ADS: AIRJournal

Nur Aisyah Mohd Rozi573040

CONTENTS

1.1 Case for innovation

1.1.1 Architecture as a discourse

1.1.2. Computing in Architecture

1.1.3. Contemporary Scripting

1.1.4. Conclusion

1.2. Research Project

1.2.1. Input/Association/Output Matrix

1.2.2. Reverse-Engineered Case Study

1.2.3 Fabrication

1.2.4 Research Project Conclusion

1.3. Expression of Interest Conclusion: Competitive Advantage

1.4 Learning Objectives and Outcomes: Interim

Part 1: Expression of Interest

2.1. Concept

2.2. Project Interpretation

2.3. Design Intent

2.4 Project Development

2.3.1. Placement & Height

2.3.2. Colour Palette

2.3.3. Form Finding

2.3.4 Materiality & Construction

2.5. Model Making

3.1. Personal Background and Learning Objectives

3.2. Learning Progress

3.3. Learning Outcomes

3.4 Future Work

Part 2: Project Proposal

Part 3: Learning Objectives and Outcomes: Final

References

Architecture is often defined as art. Contrary to many thought, architecture is not ‘owned’ by architects, rather it involves multi-disciplinary group of people, including the public. Often we expect architecture to be permanent and unchanging, revolutionary in some ways, as well as aesthetic brilliance and we are disappointed when buildings do not achieve it. Architecture exists because of client, and it is client who determines the function, specifications, location and above all, costs. And architects are required to work within these paarameters. Architecture needs to be analysed as discourse. It then becomes possible to think about architecture as something in which cross-discipline can participate. 1

Architecture is constant communication process that produces swarm-formation of cross-referencing elements. Though rapid published material dissemination, the total mass of communications is relevantly connected to an unprecedented, global scale at unprecedented speed.2

Looking back at the past and ongoing achievements, the architectural process will move on to point to emerging challenges that call for new concepts, procedures and turns of argument New communication structures will be promoted serve to update and upgrade the discipline.3 With addition of new technologies, new ideas, new ways of thinking whether directly linked to architecture or not may contribute in discourse that changes the discourse.

1 Richard Williams, 'Architecture and Visual Culture', in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh; Edinburgh University Press, 2005), pp. 105-108

2 Patrik Schumacher, 'Introduction : Architecture as Autopoietic System', in The Autopoiesis of Architecture(Chichester; J. Wiley, 2011), pp 3

3 Patrik Schumacher, 'Introduction : Architecture as Autopoietic System', in The Autopoiesis of Architecture(Chichester; J. Wiley, 2011), pp 8

1.1. CASE FOR INNOVATION1.1.1. Architecture as a discourse

1.1. Case for Innovation

1.1.1 Architecture as a discourse

1.1.2. Computing in Architecture

1.1.3. Contemporary Scripting

1.1.4. Conclusion

City ForestExtreme Park & Leisure

City ForestExtreme Park & Leisure

City Forest City Forest is a response to the site, by identifying the needs of the people and the surrounding area. Designed as a gathering place, eateries, leisure and extreme sports center, it is intended to be integrated with the site, for a seemless entrance, giving the public an idea of the place being theirs to explore, just like a park -what it was before Therefore, a second thought is not required because it seems like it is part of the public space in the fi rst place.

MAIN PROGAMMES: SKATE PARK, WALL CLIMBING, EATERIES, LOUNGE, PAINTBALL

Rethinking the Design: The form of the design could be explored further if parametric modelling method is used as there would be more freedom to further develop the design to fully express the original intention.

This seemless integration is achieved by having main access all around. Wide, shaded multiple entrances are also carefully designed to achive this purpose. This is enhanced by the skatepark on the ground fl oor, which is facing the LASALLE College of Arts that is accessible to the public. The organic forms around the skatepark promote the public to watch the skaters in a different way, other than acting as a safety barrier.

Intention: This building referenced to the idea of forests, to contrast the rapid urbanization in Rochor, Singapore.Among the translated reference to the building are, light puncholes, obstacles, uneven levels, organic forms and void within solid.

This school building was designed by Walter Gropious and it is one of the most influencial design for modernist architecture and modern design. Not only the exterior building is so spectacular, in a way that the Gropious seem to foresee the architecture in the future, which is currently, the interior also plays a major role into setting a discourse in architecture as well designs.

The interior of Bauhaus, some of which designed by Mies Van Der Rohe, like the exterior, is very modern, minimal and elegant. Show it to a layman who had never seen it before, and he would think that it was designed in the 21st century. This proves that Bauhaus has set a discourse not only in architecture, but also in interior design. From there, other fileds are also picking up on modernism, including arts, graphics, industrial design, and typography. All moving into the direction of modernism, rejecting traditional and cultural references.

