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AIR Yr. 2013

ARCHITECTURE DESIGN STUDIO

STUDENT:CHLOE ZHU TUTOR:GWYLL

ANGELA

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ARCHITECTURE DESIGN STUDIO:

AIRSTUDENT: CHLOE ZHU

TUTORS: GWYLL ANGELA YEAR: 2013

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C O N T E N T S

PART A. EOI I: CASE FOR INNOVATION

PART B. EOI II: DESIGN APPROACH

ABOUT ME

PART C. PROJECT PROPOSAL

REFERENCE

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“A great architect is not made by way of a brain nearly

so much as he is made by way of a cultivated, enriched heart.”

----Frank Lloyd Wright

Reference: http://www.brainyquote.

com/quotes/topics/topic_architecture.html

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ME

I used to know barely anything of digital design. However since

my comprehension of Design and my knowledge of Architecture are getting more, I started to be a friend to those digital little things. I am now very interested in all sorts of digital software as they truly make my life much easier than the time without them. I’ve tried Rhino, Sketch up, Illustrator, Photoshop, Auto CAD and In Design in my past years, but I am more familiar with Sketch up, Photoshop, Auto CAD and In Design rather than the rest. Now I am working as an assistant for my friend- who is an architect in Melbourne. I went to sites to get measurements and I did 2D

Dear everyone, I am Chloe from the 3rd year Architecture faculty.

I came to Melbourne when I was in high school, and now I have fallen in love with this city completely. I started to probe the Architecture world when I was in year 11, and then I was just drunk inside this amazing world and never come out.

Reference: http://www.brainyquote.

com/quotes/topics/topic_architecture.html

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PART A. CASE FOR

INNOVATION

Reference:http://www.youtube.com/watch?feature=player_embedded&v=PPFcZ-Ux4Lg

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A.1 ARCHITECTURE AS A DISCOUSE

Architecture, as an art which is given by lots of people as different definition, is a dominant part of various

idea of its content. Then there comes the Architecture discourse. “Architecture, then, as discourse, discipline, and form, operates at the intersection of power, relations of production, culture, and representation and is instrumental to the construction of our identities and our differences, to shaping how we know the world.”----Dutton, Thomas A. and Lian Hurst Mann, eds (1996)

Design is known as a purposeful activity, aimed at achieving some well-defined goals. And

thus designers are those who analyze problems, setting goals, devising actions that might accomplish them, evaluating the efficacy of these actions, and communicating with others involved in the process.

For me, Architecture is not only a three dimensional building that is eye pleasing or as a shelter to

human beings, but also about combining the sundry of disciplines and aspects like aesthetic, psychology, political science, humanities, and now parametric modeling and algorithmic technology. It is alive.

“It’s not about the pieces; it’s how the pieces work together.”

----Ice T has an opinion

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GUANGZHOU OPERA HOUSEArchitect: Zaha Hadid Location: Guangzhou, ChinaClient: Guangzhou Municipal GovernmentProject Year: 2003-2010

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Reference: http://www.archdaily.com/286381/beton-hala-waterfront-center-sou-fujimoto-architects/

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GUANGZHOU OPERA HOUSE

Guangzhou is one of the Asia’s cultural centers, and now

the Guangzhou Opera House is the icon of this fabulous city. The Guangzhou Opera House is about 70,000 sqm in total area, including 1,800 seats in the Grand theatre, entrance lobby and lounge, Multifunction hall, other auxiliary facilities and support premises.

Reference: http://www.zaha-hadid.com/architecture/guangzhou-opera-house/<LEFT>http://www10.aeccafe.com/blogs/arch-showcase/2011/03/03/guangzhou-opera-house-in-china-by-zaha-hadid-architects/<RIGHT>

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Reference: http://www.zaha-hadid.com/architecture/guangzhou-opera-house/<LEFT>http://www10.aeccafe.com/blogs/arch-showcase/2011/03/03/guangzhou-opera-house-in-china-by-zaha-hadid-architects/<RIGHT>

The Guangzhou Opera House has a unique twin boulder design, the approach promenade enhances urban function,

opens access to the Pearl riverside and sits in perfect harmony with its riverside location. The design concept was inspired by a natural landscape and the fascinating interplay between architecture and nature. In particularly it has been influenced by the way in which river valleys are transformed by erosion. As we can see in pictures, it has an irregular geometry shape and dramatic structure, which has no rigid functional zoning, which indicates the principles of algorithmic architecture. The interior design is very streamline as well. The smooth transitions between disparate elements and different levels continue the landscape analogy while the “cut outs” allow natural light to permeate deep into the building. The design of this grand architecture combines the cultural traditions that have shaped Guangzhou’s history, while with the ambition and optimism that will create its future as the same time.

