understanding of their advantages, disad-

vantages and areas of application.

As outlined on Pages 29-33 we became

interested in the process of Tessellation from

very early on. We liked how the structure

and the supports were intergrated as one

and designed together as part of the overall

shape and make-up of the design. We felt we

could use this effectively as we didn’t want

any substructure to deteriorate from the main

design on site.

Tessellation could be easily used in the com-

putational programs as it created some inter-

esting geometries that supported our design

intent. We became hell bent on using dots

and their density and placement as the main

feature, and were able to effectively control

their design using parametric tools.

References

C.1 Gateway Project: Design Concept

Image Twenty-Eight - Site Photographs Folder, University of Melbourne LMS, Semester One, 2013.

Image Thirty - http://3.bp.blogspot.com/_oUFzkPiVDOo//3+1+-+north_sydney_bus_shelter_350.jpg

Image Thirty-One - http://www.tribestudio.com.au/#North-Sydney-Bus-Shelter

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

105

Thankyou to my group members Brendan Josey, Chris Marinopolous and Chen Liu for the

continual support and help in creating what I believe is a very successful design outcome.

106