Image Sources: Right: Bauhaus, Wikipedia.Com, <http://upload.wikimedia.org/wikipedia/commons/e/e1/Bauhaus.JPG> Viewed 6 Mar 2012Left Top: Bauhaus, Wikipedia.Com, <http://en.wikipedia.org/wiki/File:Bauhaus-Dessau_innen.JPG> Viewed 6 Mar 2012Left Bottom: http://3.bp.blogspot.com/_HXu8E-Z2HHA/Sed-IQaQSZI/AAAAAAAADoY/O6st5cJQac8/s400/bhdessau2-m.jpg

The Bauhaus Building, Germany,1925

Bilbao Airport, Bilbao, 1990

This building was taken into a whole different approach by Santiago Calatrava. His engineering background was optimized to its fullest by sculpturing them. This building, like many of his works, is a sensational, tactile, complex, yet playful expression of structural forces.

He used traditional materials such as concrete, glass and metal but in a way that is nowhere near traditonal ways and use them appropriately. The repetitive lines (no matter how complex), curving roofs and many other elements merged together to form a graceful sculpture -or an airport.

Calatrava, has created a new, one-man architecture movement as his works do not fit in any other movements. Although this building does not necessary changing the course of architecture, but it does show the possibilities of structure. We are no longer restricted by the materials or methods of construction even by the use of traditional materials that are usually plagued with structural limitations.

1.1. CASE FOR INNOVATION

1.1.2 Computation in Architecture

1.1. Case for Innovation

1.1.1 Architecture as a discourse

1.1.2. Computing in Architecture

1.1.3. Contemporary Scripting

1.1.4. Conclusion

Seattle Public Library Seattle Public Library Seattle Public Library REM KOOLHAAS

Seattle Public Library REM KOOLHAAS

Seattle Public Library

The building consists of eight horizontal layers of varying sizes that are connected to diverse functions of the library. A structural glass-and-steel skin smoothes the multi-faceted form.1 It is built contratry to the modular nature of generic architecture by producing unique dimensions of each panels.

The programs of the building is designed with the ability to mutate to meet its future functions, which is the core design motivation for this building.

The design of the building was made faster and more effi cient using computational methods.

captures the “culture of congestion” by defying the generically modular nature of most modern architecture2

1. Arcspace.com, ‘Rem Koolhaas OMA Seattle Public Library’, Arcspace.com (2004) < http://www.arcspace.com/architects/koolhaas/Seattle/> [accessed 14 April 2012] (para. 3)2. Becker, Lynn. ‘Sleekness in Seattle’, Lynnbecker.com (2003) < http://www.lynnbecker.com/repeat/seattle/seattlepl.htm> [accessed 14 April 2012] (para. 6) 3. Image < http://farm7.staticfl ickr.com/6046/6217375634_3cc065864d_z.jpg> [Accessed 14 April 2012]

The project aims to enhance urban functions by opening access to the riverside and dock. The resulting design serves as an urban and iconic gateway while establishing guangzhou as one of asia’s cultural epicenters.

Zaha Hadid architects: Guangzhou Opera House

Image Sources: <http://ineedaguide.blogspot.com.au/2011/02/guangzhou-opera-house-by-zaha-hadid.html> Viewed Mar 2012

Zaha Hadid architects: Guangzhou Opera House

Image Sources: <http://ineedaguide.blogspot.com.au/2011/02/guangzhou-opera-house-by-zaha-hadid.html> Viewed Mar 2012

I fi nd that the rapid turns and movements throughout the building are particularly interesting ways to create unexpected, and exciting effects, toying with human sense of curiousity and seems almost interactive in that way.

The sense of unpredictability is also expressed in the exterior of the building forming a more organic forms that compliments the environments around it.

CreativityDesicision-making

Error-free arithmeticMemory storage capability

“Computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design process.”1

1 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 22 “Diagram” author’s own

two-way communication

Error-free arithmeticMemory storage capability

“Computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design process.”1

Accurate executionPerformance driven result

Computational methods are often criticized as influencing the designer’s final outcome. However, I believe that computational is merely a tool for the designers to realize their 3D vision that are often incomprehendable when expressed on paper. It may be possible, but to come up with accurate, buildable design may take a long time.With computational methods, however, designers have total control to what the outcome would be and able to produce exactly as intended, in a more accurate, systematic manner.