In a word, the whole opera house opens

up the gate of the algorithmic architecture, letting people knowing that the age of computer

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Reference: http://chrisglew.com/nuke/gallery/3d/nbk_chopper/

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THE NATIONAL BANK OF KUWAIT HEADQUARTERS

Architect: Foster + PartnersLocation: Kuwait

Client: Kuwait GovernmentProject Year: 2012

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THE NATIONAL BANK OF KUWAIT

HEADQUARTERS

The national bank of Kuwait headquarters is known as the iconic skyline in Kuwait.

The design of this complex geometrical art is driven by a response to the local climate. It is shown that design must be influenced by solar, wind and planarity analysis. It is all about developing ideas by combining analysis of different nature and artificial elements, while parametric technique involved.

Kuwait has a desert climate, making it generally both a hot and dry climate.

The highest temperature in summer was recorded 53°C while the lowest in winter was -6°C. Kuwait also has as large as 25°C temperature difference between day and night, and frost occurs when the temperature drops below 5°C. Therefore, the design of this headquarters is basically based on the

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Reference: AD Magazine, P34<LEFT>http://www.skyscrapercity.com/showthread.php?t=1259365&page=11<RIGHT>

The Foster+Partners’ Specialist Modeling Group (SMG) was in charge of this attractive but yet challenging project. They firstly

quickly produce various options of parametric models so that the models could be further developed by the design team. Then it was followed by evolving initial design into a fully rational shape that embedded serious consideration of the various performance parameters, integrating the architectural aspirations, structural, environmental, functional and operational requirements. During the process, various algorithmic designing programs were used to produce this project, such as Bentley Systems’ GenerativeComponents™ (GC) and so on.

This is what presages the unprecedented prosperity of a whole new digital era.

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A u t o m a t i c ArchitectureReference:h t t p : / / w w w .

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A.2. COMPUTATIONAL

ARCHITETURE

As we mentioned in the previous section, designers are expected to solve difficulties in the most efficient way.

More specifically, architects therefore should be familiar with methods that have proved effective in accomplishing any or all of these actions. In order to maximize the benefits, architects are no doubt making their efforts toward successful solutions rather than waste their time searching for unsuccessful ones; find and use shortcuts; understand the affordances of the situations they face; and understand the implications of their actions beyond the immediate solution of the problem at hand.

As time goes on, computers, by their nature, are superb analytical engines. The nowadays computer

technology is not only transferring all hand drafts into a neat and comprehensive digital format, they are obliged to satisfy the rapidly growing demands from human beings. If correctly programmed, they can follow a line of reasoning to its logical conclusion. They never get tired, never make silly arithmetical mistakes, and will gladly search through and correlate facts buried in the endless heaps of information they can store. They will do all that quickly and repeatedly, by following a set of instructions called a program, which tells them in minutes how to manipulate the electrical impulses in their circuits. Moreover they can present the results of these manipulations in the form most suitable for hum an comprehension: in textual reports, tables of numbers, charts, graphical constructions— even in dynamically changing images and sounds.

In another word, they are the magic to make those impossible to totally possible.

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“FILE TO FACTORY”

This project explores Voussoir Cloud compression structural paradigm mixed with computer based

digital systems. Structurally, the vaults accurately depend on each other and the walls to hold its shape compression. The fourteen segmented pieces also generate a series of five columns which hold the inner edge of the frame and back. Rhino was used as initial modeling software to hang chains to refine and adjust lines profiles.

The convenience and ability of contemporary computer technology is well verified by this

project. All those irritating calculations and assemblies are now able to be solved within minutes. Ones it’s done, the only thing left is sending files to a factory.

