air design journal

AIR

student: Yufei Du 387429

Tutor: Alison & Paul

Architecture Design Stduio

CONTENTS

PART I: EXPRESSION OF INTERES

1.0 | INTRODUCTION AND PAST WORK1.1.A|ARCHITECTURE FAVOURITE

1.1.B|COMPUTING IN ARCHITECTURE1.1.C|PARAMETRIC ARCHITECTURE

1.2.A|CUT PROJECT 1.01.2.B|PRECEDENTS

1.2.C|CUT PROJECT 2.0 GROUP MATRIX1.3.A|FABRICATIONS

1.4.A|MID-TERM PRECETATION1.4.B|FEEDBCK

PART II: PROJECT PROPOSAL

PART III: PERSONAL EXPERIENCE AND

Yufei Du International student from China

Bachelor in Environment, major in Architecture

Never heard about digital architecture, never use computer to design and even hardly use computer software, have basic learning of Rhino 3D and sketch up. For draw software, i could use photoshop and indesign. But i am qiute interested in digital architecture and happy to learn digital architecture technologies and theroies .

part 1.0|Expression of Interest

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PESONAL PROJECTThis is my project for virtual communication in second year: a sculpture which inspired by clock, located in the park of CBD and served as a resting area. This different heights produced various shading when sun rise. Becuase this sculpture is located in the centre of park and there is almost no tall trees which could produde sun shading for visites. So i made a sculptrue which could provide shading for perople. At the same time, people could climb the sculpture and this made it playful. For the materiality, i wanted my scuplture could be part of the environment, so i chose marble and blue stone for this subject. And i hoped those material could provide perople a feeling that they are sitting in a natural environment. Because virtual commnication is not a design couse, this sculpture is more like a skill practice rather than design.

1.1. A |Intro + past project

1.0|INTRODUCTION +PAST WORK

Tadao Ando|Osaka Janpan|The church of the light in Osaka is one of Tadao Ando’s signature architectural works. It is completed in 1999.

why I like it: One of the most important reasons why I like this building is purity: it almost has no ornaments .The purity of this experience exemplifies what I appreciate most about architecture: In pure architecture the smallest detail should have a meaning or serve a purpose. Meanwhile, this idea could trace back to A.W.N Pugin’s principle about design: that all ornament should consist of the essential construction of the building. And Pugin’s idea primarily formed the movement of ‘Art and Craft’. Therefore, I think the design of Church of the light shares fundamental principle with ‘Art and Craft’ movement. The way Tadao creates the sunlight streams through a cross-shaped opening into church of The light. And the structure of the

beams of light fall onto the smoothed concrete surfaces that surround the unadorned room and visitor catch their breath in wonder. For Ando, the Church of Light is an architecture of duality – the dual nature of existence : solid/void, light/dark, stark/serene. The coexisting differences leave the church void of any, and all, ornament creating a pure, unadorned space. The intersection of light and solid raises the occupants’ awareness of the spiritual and secular within themselves.

Futher thinking:Tadao Ando’s design is in terms of creating a space which very much interacts with the visitor and the surrounding with the sense without giving any emphasis and incorporate all the elements into experience. And this interaction and incorporation could be used in gateway project because the Wyndham city gateway project mainly deals with the drivers. Meanwhile, the light could be a interesting element to play with for our project.

part 1.0|Expression of Interestpart 1.0|Expression of Interest

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1.1.A.Architectual Favourite|Church Of The Light01

1.1. A |Architecture as Discourse


Gustave Eiffel|Paris, France|Erected in 1889 as the entrance arch to the 1889 World’s Fair, it has become both a global cultural icon of France and one of the most recognizable structures in the world. The tower is the tallest structure in Paris and the most-visited paid monument in the world.

Why I like it: The erection of Eiffel tower could be traced back to the innovation of material in 18th and 19th century (which is the introduction of iron in architecture aspect). There remind me another famous French architect in 19th – Viollet-Le- Duc. He was seeking for the perfect forms of materials through all his life and he contributed to the development of iron structures by writing a book named Entreties sur I’architecture. I personally think, Eiffel tower is not only a lovable symbol of Paris but also a profound monument in both architecture

architectural aspect, I think the Eiffel tower provided clues of construction of high-rise buildings, to some extent. For example, the Reliance Building in Chicago which created by Sullivan used the light skeletal masses infilled with glazing into its design. And the idea of using iron or steel could link to Eiffel tower.