1.1. CASE FOR INNOVATION 1.1.3 Contemporary Scripting

“Scripting affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time.”1

1.1.3 Contemporary Scripting

1 Mark Burry, Scripting Cultures: Architectural Design and Programming, (Chichester: Wiley, 2011), pp 8

(n)arcissus is a site specifi c installation designed and produced by SOFTlab for NODE10. The form of the piece is controlled by over 1000 custom panels and the 2 rings. The skin of twhe piece is made of three layers of Mylar. The shape of the panels changes from a square to an x shape based on the position of the panel in relation to the space. Two of those layers change in reverse to produce a gradated color on the outside.The installation is made of over 1000 laser cut panels of Mylar and vinyl and metal snaps.1

Viewers confronted with distorted images of themselves by the narrow refl ective create a more interactive medium between the piece and the viewer.

1 DesignBoom, softlab: (n)arcissus, http://www.designboom.com/weblog/cat/8view/12406/softlab-narcissus.html Viewed 8 Mar 20122 Moussavi, Farshid and Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), pp. 10images: DesignBoom, softlab: (n)arcissus, http://www.designboom.com/

Extent of body is revealed gradually as viewers enter the lobby and extend to the stairs.Radical change from points to points due to the double skin

1 DesignBoom, softlab: (n)arcissus, http://www.designboom.com/weblog/

2 Moussavi, Farshid and Michael Kubo, The Function of Ornament

DesignBoom, softlab: (n)arcissus, http://www.designboom.com/ (n)ar

cissu

sExtent of body is revealed gradually as viewers enter the lobby and extend to the stairs.Radical change from points to points due to the double skin

.The interplay between depth (form, structure, screen or surface) and a specifi c material (such as program, image, or color) produces the ornament (for example complex tilings, perforated screens, or structural patterns) which transmits unique affects in each case.2“

“

This section of the EOI sought to explore the design process and possibilities of computational methods through matrices of definitions, materiality and fabrication linking to emerging design intentions.

1.2. RESEARCH PROJECT: CUT

1.2. R

esearch

Project

1.2.1. I

nput/Asso

ciation/

Output Matrix

A definition using grasshopper and is projected through Rhino 3D software. This is a shot taken from top view of the difinition that will be explained on the next page.

This is my first definition created from the input/association/output matrix, which is find highly rewarding because it gave me an insight of further understanding of grasshopper.

This effect is achieved by manipulating boolean patterning so that the extruded heights is based on the image sampler provided. Manipulation of colour using gradient was also explored.

UV Surface RemappingUV Surface Remapping

Geometric Boolean Patterning

1.2.1. Reverse-Engineered Case-Study

1.2. Research Project

1.2. Research Project

1.2.1. Input/Association/Output Matrix

1.2.2. Reverse-Engineered Case Study

1.2.3 Material Effects

1.2.4 Assembly Methods

1.2.5 Research Project Conclusion

1.2.1. Reverse-Engineered Case-Study

1.2. Research Project

Ned Kahn, Articulated Cloud

The building’s skin is comprised of thousands of translucent, white plastic squares that move in the wind. This case study invites the exploration of kinetic paneling and making the panels dynamic through digital tools. Parameters that may have to be considered are the shape, dimensions, jointing and material as they all work as a compound to create movement. The idea of interaction with natural elements may be reinterpreted as visual interaction for the purpose of this gateway project.

CUT Case Study Analysis

Herzog & de Meuron, De Young Museum

The perforation and debossing of the building’s skin are translations from the surrounding digital photographs. In studying this case, several parameters must be taken into consideration including diamete, depth, dimensions, and shape. The distance between the layers matters as this influence light penetration from different angles.

Image Source:Left: Ned Kahn, Nedkahn.com, <http://nedkahn.com/art/portfolio/wind/x-large/articulated_lrg.jpg> Viewed 28 Mar 2012Right: Christine Killory, and René Davids, ‘De Young Muesum’, in Detail in Process. 1st edn, Asbuilt (New York: Princeton Architectural Press, 2008)

1 Faulders studio viewed 22 April 2012 <http://faulders-studio.com/proj_airspace.html#>Image Sources: http://faulders-studio.com/proj_airspace.html

` The intention of the perforated screens is as an architectural system that performs with similar attributes to the previous razed residence uniquely wrapped with a layer of dense vegetation, to create a new atmospheric space of protection as wells as light infiltration. AirSpace is a zone where the artificial blends with nature: sunlight is refracted along

its metallic surfaces; rainwater is channelled away from exterior walkways via capillary action; and interior views are shielded behind its variegated and foliage-like cover.1

This architectural approach can be said as functional approach to ornamentalism.