“Architecture continually informs and is informed by its modes of representation and construction, perhaps never more so than now, when digital media and emerging technologies are rapidly expanding what we conceive to be formally, spatially, and materially possible”

- Lisa Iwamoto

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VOUSSOIR CLOUD Architect: Architecture IwamotoScott -

Lisa Iwamoto, Craig ScottLocation: Los Angeles, California, USA

Project Year: 2008

Reference: http://www.architectmagazine.com/design/automatic-architecture_2.aspx<FIGURE>http://www.iwamotoscott.com/<QUOTE>

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Squid-like Canopy Proposal, Catwalk Design Architect: AyarchitectureLocation: Paris, France

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COMPLEXITY

Reference: http://www.ayarchitecture.com/architeuthisaspx<FIGURE>http://www.michael-hansmeyer.com/<QUOTE>

Computer technology enables projects of previously unimaginable complexity.

Computer is now able to support designers in geometrical entities that were used to be no meaning to the computer. Along the way, each type of system has found its niche and provides useful service to its users.

“Regardless of their complexity, the tasks and decisions involved can be formalized as an algorithm. As such, algorithms provide a framework for articulating and defining both input data and procedures. This formalization can promote structure and coherency, while systemically maintaining full traceability of all input.”

– Michael Hansmeyer

As the Squid-like Canopy Proposal--Catwalk Design shown, it is an extremely

complex outcome, which traditional computer technology would never be able to produce. However, according to the procedure screenshot shown below, it was not a long journey if parametric modeling and algorithm design technology are involved.

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A.3. PARAMETRIC MODELLING

Scripting and computer programming have now become integral to the

digital design process, because it provides unique for innovation, enabling designers to customize the software around their own predilections and modes of working. In which, the most famous technology is parametric modeling. The definition of parametric is still an open question now: whether it is design, change, parametricism or mathematics. As we discussed in the last part, computer science is no doubt a must-have technology tantamount to a sine qua non in nowadays architecture world. However, parametric modeling as the most popular technology in the 21st century, is a discourse as it brings out advantages as well as the shortcomings.

“Post modernism and deconstructivism were mere transitional episodes and

parametricism will be the great new style after modernism. “

---- Schumacher 2010

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Kartal Pendik Masterplan

Reference: http://www.archello.com/en/project/kartal-pendik-masterplan/image-15<FIGURE>http://www.fschumacher.com/

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25Reference: http://www.archdaily.com/286381/beton-hala-waterfront-center-sou-fujimoto-architects/

BETON HALA WATERFRONT CENTER Architect: Sou Fujimoto Architects

Location: Belgrade, SerbiaClient: Beton Hala Waterfront Centre

Project Year: Unbuilt

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EFFICIENCY

Parametric modeling helps to enhance the efficiency of design process. It is able to

provide malleability and variety of forms, namely, it increases feasibility of those abstract ideas and inspiration. In nowadays, the traditional rigid formula is not apropriate for the 21st century any more. Fujimoto’s Waterfront Centre proposal is a beyond comparable precedent at this stage. This amazing architecture was based on the concept “floating cloud”. It is formed by a series of flowing soft lines instead of traditional rigid boxes. The outcome is very complex visionally, yet eye-pleasing at the same time. As we can tell, parametric modelling was one of the elements that hasrendered outstanding service, it creats the fascination of this distinguished architecture.

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Nevertheless, parametric modeling not only brought benefits to designers, but

also inconveniences. It forces designers to plan the design carefully, defining ahead of time which major elements would be dependent upon other elements. It also constraints designers to think at the early stage of a project, which may not let them to have a conceptual idea.

Reference: http://www.archdaily.com/286381/beton-hala-waterfront-center-sou-fujimoto-architects/<LEFT PAGE>http://www.archdaily.com/286381/beton-hala-waterfront-center-sou-fujimoto-architects/<RIGHT PAGE>

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29Reference: http://www.erratica.us/991.html

CHANEL MOBILE ART PAVILION(worldwide)

Architect: Zaha Hadid with Patrik Schumacher

Location: Tokyo, Hong Kong, New York, London, Moscow, Paris

Client: Chanel; Chanel Mobile ArtProject Year: 2008-2010

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CONTROL

Another benefit that parametric modeling has brought to designers is that the

ability for designers to control time and fine details. Differ from the traditional design process, parametric modeling is able to distinctively minimize the designing time. The travelling Chanel Mobile Art Pavilion is one of the icons during 2008-2010. It is a new-concept ephemeral typology, which required very limit of time (as short as two weeks) to design and built. Parametric modeling also allows designers to have exact precise control of projects. It substantially increases the accuracy of designing and making models as it is a mathematical formula.