Further thinking:Through Eiffel tower, I could see the bold trying of new technologies and materials and it is absolutely successful. I believe that digital architecture could be seen as a new trying in our century. Digital architecture uses new design approach and technologies. Even though it is full of controversy (just as Eiffel tower, some people thought Eiffel tower as a ‘hateful column of bolted sheet metal’ at that time), it represents the development in architectural area and I believe people will finally recognize its success just as they recognized Eiffel tower.

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1.1.A.Architectual Favourite|EIFFEL TOWER

1.1. A |Architecture as Discourse

02

COMPUTING IN ARCHITECTURE|

From my point of view, Kalay suggests that the designing process is sort of problem solving process. In “Architectures New Media”, it clearly describes the designing processes undertaken by Architects to solve problem. However, the outcome cannot be reliably predicted due to various constrains like site condition, cost, climate, internally drawn inspirations and so on. Therefore, computer had been introduced for communication reason. During problem analysis, computers are used as superb analytical engine. Basically, Computer could help represent solution graphically and numerically and communicate it to other partners or clients in the design process.

In “Architecture New Media”, Kalay indicates there are two systems for computer. One is analytical systems with enough “understanding” o f the data to be able to provide rational appraisal

o f human designers’ solutions. However, this system could only mathematical problems. Another one is knowledge-based, “intelligent” design systems that can actually propose design solutions for appraisal and further development by human designers. I understand those two systems as computerization and computational system. For most of people, computers’ role is limited in drafting and modeling systems: drawing lines and other geometrical entities that have no meaning to the computer. They just use computer as a tool for organizing information. And this is called computerization.

Over past fifty years, computational system provides more assistance to architects in design process. Computational design use computer as an actual design system to aid in both realization and creation of design ideals. Meanwhile, thousands of potential solution could be found

computerization VS computational system


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Kolarevic, Branko, Architecture In the Digital Age: Design and Manufacturing(New York, London: Spon Press,2003), PP. 3-28

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of computer-Aided Design (Cambridge, Mass: MIT Press, 2004), PP. 5-25

1.1.B.|COMPUTING IN ARCHITECTURE

Kolarevic, Branko, Architecture In the Digital Age: Design and Manufacturing(New York, London: Spon Press,2003), PP. 3-28

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of computer-Aided Design (Cambridge, Mass: MIT Press, 2004), PP. 5-25

by using computational design approach. Along the way, systems have been developed that offer design information storage and query capabilities and systems that help human designers communicate with one another.

Besides, computers could help fabricate and construct the resulting buildings. They could even help us manage the buildings once they have been constructed, much as they control the engine of a car or monitor

elevators in buildings. Kalay also demonstrates that computers could provide an alternative “space” for hum an inhabitation— the so-called cyberspace— which could offer a new stage for hum an activities, from education to commerce to entertainment.

1.1. B|Computer In Architecture

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General information:Geno-Matrix is a genotype driven structure for skyscrapers which according to the changing spatial requirements, can produce potentially infinite scenarios. It can deform itself at the current inhabitation culture.

Why I like it:I like this project because it used digital architectural software to create a very interesting performance of building. Rather than using the conventional architectural design process to generate the form, Geno-Matrix comes from genotype, phenotype, mate crossover, morph, mutation and selection process. In the design process, genetic computing and evolution techniques have been applied with the emphasis on their potential of creating forms that are useful in the production of architectural novelty and originality. Furthermore, the concept of Geno-Matrix is quite nice. The inspiration of Geno-Matrix’s fabrication comes from Lego blocks. Within a modular building system, large quantity of cubic units are fabricated and assembled into a lattice system. Those units can be ‘pulled’, ‘pushed’ or ‘combined’ on the lattice grid along the axis and form infinite typological feature. And I like the way architectural has been recognized: the building is more than a place you could live in, it could also be a thing you can play with.

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041.1.B.Architectual Favourite|

GENO-MATRIX

1.1. B|Computer In Architecture

parametricism: the next architecture style or a momental

phenonmenon?

PARAMETRIC ARCHITECTURE|In a recent piece for The Architects’ Journal, architect Patrick Schumacher clearly claimed that parametricism is a new style of architecture and ‘offers a credible, sustainable answer to the drawn-out crisis of modernism that resulted in 25 years of stylistic searching.’ However, Adam Nathaniel Mayer thought parametricism is just a process which based on computer modelling software. At the same time, Adam indicated that parametric technology only create new forms might seem revolutionary on the surface and parametricism is likely to quickly ‘fall out of fashion’ due to without broader social aims.