Faulders Studio (2007)AirSpace Tokyo, JAPAN

The reason why I chose voronoi is because I was intrigued by perforated effects created by voronoi components. Furthermore, they are created from specified distance between points, which gives total control over the perforation while still maintaining the random look.

I also feel that the perforated effects may have potentials to be incorporated in our ideas that we have discussed as a group. This, possibly layered using our choice of materials may produce the kind of effect that we are looking for, which is reflection effects.

The perforation may reduce chances of glaring and having it layered may also result in unexpected effects.

However, challenged posed when going with this for our design is making it a unique architectural design.

Voronoi Exploration

Possibilities of Voronoi boundaries were explored instead of the usual rectangular bound limitation. What I have done here is referencing the surface as the boundary of the voronoi. It was a pretty complicated task for me given my incompetency in grasshopper, but I managed to achieve what I intended.

Idea of unpredictability

Development of Ideas

This idea can be found in Zaha Hadid’s GuangZhou Opera House as well as (n)arcissus installation by Softlab and proven to be successful in capturing attention.

This concept of unpredictability may be achieved in many ways such as dynamism in forms, varying materials (another type of material revealed when seen at a different angle) through manipulation of double skin, as well as using interactivity (whether visually, through movements, sounds, and so on) as an added element of unpredictability where the object is not just a static object but able to interact with viewers.

Intergrating Nature

Using Light

Questions of how to integrate nature into the gateway design arose. Preferably a structure that can sustain on its own; very low maintenance as an iconic public gateway.

Among the natural elements that could be used are:LightingWind

From previous architectural works, it is proven that lighting can have great impacts in adding poetry into the space. Light can be manipulated in various ways through shading, infiltration, reflection and so on.

From the idea of lighting, a step back is taken to find the sources of light. Looking at the site, there are several sources of light - headlights, billboards, streetlights and of course, sunlight which comes in several forms; dawn, mid-day light, and sunset.

1.2.3 Fabrication

“Design, is a purposeful activity, aimed at achieving some well-defi ned goals”1

1 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 52 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 10-13

Problem AnalysisThis is the process of identifying all the elements of problem, including the goals, constraints, and possible side effects and aftereffects. The result of this phase is a list of specifications.

Solution SynthesisThis is the creative phase of the design process, where ideas and possible solutions are formed that might address the goals, constraints and opportunities established in the earlier phase. It is induced by searching through solutions that conform to the specifications in a mechanical manner.

EvaluationEvaluation compares the proposed solution to the goals, constraints and opportunities developed in problem analysis phase, to discern compatibilities and conflicts and to establish the degree to which the proposed solution satisfies the performance criteria.

CommunicationCommunication allows all participants to become informed of the evolving goals and solutions, to help generate or evaluate solutions. Recent addition of computers to the repertoire of means of communications has expanded access to information and opened up the design process for more people to become involved.

Process of designconsists of four intertwined phases2

Design Method

Search It is a process we engage in when the outcome of an action cannot be fully ascertained in advance.Search processes involve two steps: (1) producing candidate solutions for consideration, and (2) choosing the “right” solution for further consideration and development.

Search processes are so common in problem-solving, that they have received special attention in field of artificial intelligence, a branch that is devoted to the study or search methods including:

Depth first: Method to explore solution to its logical solution before another candidate solution is determined. (fig 1.0 top to bottom,

Breadth first: Exploring several alternative ways to develop candidate solution before taken to logical conclusion. (fig 1.0 left to right, top to

Best first: Evaluating all currently available solutions and choosing the most promising for further development.

Fig 1.0 Demonstrating task of fitting seven pieces of Tangram puzzle into a square box

Fig 1.0 Demonstrating task of fitting

Source: Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 18-23

Constraint SatisfactionThis method looks into solution to the problem. This can be realised by adding constraints until all but a few or only one solution remains, making the selection of the satisfactory solution trivial. However, most design problems are under constrained. Thus, designers must impose additional constraints to make the selection process more malleable. They can be in a form of abstract aspirations, such as aesthetics or messages or as concrete as particular structural system.

Rule-basedThis method often (although not always) dispenses with the rationale underlying the rules in favor of presenting in a concise, stepwise manner the process of effectively accomplishing some task.

Case-basedGiven that many design problems must meet similar goals, it is natural that the solutions that meet them are similar too.This phenomenon, which is not unique to architectural design, gives rise to an important design method— precedent-based design

White perspex

reflective sheet

black card

green card

Materiality

Realisation

We have decided to use voronoi as starting point of our exploration. We are intrigued by the flexibility of voronoi that can explored further in conjunction with choices of materials to achieve the desired effects according to the ideas developed.