Reference: http://www.archdaily.com/144378/chanel-mobile-art-pavilion-zaha-hadid-architects/<LEFT PAGE>http://www.archdaily.com/144378/chanel-mobile-art-pavilion-zaha-hadid-architects/<RIGHT PAGE>

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However, it does cause pay. Due to the high logic that parametric modelling produce, it is very hard (or

almost impossible) to make any change at the late stage of design process as all the parameters are connected, and there are usually a huge amount of notes to form a model. It is also very difficult for designers to identify the changes in a parametric model, which may cause inconvenience for designers. Another downside of parametric modeling is that it is hard for other designers to modify the designs as they don’t have the knowledge about how the original design was created, which cut the ways of reusing and sharing in design world.

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A.4. ALGORITHMIC EXPLORATION

It was not easy to get familiar with the whole Grasshopper system as it requires a solid logical thought and mathematical skills.

However the experience and workflow are very fun for me. I have found how the Grasshopper can provide users to modify different forms and patterns, while it is also able to create interesting forms and patterns.

I have chosen these two algorithmic explorations as I think the methods used on those shapes/forms could be applicable when I

am looking into my design for the gateway. The first image is about subtracting partials within a whole. This technique is very useful as I can use it to modify different forms to get the one that suits my brief and idea. The second image is shown because it represents that I can try different interesting patterns easily while I am doing the Gateway design.

With my extended research I started to combine techniques from different tutorials to make shapes and patterns. It is

very efficient for trying different designs and it is very convenient for users to use once they get familiar with it. These images shown will provide me with a base for further research in the design space within Rhino and Grasshopper to develop a parametric model for the Wyndam City gateway design project.

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A.5.CONCLUSION

Parametric design is an exciting field in architecture that has provided architects a chance to explore design mathematically through a new

medium. It allows for a development of free form unrigged sculptural spaces that inspire and challenge the audience’s perspective and opinion of architecture.

The parametric design breaks down the barrier among other disciplines and architecture as architects are able to explore the

ideas and connections of different disciplines into and interactive space. This takes us back to the idea of Frank Lloyd Wright’s idea of architecture, which is a great architect should be made by way of a cultivated, enriched heart. In another word, a great architecture therefore should be made of the perfect combination of both morphology and demeanor.

Through my previous research I have seen the use of parametric designs within architecture (either they are buildings or sculptures)

that provide outcomes to design briefs that challenge ideas of formation and structure.

My design approach will definitely be used with this new gained Grasshopper technique. I think my design will be focusing on intimation

of nature, soft but vital/wild geometry form. I like how the Grasshopper can provide any form of imagination, I like how it can transfer my thought into

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A.6.LEARNING OUTCOMES

At first, I really knew barely about the digital world. I don’t even understand what is parametric or algorithmic. However, I

learnt a lot throughout these few weeks. Honestly I like the journal exercise very much. It really helped with gaining new knowledge and techniques and skills. In order to make a good journal, I did a lot of research on every single topic. It is hard but it is also very fun. During the research and modification, I comprehend much more architectural ideas from famous architects and from other students; I also have a new habit, which is browsing architecture magazines and websites frequently. I am sure this will help with my future study and career a lot. Since my understanding of algorithmic architecture and parametric modeling has been improved a lot throughout the past few weeks, I start to know that the trends of the nowadays architecture are humanity, high tech/digitalization, individuation. I also know the advantages and shortcomings of parametric modeling. I think I will keep the passion of digital architecture world, and I will keep adding the “breath” and “depth” of my knowledge and skills to it.

At past, the most common tools for me to design is pencil/pen and eraser, plus a few digital softwares like AutoCAD and Sketchup.

However, sometimes they are just way too lack of efficiency. I am very happy with my new technique, which is the Grasshopper. I will probably use it onto my past projects which are too boring or plain. I can also modify the forms as Grasshopper provides very high convenience.