In my point of view, their different understands of parametricism is based on different recognises of ‘style’. Patrick Schumacher

proclaims style is ‘virtually the only category through which architecture is observed and recognized. But Adam argued that Patrick ignores the connection between how the public versus design professionals see and evaluate architecture. Therefore, I personally think Patrick Schumacher understands parametricism from a view of architect and Adam Nathaniel Mayer cares more about the connection between public and professional architects. In another word, standing at two different started points, parametric architecture could be understand in various ways and various understandings indicates both advantages and disadvantages of parametric architecture.

ADVANTAGES:The advantages of this technique are quite obvious. One of the key features of parametric design is that it is a flexible technique. Because parametric modeling is a way of searching the right solution under a certain relationship. Under


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this relationship, the form could be changed to become the perfect solution to deal with several issues like sun shading and so on. In my opinion, the best architecture is the right architecture. And parametric modeling technique makes the searching process quicker and easier. It is true that using parametric modelling in architectural design could easily create some crazy, blob-like physical form of buildings. However, as mentioned in NZarchitecture blog, the physical form of building could still be traditional and using parametric modelling ensure architects to design buildings faster and more efficiently than ever before.

SHORTCOMINGS:However, one of the biggest shortcomings of parametric architecture is how to dealing with social issues. First of all, the exponential cost of constructing demonstrates that parametric ways and various understandings indicates both advantages and disadvantages of parametric

architecture. architecture is hard to become prolific within the built environment. Only the wealthy developers like government or international enterprises could afford the cost. And lots of parametric designs (with unconventional forms) are confined to the realm of ‘paper architecture’. Apart from this, parametric design is usually hard to be understood by public, especially for those without any architectural background. For example, lots of parametric buildings or sculptures are designed carefully by computing sunlight, wind speed and other factors. But for most of people, the reasons for resulting in those complex forms are usually simply understood as aesthetic needs.and form infinite typological feature.

1.1. C |Parametric Architecture

1.1.C.|PARAMETRIC ARCHITECTURE

Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.Digital Morphogenesis: Evolving architecture through computationThe blog of nz ArchitecturePatrik Schumacher on parametricism - ‘Let the style wars begin’

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General information This project creates an exterior building skin for a multi-family dwelling unit in Tokyo.

Why I like it I like this project because it is a nice try to creating an environment by using parametric design. This architectural system performs with similar attributes to the demolished green strip and creates a new atmospherics space of protection. Conceived as a thin interstitial environment, the articulated densities of the porous and open-celled meshwork are layered in response to the inner working of the building’s program. I personally think the double layer is a quite unique idea, because it is derived from a compressed combination of unique pattern generated with parametric software. Composite metal panel material is used for billboard backing and infrastructural protective covering. Double layer created a functional environment for residents.

Shortcomings: Airspace shows the public issues with parametric design. First of all, people could not understand the technology


or concept behind the design. Indeed, parametric software carefully examined the sun shading, ventilation and other factors to make this unique pattern of screen.Furthermore, the aim of this design is trying to replace the old vegetation layer with new technology (as artificial vegetation). However, residents of this unit indicated that they missed the old residence which was wrapped with a layer of dense vegetation. Personally, this might be one of the disadvantages of parametric design. Even though it provides better functional performance, it could not suit everyone’s need and replace something like vegetations.

Further thinking:The public issue is also what we want to overcome in gateway project, because this project has a lot to do with the drivers and our design will be meaningless if drivers could not understand it or play with that. Therefore, I think our group should have a strong concept and a straight forward performance for our design. And visual effects like comparisons between light and shadow, see-through and blocking view could be a strong performance.

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05

06

1.1.C.Architectual Favourite|AIRSPCE



PTW Architects|Bejing, China|Located on the west side of Landscape Avenue in the Olympic Green and to the west of National Stadium (Bird’s Nest), Water Cube contains the official 2008 Olympics swimming facility.

Why I like it:The main reason why I like this building is its’ material using. Beijing Water Cube was clad entirely in ethylene tetrafluoroethylene (ETFE), a kind of plastic. ETFE is a light and flexible material that stretches between structural steel acting as a frame when air is pumped in between two layers of them, thus allowing the bubble form on the water cube to be achieved. Apart from that, this material is also acted as the fire-protection for the building. reflected from bubbles that cause a rainbow effect. In this case, the introducing of ETFE achieves a form that highly relates to the design intent: a bubble form as a symbolism of water. The transparency of the material caused when stretched further resembles bubbles. This case reminds me when Louis Sullivan brought steel or iron into architectural structure design. The joining of steel

enabled the invention of high-rise buildings. Personally, the using of new material for building always means new architectural development, to some extent.