On the left is our voronoi, bare, photographed on its own to explore the shadow it is casting as well as the luminosity of white perspex as light penetrates

Here, we added a reflective sheet onto our voronoi and photographed it. We were very excited to see the juxtaposition it created; one side produces shadow, and the other produces light.

Immediately, another range of possibilities were exposed by playing with this material to create unexpected effects.

This is the highlight of our experimentation; our main ideas of reflecting light in an unusual manner where not only it reflects lights from headlights but also reflects a dash of colour for a stronger impact. For this prototype, we have combined several materials. First, the reflective sheet. Second, in order to reduce glaring and produce subtle effects, we added another layer in front of it as a filter and while at it, we added a sheet of colour on its back just to give a hint of color to the reflected light. The outcome of the black facade seems almost invisible at night and becomes visible during the day against a landscape background.

In relation to the project, by utilizing the headlights from the cars, it creates a kind of visual interaction between the gateway and the highway users. We feel that this prototype gives a lot of potential for further development.

This is the highlight of our experimentation; our main ideas of reflecting light in an unusual manner where not only it reflects lights from headlights but also reflects a dash of colour for a stronger impact. For this prototype, we have combined several materials. First, the reflective sheet. Second, in order to reduce glaring and produce subtle effects, we added another layer in front of it as a filter and while at it, we added a sheet of colour on its back just to give a hint of color to the reflected light. The outcome of the black facade seems almost invisible at night and becomes visible during the day against a landscape background.

In relation to the project, by utilizing the headlights from the cars, it creates a kind of visual interaction between the gateway and the highway users. We feel that this prototype gives a lot of potential for further development.

This kind low rise lighting has created a very bold and strong shadows. The way the perforations were made also helped creating the kind of strong language reflected on the shadow. We also found the shadow in this image is quite powerful.

Colour GradientsWe’ve discovered that light penetrating through a luminous sheet creates a gradient of colour that we found very interesting. In this case, it created almost sunset-like colours that we all love and admire.

Video Snapshots video link: http://youtu.be/oB6jgT_LRC4

DAY TIME: Sunlight passes through the sculpture to cast shadows on the ground while the reflective material showcase the hint of colour as well as reflection of the landscape and passengers.

NIGHT TIME: Headlights become the main lighting for the sculpture, illuminating the sculpture as they pass through to create variable lighting effects. Lights are either reflected, refracted or passes through the sculpture through the perforations.

1.2.4. Research Project Conclusion

Intention & outcome of project

From the physical model produced, it is evident that the prototyping is successful at producing the intended effects. Based on personal opinion, it is due to the combinations of materials used that produced effects and in fact, it performed better than anticipated. However, the materials alone would not work without the correct assembly method (layering). The perforations also helped in casting shadows and toning down of the reflection.

Shortcomings & Limitations

The physical model produced is a flat plane. Therefore, challenges may appear (whether expected or not) when applying 3D form into this same approach. Arguably, these challenges may be technical and/or construction challenges.In real life scale, the headlights may not reach the sculptures as strong as demonstrated in the video and photographs due to the setback requirement. Thus, possibly a new approach must be used in order to capture the right amount of light to create the desired effects.

1.2. Research Project: CUT

1.2.1. Input/Association/Output Matrix

1.2.2. Reverse-Engineered Case-Study

1.2.3 Fabrication

1.2.4 Research Project Conclusion

1.3. Expression of Interest Conclusion: Competitive Advantage

Site Criteria

The design need to be understood quickly as it is viewed from moving passengers at speed of 100km/h.

Depth of design; the design has to look good from afar as well as close-up and at all angles

Consideration of night time visibility

Low maintenance and long lasting installationVic roads safety requirement: setback requirement as specified

Brief Criteria

Eye-catching and exciting

Brings or showcase the identity of Wyndham

Inspire & enriches municipality

Enhances physical environment

Find a contented medium between abstraction & accessibility

Design Philosophy

Find a way for the installation to be interactive with the viewers

Active experimentations through digital technologies

Engages and contribute to architectural discourse

Invites inter-disciplinary discussion through breadth in design

Design Criteria

Visually engaging and interesting to entire community and beyond

Design not to be limited to the site but extends the identity of Wyndham and promotes discourse in parametric design

The installation has to serve beyond the site, i.e., websites, postcards. Therefore, it should look as good or better in photographs.

1.4. Interim: Feedback & Further Development

ContextDeliver sun path and headlights study to help finding solution for the ultimate location for the installation.

Consider implementing a more contextual meaning or concept into the project to satisfy the project brief.

Form Finding

Start working on form-finding for the best way to maximize the material effects and break away from the basic plane produced.