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PART B. DESIGN APPROACH

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B.1 DESIGN FOCUS

In order to create an “exciting and eye catching installation”, we need something innovative, something that will stand out. The given sites are unique for a public sculpture as the road users will pass at the speed of 100km/h for approximately 40 seconds. In another word, there is no time for viewers to get up close and inspect the work itself. The aim of this project is to prevail a lasting impression so that it promotes viewers to consider the work after they have viewed it and driven past it. This will encourage “ongoing interest in the Western Interchange by encouraging further

reflection about the installation beyond first glance” (as stated in brief). To do this we wish to produce something that can be appreciated on face value yet is complex enough to provoke further thought and consideration. Considering this, and also the unique idea that the majority of the audience will only view it while driving past at fast speeds, our starting points of the Wyndham City Project will be COMPLEXITY and BLUR, along with notions such as MOTION, EXPERIMENTIAL, REPETITION and ASYMMETRICAL GEOMETRY.

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STRIPS& FOLDING

The reason why we chose strips and folding as our parametric approach is because it has a variety of opportunities to realise these intentions in our project comparing to others. The idea of complexity can be increased by folding, provoking viewers to be encouraged to investigate and think about the different layers; by repeating strips we can enhance the idea of ‘blur’, as viewers pass so quick. We can also explore positioning, heights, shapes and

so on to motivate different responses from viewers and create and change the experience while passing. Strips and Folding have the ability to fold and intertwine with each other, increasing complexity within its own form. Besides, as Gaggart argued in Australian Design Review, gateway “sustains a massive scale but is open and dynamic”, which can be achieved by strips and folding according to its fluidity and movement.

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Take the Loop 3 as an instance, it well-demonstrates that complexity folding can offer with unique forms and dynamic shapes. The project evokes a sense of fluidity and movement, enhanced by the multiple folds and ripples, creating a smooth three-dimensional palette leading the eye to move across. It also explores a use of rationality in complex shapes that “merges user spatial interaction, curvature as a structural and expressive strategy…the voluptuous ripples also strengthen the overall shape”.

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CASE STUDY 1

Biothing -- Seroussi Pavilion

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By looking at the precedent of ‘Seroussi Pavilion’ design by the Biothing, we found very interesting techniques as well as the ideas. The Pavilion is formed by a bunch of thin strips, which rise above the ground cast notable patterned shadows that can add in another dynamic and alter with the light direction. The hard material has a very strong contrast with the flow form, they catch eyes and attract people to come closer at the same time.

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Develope curve in relation to concept

Divide points on these curves

Creating geometrical circles

at these points

Further division of points on circles

Protruding lines at points

By understanding the design focus and the process in computation of the Pavilion, we have modified it in different ways.

From the original definition we can see the strips are divided into points following by protruding new strips from those points. It also shows that the curved lines are used to create the feeling of soft and flowing. Therefore we would like to experience using either harder/more straight lines or the other way round, even softer/more curvy lines.

Row 1: Loft the strips to create different forms. Row 2: Elongate the strips vertically, select specific ones and loft.Row 3: Connect strips on surface and strips on 3D, loft them and make them polyline.Row 4: Change the sliders of the original file.Row 5: Use rectangular instead of circle at the centre.

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Furthering the exploration of Biothing, we became interested in patterning the strips as it can form and wanted to explore this idea further. We have also experienced other techniques, such as patterns and voronois. Matrix on the left page: Strips forming patterns. Repeating hexagon grids to form shapes. Voronoi patterns were experienced to meet various prosibilities. The vector on this page shows the outcome of combining voronoi patterns and explorations from Row 6.

These practices have helped us build up a sense of contrasting, as well as the effect of different lineworks. For the final selections, we decided to pick those highlighted four because we thought that the repetition of the various strips can very well demonstrate our design ideas, such as blur and motion. They can be developed to a very distorted sculpture on a fairly large scale, with interesting hollow-out patterns on surface. The hollow-outs can also be in different sizes laying irregularly on surface. We think that this will give a strong structual feeling, along with the innovative very-twisted form. In Grasshopper, we will need to base on the curvy forms to develop our ideas, with patterns embedded on it.

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CASE STUDY 2

Marc Fornes/TheVeryMany - Double Agent White

The Double Agent White, designed by Marc Fornes / Theverymany, is the first of a new series of fabricated projects to investigate a double agent system. It is a continuous irregular surface possessed of an intersection of 9 unique spheres.