Shortcoming:The biggest problem of water cube is it’s exponential cost in both construction and further maintenance. The researches show the price of ETFE is more than 2000 RMB per meter square. At the same time, labor cost and cost for other material like steel are also huge expenses. And this is the limitation of parametric design: it could not be widely built because most of people could not afford it.

Further thinking: The material using for this project could be seen as a great improvement in architecture. It not only created a beautiful façade of the building but also contained other functions like fire-protection and so on. Therefore, I think a new material could provide more possibilities for architecture in both form and functional aspect. In gateway project, it will be interesting if we could involve some new material for our design.

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1.1.C.Architectual Favourite|WATER CUBE

07

08

1.2.A.|DIGITAL ARCHITECTURE| REFLECTION

What I learned so far.....

So far throughout of all the lectures, tutorials and researches, I am pretty enjoying the process of learning digital architecture and parametric design. During this process, my point of view about what is digital architecture and how parametric software influences the design had changed. In the very first beginning, I thought digital architecture is all about the fancy facade, strange shape and poor organization of functional rooms. However, when I gradually learned more presents and read some articles about digital architecture, my idea changed. Personally, parametric design is more like a ‘problem-solving’ process or ‘discovering best relationships between objects’.

For example, the beautiful facade of Air shape in Tokyo seems meaningless when I first looked the picture of it. However, this facade performs with similar attributes to the demolished green strip and actually creates a new atmospherics space of protection. This suggests that this pattern has been carefully calculated: the shape and location of each hole were designed according to the sun orientation. Furthermore, the exercises of using grasshopper provided me a strong sense that parametric design process is a process of discovering relationships of objects. The input and output could be certain, how to achieve the outcome or discovering the relationship between input and output is exactly what we are looking for.


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1.2.A.|DIGITAL ARCHITECTURE| REFLECTION1.2.A.CUT PROJECT 1.O|

MCCORMICK TRIBUNE CAMPUS CENTRE

McCormick Tribune Campus centre is a interesting building which contains various engagement with parametric patterning and ornmentation, each with different purposes and outcomes. Based on this project , i began to make something simple by using the grasshopper definition. First of all, i just change the images in grasshopper. After that, i tried to reduct this project. So i changed both of the image and the sliders. Then, i began to create something by using differnt inputs. Finally, i changed part of the definition.

1.2. A |Cut project 1.0

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Pursuing direction:

Our group is interested in Attractor Point. We decide to use multiple attractor points

Experience the sculpture in different ways: Movement, dynamic, opportunity for illusion will be taken

into account.

Why for Wyndham city gateway project:

First of all, the location of sculpture is near the highway and this means the users (drivers) are always moving. Therefore, multiple viewpoints ensure the users have visual experience all away along the highway even though they are moving.

Secondly, controlled view point guarantee that users only see what we want them to see. Therefore, a certain view or

environment for users could be provided and different visual experience could be applied.

Our group believes a successful sculpture has most to do with users. Our approach could interact with users and provide

memorable visual experience for users.


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Argument:

‘An attractor point informed approach allows for an interactive architecture which can engage the user from multiple viewpoints, presenting opportunities for distorting the user’s perception of space and/or time. This can transform the typically mundane task of driving into a rich and memorable visual experience which reflects ideas about the context.’

1.2.B.|GROUP ARGUMENT

1.2. B|Group argument and pursuing dirction

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General information:Invited competition proposal for the Museum of Contemporary Art at the Luther Burbank Center, Sonoma, CA

This new 7,000 sq ft museum building proposal is adjacent to a freeway and provides an opportunity for the façade to serve as visual icon for the institution. Responding to a driver’s perspective from the road, the building’s surface data of text, color, and architectural openings emerge legibly, only to fully recede from a different position.

Why for our project:First of all, the location of MOCA is same as our project: it is adjacent to a freeway which means it has the same user as our project: the drivers and the cars. Meanwhile it provides a visual experience by responding to driver’s perspective from the road: it requires the movement

to achieve the design intent instead of viewing from one attractor point.

This project is quite interesting and successful because it allows the driver view things without turning their heads, slow down or speed up. And that is what our project looking for: We want drivers enjoy the sculpture without changing anything, without any changes maintain the safety and safety is absolutely important in a freeway.