Find ways to escape the voronoi components as it may seem too similar to other buildings that are using voronoi.

Work out the pros and cons of the prototype model in order to find the solution that is totally different while still keeping the pros.

ScaleA proper scale must be considered and established for the purpose of this project. It should not be too big, as that may seem redundant (not to mention expensive) and it should not be too small either as that may not make successful impact.

Part 2: Project Proposal

The sculptures have been created as a response to the existing conditions on the site. Motorists travel the site past during both the day and night. Thus, the sculptures have been designed so that they appear to change forms and materiality depending on the time of day they are experienced. Natural daylight enhances the sculptures by allowing the coloured backing of the otherwise black triangles to reflect off the mirror-like surface, adding colour to the sculptures. The amount of colour reflection experienced by viewers is dependent upon the angle of observation. Given that the sculptures are viewed at a fast speed (80-100kmph), the changing colours appear to also be a change in form.

At night, when little light is experienced on site aside from that produced by the passing cars headlights, the sculptures disappear

into the surrounding darkness, and are only illuminated when struck briefly by the headlights of travelling vehicles. This effect creates a connection between the viewer and the sculpture which would naturally increase the viewer’s interest and attention. The triangulated components hung from the facade act as a screening device so that harsh light emitted from the sun or high beams at night do not cause too much glare and blind the driver.

The overall layout of the series of 11 sculptures has been aligned with the layout of the Wyndham City Council’s 11 different regions. The heights have been determined by the projected population growth bracket that the specific region falls into. The sculptures are thus representative of the predicted future growth of the Wydnham City Council region.

2.1. Concept

2.2. Project Interpretation

Cultural Response

Viewers

Image of Melbourne Wyndham city

Consideration of cultural integration into final design

Preserving or showcasing identity of Wyndham city

Viewing audience moving at speed of ~100kmh

Viewers of all ages and background (different opinion and interpretation)

Potentially global viewers (through media, postcards, phtography)

Our understanding of this project brief is to design an iconic gateway for the city of Wyndham that showcase Wyndham as a modern city.

Site Response

Function

Deliverables

Understandable or impact within few seconds of view

Considerations of environmental conditions of the site.

Considerations of demographics of passengers

Enhancing physical environment of the site

Memorable

Photographable

Iconic

Allow and encourage discussions

Inspire and enriches municipality

Low maintenance and long lasting

Depth of design

2.3. Design Intent

The Wyndham City Council Gateway calls for an innovative design that addresses a number of issues. In this proposal, the following have been considered at every stage of the design process.

IMAGEThe Gateway Design will represent the City of Wyndham.

ICON The sculptures will be iconic predominantly for the City of Wyndham, but they will also be iconic for people on a local, national and potentially global scale.

DISCOURSE The sculptures add to the discourse of architecture; they have been computationally designed using contemporary design tools. The resulting form of the 11 sculptures is unique, making them easily identifiable naturally allowing the district to become better known.

CELEBRATIONThe gateway is a celebration of the success and rapid development of the City of Wyndham.

SIGNIFICANT It is a requirement that the design of the gateway creates a significant impact.

Headlight Illustration

PerspectiveThis image shows two different perspectives where one barely revealing the colours when looked at a perpendicular angle (back) and one revealing more colours as the angle changes (front).

2.4. Project Development

NM

Placement Strategy

We created a set of 11 installations, each representing a suburb within Wyndham. In determining the placements of the installations we took a map on Wyndham and overlay them on the site. All of the installations are placed to on the center of each of areas of Wyndham city and we worked out where on site is suitable for the installations to exist. We then resized the map (therefore distances between each of the installation) to fit ensure that the highway is fit in between them.

SITE A

Towards Wyndham City >>

5 10 20 40

QUANDONG

MAMBORIN

LITTLE RIVER

WYNDHAM VALE

WERRIBEE

WERRIBEE SOUTHWERRIBEE SOUTH

Quandong0-1000

WyndhamVale

3000-10000

Tarnelt

3000-10000

Point Cook3000-10000

Truganina1000-3000

Laverton

North

0-1000

Hoppers

Crossing

10000-15000

Werribee South

1000-3

000

Little River1000-3000

Werribee

10000-15000

Mamborin0-1000

TARNELT

WERRIBEE SOUTH

2.4.1. Placement & Height

0 - 1000

1000 - 3000

10000 - 15000

15000 - 40000

Height Justification

Heights were assigned differently to each of the installation according to the projected population growth. This marks the beginning of further development and predicted growth of Wyndham city to be reflected in the installations. This allows the future Wyndham city to reflect back on the current predictions of the future and encourage the city to continue growing.