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As a prototypical architectural form, it has been successful in what it set out to achieve. Because it is interesting as well as innovative. What we found it is interesting is it achieves a maximum degree of morphological freedom with a minimum amount of components. This forms as part of a series of prototypical architectures and uses Object Oriented computing to generate developable parts for fabrication of double curved surfaces. Continuous double curvature is defined around the Double Agent White surface for material rigidity and optimal use of nesting storage for larger decomposable units. In this way, the piece achieves structural continuity, visual interplay, and logistical efficiency.

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In order to re-create the Double Agent White and re-engineer it, we decided to break the project into three steps. Patterns, sphere, and embedding patterns onto the surface of sphere.

First of all, we created sphere of ribs, then exploring other possibilities based on the original. we ended up choosing the sphere with more ribs on for investigation beacuase the facade that we are trying to morph onto it is light in nature.

The reason why we made these matrix is because we would like to create a simple structure so that a pattern can be morphed onto it just like the Double Agent White. We used circular geometry - obviously becuase we are trying to re-create something similar to the case study project. There are two different versions of circle to show the difference in scale by modifying the sliders.

This highly complex definition allows more flexibility in the spaces between ribs. It also allows better or worse stability over the structure.

This outcome has the experintation of making notches on grasshopper, and morphing our suface onto it.

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Considering of the holes of the Double Agent White, we thought it is appropriate to create voronoi patterns and morph them onto facades, the negative space will be the resulting holes.

Create voronoi pattern

Filited the edges

Move sliders to vary the roundess

of filited edges and size of negative

space

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Exploring further with the idea of voronois, we have additional exploration on vertical and horizontal directions.

The first row is showing the options on the horizontal direction, as we want to learn

the basic function of creating the 3D voronoi patterns, and try to see the various effects of how different voronoi ribs join together.

The second row is indicating the expeditions on the vertical

direction, because as what is shown in the Double Agent White, it uses minimum contact with facade, meaning minimum support is used to load bearings. We explore this idea in multiple ways, in order to explore our design space.

When moving to the combination of patterns and structure, we had problems getting our expectations.

We used “Map to Surface” and “Project” to get the result. As the outcome shown on the left hand side, we end up with this messy strips on sphere. We are still confused on what had gone wrong with our definition, as we connect the pattern (the three “Curves”) onto “Map to Surface”, as well as the “Surface” (which indicate the facade that we want to morph the pattern on), however the result is not what we were expecting.

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When we steped into the develpment of our design ideas, we started to go further based on our initial ideas. In order to enhance the idea of BLUR and MOTION, we then came up with our notion of the design --- ABSENCE AND ACTION. We have looked up some precedent works by artists, including Nick Van Woert and Jason Payne.

DEVELOPMENT OF DESIGN BRIEF

By taking classical buts, turning them horizontal, dripping melted plastic on them, then standing the product back up right, Nick van Woert has put a huge twist on something so well known and classical. With gravity, the dripping plastic all moves naturally

in one direction and creates this sense of movement and dynamism in the work and with the bust standing up right, the direction of the movement has shifted from a gravitational pull to a horizontal plane. It is this effect, especially seen in the *first two images* of

movement, speed, something pushed through and moving in force in one direction, that we want to achieve. Even the resultant of the plastic blobs in the last image has a feel of movement in one direction.

NICK VAN WOERT

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In a similar vein, Jason Payne’s disco balls have taken something so familiar and well-known and altered and distorted them. The work questions ideas such as, how much change do you need to make until it is not a copy? What are those changes? Scale? Materials? The changes are subtle but the result can be almost uncomfortable with having something that at first is so familiar but then seeming that little bit…different and distorted until it is actually something else. Payne’s mirror balls can be seen to touch on the idea of asteroids, with their organic geometry and edges. We wish to capture a similar sentiment with our ‘alien’ landscape, make the viewers take a double take and keep them on edge.

JASON PAYNE

Revolving around this notion of “ABSENCE AND ACTION”, what we want to evoke is the image of: something was there and crashed into the areas, leaving some “craters” behind. Prompting further, if not conscious then subconscious. We hope to

prompt questions in viewers head, leaving impressions in their minds. Questions of, What was here? What was moving at such force? The idea is: that you cannot see the actual object, only the affect of it.