How we change:Learning from MOCA, our group realized the importance of using multiple viewpoints. We decided to divide our sculpture (which is shaped like a long tunnel) into 10 or even more sections, each section is controlled by different attractor point. Therefore, drivers could view sculpture without any changes.


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1.2 B.PRECEDENTS|MOCA@LBC

1.2. B | Precedents

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General information:The Casalgrande Ceramic Cloud, the first work of architecture in Italy by Kengo Kuma, the Japanese master, and a new symbolic gate of the ceramics district of Emilia Romagna, is located in the municipality of Casalgrande, in the province of Reggio Emilia. The CC Cloud transversally divides the space of a roundabout like a thin diaphragm curtain dynamically attracting the viewers’ sight. The layout plan of the work is oblong and streamlined at the ends and the central section reaches a maximum width of 1.7 metres. It is almost 12 metre

tall.

Why for our project:First of all, the CC Cloud created a new environment by simply dividing the space. This shared similarity of our project, because our group also wants to give drivers a special experience by creating a new environment along the road. Furthermore, CC Cloud is not only a monument that standing in the middle of the site, it became part of the site by using dual character.

The anti-monumental approach went far enough to decide aligning the direction of the ceramic wall with the road that leads to it so as to make it almost disappear: when reaching the site, drivers will only perceive a roundabout divided by a vertical line. Therefore, it played with viewer’s sight and that is what we want to achieve in our project. Learning from CC Cloud, our group was provided a clue of how to produce visual experience.

How we change:According to this project, we decided to increase the length of our sculpture and put another layer of sculpture. Besides, we also tried to learn from the structure of CC Cloud and wondered if we can use this structure: Its 3D structure is composed of nine layers of large technical porcelain stoneware slabs – standard production items by Casalgrande Paraná – placed one onto the others and interconnected by means of thin hidden threaded bars.


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1.2 B.PRECEDENTS|C .C CLOUD10

1.2. B | Precedents

General information:The Signal Box at Basel Station contains electronic apparatus to regulate the signals for trains arriving at and leaving the station. The concrete structure is wrapped with copper strips, allowing a glimpse of the equipment contained within. The copper also acts as a lightning conductor to protect the sensitive equipment from a lightning strike. The concrete core is wrapped with approximately 20 cm-wide copper strips that are twisted at certain places in order to admit daylight. The concrete box that forms the interior-exterior boundary is transformed by a cooper basket which gathers the linear structure of the rails in an envelope of continuous strips.

Why for our project:First of all, the cooper strips which shade the sun without interfering with the view of outside lead to the idea of fins which are suitable to the fast moving users to create a sense of rhythm and the time. Furthermore, it also provides the cule of the construction method for our projects. like how to place the fins with an angle.

How we change:After learning this project, our group decided to use fins as the main form of our sculpture and this helps us later in our matrix processes. And we come put with some idea of how the rhythm and time could be change. W


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1.2 B.PRECEDENTS|SIGNAL BOX11

1.2. B | Precedents

General information:This experimental structure was built for an architecture exhibition that proposed to capture the experiential quality of space, as opposed to the standard practice of presenting images of building on the wall.

Why it is interesting:BKK provides a very interesting visual effect by using an integrated parametric process: a series of operations was undertaken on the honeycomb grid of a geodesic sphere, resulting in a cube of cells converging on a single point in space. This structure was then suspended from the ceiling, allowing visitors to duck underneath and position their heads at the point of convergence. There only the edges were visible, and the piece appeared as a net. As depth dissolves, one senses that one is the centre of an enormous system Leonardo’s Vitruvius Man in a galaxy of mid-twentieth century geometry. Furthermore, the interractive effect is what we should learn from for our project.


Why for our project: This precedent provides a very interesting experience which involves the users. As a sculpture or pavilion, BKK is successful in its artistic shape and for the interactive effect, BKK pavilion also achieve what it is desired. Our group want what we design could provides both sculpture and experience and has most to do with users. Therefore, BKK pavilion is a good start point.

How we change: However, this project is not perfect for us because our project is on the freeway and deal with the movement and this project is static. But the idea that only in the certain position, the sculpture could be see-through (only the edges are visible) could be used in our project. Our group thought that could be a strong visual effect for driver. Furthermore, this ‘see-through’ idea will work even better if there is a comparison for drivers. Therefore, our group deseeded that our design should also block part of drivers’ view by using some solid material like concrete panel.