3000 - 10000

SITE B

PRINCES FREEWAY

TARNELT

TRUGANIA

LAVERTON LAVERTON NORTHNORTH

HOPPERS HOPPERS CROSSINGCROSSING

POINT COOK

EMMA WALKER (1969 - PRESENT)

SIDNEY NOLAN (1917 - 1992)

ROBERT JUNIPER (1929 - PRESENT)

ALBERT NAMATJIRA (1902 - 1959)

FRED WILLIAMS (1927 - 1982)

2.4.2. Colour Palette

Colour plays an important role in this

design; therefore, careful considerations of color choices must be established. As we

also rely on colours to create the effects, we

have decided to go with colours found in

Australian arts, to show that Wyndham is a city

that is also attached to Australian cultures.

Colours play important as an added ‘spice’ during the day and

showing only glimpses during the night

The materiality of the sculptures is vital to their success. The accompanying 1:20 scale model expresses the materials and the effect they have. As the reflection of colour and light is core to the design of the sculptures they must be carefully selected and assembled.

The materials to be used in the final project are a steel frame structural system at the core of each sculpture, reflective aluminium com-posite sheeting covers the steel frame acts as a mirror and colour vinyl composite is adhered to a black matte finish vinyl composite that faces inwards to the reflective sheeting, un-seen aside from its reflection.

We have came to a selection of materials and construction methods for the gateway installation. These materials and representations are:

Steel Frame StructureReflective Aluminium CompositeColoured Vinyl CompositeBlack Matte Vinyl Composite

2.4.3. Construction & Materiality

Steel Frame Aluminium Composite

2.3.3. Form FindingAs far as form finding goes, we have decided to settle with triangulations and the prisms as to keep the geometry as simple as possible in juxtaposition to the complex façade. We keep in mind the different ages and background of viewers, therefore we feel that it is best to keep a balance between simplicity and complexity in order to keep the installations easily understood in terms of it forms. Though this may not be the case for the effect created on the façade.

Unfolding The Model

Coloured insides + Matte black triangles ( Vinyl Composite )

After we had our model fabricated, unfortunately we had to stick the colours into the triangulations individually. Painful, but we enjoyed every moment of it. In order to create distance between the reflective sheet and the triangulations, we made small ‘legs’ to stick to. It may not be the best visually pleasing method,

but it was the best method. We considered using pins to punch through the reflective sheet, but through our experiment, it may cause more damage for a scale like this. We spent about three days from fabrication to assembly. Overall, we were very pleased with the results.

2.5. Model Making

Part 3: Learning Objectives and Outcomes: Final

3.1. Personal Background & Learning Objectives

Preceding this semester’s studio, I had no experience with parametric design. I have always been more hands-on kind of person and always avoiding the use of 3D design tools in my previous semesters back in Malaysia (year 1-3). The only 3D modelling I have done was using 3DS Max tool, for 3DS Max class. Other than that, I’ve only used Google Sketchup sparingly as a quick sketch to show to tutors. Hence, I was nervous to hear that this will be the prime focus of this studio’s learning. However, on the other hand, I was looking forward to learn as this will help me become more versatile as a designer in the future. I always wanted to explore computational methods in design further as I realized that during my previous semesters, I could not fully achieve what I originally intended due to my lack of skills in designing with computers. So, I was glad that I will be learning designing using computers as well as arguing persuasively, as these are two skills that I’m lacking at the beginning of the semester.

Week 1The most clueless week. I had no clear idea of the exact structure of the studio and the tasks except for the week’s task. Started playing with Rhino and found the tutorial helpful. Rhino was pretty easy to learn. Also, I found the readings very difficult to read and understand. However, through the reading, I started to see a different perspective about architecture as a discourse rather than architecture as an art.

Week 2I was introduced to Grasshopper and its relationship to Rhino. I must admit, the tutors made me scared to learn grasshopper because the expectation of being able to use it by end of semester and how complicated it seems. I also began to find the required readings more accessible.

Week 3I found the introduction to parametric was exciting. I knew about computational computers before, but I had no idea how it was made, really. All this while I thought 3D Studio Max was as far as design goes, but it is clearly more than that. In terms of grasshopper, I was beginning to grasp the ‘basics’ of it and how it works, although still heavily dependent on tutorials.

Week 4The CUT definition exercise was very helpful for me to understand grasshopper further. I also managed to add more strings instead of relying on the input/association/output provided alone. Unfortunately I was not aware of how to bake the definition into Rhino nor did I have the full version of Rhino at that time. Thus, more of my work were saved as images.