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TECHNIQUE: DEVELOPMENT

To tranfer our ideas into actual model, we first think of draging the "table cloth" over an object to create a geometry that looks like something has just hit into it and left only the effect behind (refer to the photo shown on the right page). Yet it did not work proporly. It is possible to create a very gental and natural geometry showing an after-touched surface, but our goal is to reach a harsh and intense effect. Attempting to solve this in Grasshopper by changing the stiffness of the Springs, we moved the number slider but then the mesh became too stretchy and it no longer looked like a ‘drape’. The resulting geometry is more like a soft force slamming into an invisible plane, which is way too gentle comparing to our “Absence and Action” notion.

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Extrude all vertical and horizontal

structures intercept each

other.

Select any of the intersections as reference point

Extrude and thicken all horizontal

strips that has intersections

Do the same to vertical stips

Create a cube in the ribs

intersection

Spinning through the cube on both sides of original

cube

Trim edges of ribsDelete the original

cube, keep both the ones at bottom

and top.

Set sliders to intersect the new generated cubes

Delete original cube and one of

the protruded ones

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Grasshopper- points on MeshSphere

MeshGeometry in Grasshopper

(sets shape of holes or additions)

Set a MeshSphere in Rhino

Addition/Subtraction

from original shape

Join additional shapes with

original

CustomPreview

The second method that we tried was using the "meshsphere" command (refer to left page). We create the "crater" straight away instead of making the actual object first then drag things over it. This gives a even more mysterious feeling to our project -- as we don't even know what the actual object is! "Something has just rammed into this place." or "What exactly are they?", these become the questions for not only viewers, but also us. After we set the meshsphere, we create points onto the surface, following by additions and subtractions of surfaces. After we have done the sphere, use "Meshsplit" to cut it in pieces. At the same time, it does have some disabilities in this method too. For instance we could only create unified shape with the same size on the sphere, this has reduced the curiosity of the project.

We end up choosing this definition as it is more suitable for the Wyndham City Gateway Project. In the further design, we will focus on techniques which are able to create different apophysis, in order to get a more "alien-like" project (matrix shown on the next page).

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TECHNIQUE: PROTOTYPE

In order to get the fairly smooth surface, we decided to go with 3D print. Furthering our design, we developed the initial approach, which was strips and folding, to the idea of casting. As we wish to develop our structure out of metal, we believe this will give us our ideal form as well as be able to reflect light and the surroundings to a degree. Thereby we have looked up some casting methods. For example the normal casting, vacuum forming, and explosive forming.

The model making sequence is pretty simple. Exporting the model as a STL mesh file, then send to the Fablab for 3D printing. As our model will be position upright to a degree, it is a problem how to make it stable on ground.

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This is the Vein Structure designed by a student in 2012. The root of this structure is very inspiring. Instead of having those “pipes“ insect into the ground, we thought that it will be more appropriate for our model to embed into the ground. Because these “craters” are meant to be smashed by something huge and the “invisible plane” will be deform and intersect with the ground.

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EXPERIMENTAL SITE

PLACEMENT

At the stage of experimental site placement, we used dough as our site, then randomly throw the golf balls into the dough to create an “unexpected crashed” view (the dough and golf balls are not on scale, we only need a rough scene). The “craters” are mainly concentrated at the area near the Wyndham City, as they are in No-Man’s Land area, which is the gradient zone between Melbourne and Wyndham in our design concept.

We also placed chains at the center of “craters” in order to experience the view of connecting those craters. In the later design, we will try more chains/lines with different thickness to explore our idea.

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TECHNIQUE: PROPOSAL

Thinking about the gateway approach, We wish to create something that jolts the viewers into remembering their surroundings, into being aware and appreciating their surroundings, and asking questions, considering the past and recent history, and encourage them to look around and observe all landscapes they pass through, be it a large city or a smaller town. As we all know, Melbourne City is a place that is completely different from the Wyndham City. The best option to emphasis the wonderfulness of the space between them is to exagerate its mystery, which is exactly what our idea approaching.

In order to enable the curiosity or viewers even when they are still from a far distancemaximum, we wish to maximise the expression of negative and possive space. Therefore, we finally decided to have the “craters-like” objects as our preliminary model of the final design.