3.2. Weekly Reflections

Week 5I did a reverse-engineered case study particularly on AirSpace, Tokyo. It was a fairly easy definition, made possible through help from the forum. However, the tough part was manipulating it further, including manipulating the boundary, from a rectangular box into whatever surface. Thankfully, with so many luck and hours, I succeeded. There was no specific tutorial I had to refer to, rather more of trial and error.

Week 6We had a very interesting lecture on ornamentations and it put our ideas more in perspective where it is related to creating effects. This also helped us in developing our design and prototype through the case study.

Non-Teaching WeekIn terms of group work, there was not too much progress except for finalizing our ideas for the mid-semester interim crit and started working on the EOI document. I was also catching up on a few missed grasshopper tutorials in effort to learning grasshopper. At the same time, I was also making more cut definitions

Week 7A very hectic week, we came to tutorial and presented our sketches, case study and ideas for prototype. We got a good feedback and decided to go ahead with our ideas. We worked on the fabrication and assembly of our project as well as finalising the EOI document.

Week 8Mid-Semester interim presentation. In my opinion, it went very well; we got positive feedbacks from out tutors and critic. They also had some suggestions for improvements and we took note of it.

Week 9We seek for further feedback from tutors and where to start from our presentation. It was the time where we had to finalize our forms.

Week 10We began experimenting with various forms; over the highway ‘tunnel’, weave-like patterns and many more. We even started thinking about implementing wind into our design. We realized we hit a plateau where we did not know which path to take. At the same time, we had chosen a set of colour palette that we knew we could use.

Week 11At the last minute, we finalized our model and had it fabricated. We assembled our model just in time to get our A1 panels together. Since we had a change in design, I was challenged to create a grasshopper definition that I was not familiar with (Delaunay component) but I managed to do it anyway with many help from grasshopper forum.I must admit that I was confused when I found out that we were still allowed to do some improvements after final presentation.

Week 12It was the moment of truth; final presentation. I would say we did pull off pretty good presentation, at least in my eyes. Of course there’s always room for improvements and the tutors gave us some suggestion for further improvements.

Designing with Grasshopper

Unable to use grasshopper without making reference to tutorials

Beginner’s understanding of grasshopper, sufficient to create own definition. Ability to develop further own learning towards mastering grasshopper.

Communicating visually

Restrictive, boring layout Became more daring at designing layouts

3.3. Learning OutcomesPrior/Beginning of semester VS End of Semester

Photography skills

Flat lighting from camera’s flashDoes not communicate the design well from bird’s eye view angle.

Improved lighting and able to show depth of design.Awareness of angles that better communicate the design

Material Effects

Had no experience of making something very different. It has always been about forms, and plan composition.

Experimented with various effects made possible through material experimentation and grasshopper

3.4. Future WorkThis studio has been a new experience to me compared to previous studios I have had. This is due to the required readings (which I never had in previous studio subjects) and they were proven to promote further thinking. However, it was mostly the opportunity of learning parametric design. Parametric design has proven to be efficient in so many ways. I was able to generate different views for one model and have them converted into a vector image instead of drawing them manually using Autocad which may take one week as compared to 15mins job done using Rhino & Grasshopper. This studio is a starting point for me to further learn parametric methods. Although I may not learn as much as others in this studio (in terms of grasshopper), at least it has given me the exposure, and basics to start with and I believe I can bring the new skills I’ve learned into another level. I may not decide to explore further in parametric but at the very least, I now know that I have the choice to.

Arcspace.com, ‘Rem Koolhaas OMA Seattle Public Library’, Arcspace.com (2004) <http://www.arcspace.com/architects/koolhaas/Seattle/> [accessed 14 April 2012]

Becker, Lynn. ‘Sleekness in Seattle’, Lynnbecker.com (2003) <http://www.lynnbecker.com/repeat/seattle/seattlepl.htm> [accessed 14 April 2012]

DesignBoom, softlab: (n)arcissus, <http://www.designboom.com/weblog/cat/8view/12406/softlab-narcissus.html>

Mark Burry, Scripting Cultures: Architectural Design and Programming, (Chichester: Wiley, 2011) Moussavi, Farshid and Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006)

Patrik Schumacher, 'Introduction : Architecture as Autopoietic System', in The Autopoiesis of Architecture (Chichester; J. Wiley, 2011)

Richard Williams, 'Architecture and Visual Culture', in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh; Edinburgh University Press, 2005)

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004),

Image sources are on individual pages

References

FIN!SH

Heaps of thanks to my groupmates, Cindy & Eliza, our tutors, Loren & Chris and lecturer, Stanislav.