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We think that the innovation of our design is its “INVISIBLE VISIBILITY”. To emphasise the idea of a border crossing, rather than literally having a gate and booth, we want to create a no-mans land which is different to both city and suburban areas, to emphasise that there is a difference/border between these two places yet reminding the viewers they are in unity when viewed at a different scale. The object that so obviously crashed into this (invisible) plane and left such an impression (the craters) can be seen as the gateway, the first initial that occurs. The ‘no-man’s land’ between the two territories on either side of the border, is this alien-like cratered landscape. Finally, as you pass through, the resolution you feel as you exit this ‘alien’ landscape and feeling that you have passed through a different landscape into a new one, is the resultant object of the experience. Our idea of creating craters that are upright and vertical is thereby reinforced. We want to create an idea of an invisible, vertical plane that has been smacked into by and object and what is left is what will be our physical design that shown on the left page.

We have designed to spread these crater like objects at specific locations of Site A and Site B, because our main idea is more of the direction towards to the Wyndham City, therefore Site A and Site B would be more suitable. We hope that the positions of the craters are what really make this alien landscape and arouse curiosity, as the actual object and force that created this things isn’t on site and is no where to be seen but instead what viewers get is this aftermath and makes them question and talk about after -- what happened here?

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During the Grasshopper exploration processes, I have learnt a lot of techniques in terms of model making. Among them all, I picked up this as my best algorithmic sketch because I found this is the most excited and the most helpful one according to our design.

First of all set up a “Meshsphere” as I was attempting to create a semi-sphere “crater”. After that, note in “Populate Geometry” to add points on mesh; “Mesh Difference” and “Mesh Intersection” to select specific area that I want to work on later; following by “Weaver Bird’s Join Mesh and Weld“ to join all the selected area to create the form that I want; view-off those area that I don’t want; add “Mesh Smooth” to the parts that I am going to achieve a smoother surface. Then I have the all done “after-smashed ball”. At last, I create a plane cutting through the ball and use command “Meshsplit” in Rhino to split the “ball“ to “craters”.

Our design thinking is reinforced by this definition. Later on we changed some of the notes based on this, creating a “pop-out” effect instead of this “digged out” effect.

ALGORITHMIC SKETCHES

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During the Expression of Interest Presention, we had a lot of very helpful feedbacks from crits.

Some advantages that we should keep ----1) The way Nick van Woert and Jason Payne’s work resembles qualities of a reference object.2) Ideas are innovative and attractive, keep it and explore more on it.3) The front and the back of craters has been considered.

Some drawbacks that we should reconsider ----1) We should not only operating using the sphere geometry, but can also experiment looking at other geometries such as triangles, hexagons, etc. This will let us explore new angles and space for our design.2) Look at more precedents, don’t limited on art but also have a look at natural (or unnatural) processes such as asteroids, lunar maps and so on, focusing on how and why they do so.3) Explore more possibilities of patterns on “craters”, try different sizes and the degree it pop-out, or even try different patterns (don’t restrict on only spheres)$) Site and scale --- what are the affects of different locations?5) Other possibilies of how the landscape itself is being destroyed by one object -- or even by smaller ones after.6) Create artefacts of multiple scales and distribute them around Wyndham. Load a series of images as if it is something that did happen - infiltrate social media etc with story.

LEARNING OBJECTIVES AND

OUTCOMES

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In the future design, our group will firstly be researching more precedents not only in art work but also in other areas. After it we will be experimenting different geometries as well as various combinations by using Grasshopper. In larger scale, we will also consider the locations of the craters on site, thinking critically why they will be placed at specific place rather than others. Besides we can further thinking that can the site be “smashed” twice to create a more complex outcome? These will be part of the questions prompting in our mind at the later designing stage.

The theoretical research tasks have really affected my knowledge of architecture and the roles of computation in the design process. Through the researches in this EOI part, I have noticed more about the algorithmic world. As we have looked at a lot of art work and parametric architectural work, we are more familiar with what algorithmic softwares can bring or can create. It is also very inspiring reading the intents of the theoretical researches, as we are shown the linear designing thinking through the whole process.

Finishing the Expression of Interest, I think I am now able to create, manipulate and design using the parametric modeling. I am able to transfer design into actual models like what I did during the previous matrix. However there is still difficulties occuring when using Grasshopper, but I think that is the thing that will push me forward in the future study.

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http://wewanttolearn.wordpress.com/author/kristinesulca/

http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/

http://www.co-de-it.com/wordpress/loop_3.html

http://viata-in-isus.ro/architecture-parametric

http://www.biothing.org/?cat=5

http://colormute.com/nick-an-woert/

http://www.aud.ucla.edu/news/assistant_professor_jason_payne_50.html

REFERENCES

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