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1.2 B.PRECEDENTS|BKK PRVILION

1.2. B | Precedents

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This was the first step we took in attempting to recreate our case study. Because we hadn’t read up on the process yet and had no idea where to begin, we decided to create just one of the hexagonal cells and produced a basic understanding of BKK pavilion’s form. Also, we didn’t fully understand the ‘extrude to point’ component and overlooked it. Meanwhile, we created vectors between ht e hexagon and the attractor point. Therefore, the extrusions are overlapping.

STEP 1


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The second stage was discovering ‘extrude to point’ component, because we thought ‘extrude to point’ is a significant step to create BKK pavilion. This attempt was aimed to recreate one of the walls of the box and repeat this for six times to make a box. We first created a wall by using a hexagon grid and extruded it towards an attractor point. However, this attempt was failed for two reasons: 1.all the cells are in same size (which BKK pavilion is not). 2. the adjoining corners/edges would stop the effect of infinite projection

STEP 2

1.2.B.|CUT PROJECT 2.0

1.2. B |Cut project 2.0

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After we knew that this project was originated from a geodesic sphere which had been extruded and trimmed to create the cube shape, we planned to follow this. However, we could not download the geodesic dome model at that time, so we decided to create one by ourselves. So the third attempt was trying to create a geodesic sphere by drawing hexagons on a sphere. But the truth was, all of us had no idea of how to create geodesic sphere.

STEP 3


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Since our group decided download the geodesic sphere after tutorial, we started to figure out extrude and trim process. So we found a model which is similar with geodesic sphere and traced points to frame lines (because this model was composed of solid). Because this was just a test so we only created a small corner and trimmed in Rhino instead of Grasshopper.

STEP 4



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STEP 5


Generally, I thought our model is successful. Basically we shared the same parametric definition with BKK pavilion and this resulted in similar shape and pattern. But there are also some differences. Our group believed the attractor point of BKK pavilion is a central attractor point and trimmed accordingly. However, after we done our model and compared it with the BKK pavilion, we realized that the real project had an attractor point off centre. Thus, our model is lacking of symmetry between the different faces.

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Test of grasshopper defination:

First of all, we developed a grasshopper definition (Variable fin depth with angle) which allowed fins to be created on the surface with varying depth. This depth is aimed to provide visual experience for users. Like the BKK pavilion, this definition allows our model appeared transparent (or as lines) from a certain point. However, this type of model requires user to turn 90 degrees to view it, and that is not suitable for roadside project. Secondly, we developed a grasshopper definition (fixed fin depth with attractor point) which enables the rotation of fins according to the attractor points. However it could not allow the depth of fins to change. And without changing depths, it could not match our design intent.

After those two attempts, our group found that using the first grasshopper definition and extrude the fins to an attractor point in front of the model could achieve our design intent: pattern could be seen by users while approach and appeared as line in transparency points.

1.2.C.|CUT PROJECT 2.0| GROUP MATRIX


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Variable fin depth + fixed angle

Variable fin depth + attractor (variable angle)

Fixed fin depth + attractor (variable angle)

Variable fin depth + distance + bending + fixed angle

1.2. C. Cut project |Group Matrix

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After decided which grasshopper definition we should focus on, our group began to try to fully text the third definition. First of all, we reduce the density and number of fins. Because we want to each set of fins attractor to a point and repeat those fins sets to create a rhythm (this idea came from our precedents in week 5). Then we tested different patterns and angles with a flat plane base geometry. After tested different patterns, we realised the ‘horizontal triangle’ shape pattern could provide the sense of speed change (pulsing effect).

Test of the Third Grasshopper Definition :



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1.2.C.|CUT PROJECT 2.0| GROUP MATRIX Variable shape + Variable pattern

Fixed shape + Variable pattern Variable shape + Fixed pattern1.2. C. Cut project |Group Matrix

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Step 1: sketch model Our group made two small scale sketch models by hand in the start. This try was aimed to help deciding the size of our presentation model. And we also got new ideas about detailing and materialty through this experience.

One sketch model is about 5cm height and one is about 15cm height. The 5cm height model was made by paper. By making those models, our group found paper is a very soft material and soft material is suitable for the fins, because the fins of our design are curved and need to be bended (in some extent) to provide the visual experience. And for the structural layer of sculpture, a mass and strong material is needed to support the whole structure.

What is more important is, by comparing the making process of two models, we realized the bigger the model is, the easier the fins could bend. And the better bending of fins provide a better visual effect for drivers. Therefore, the height of

Summary of responses: 1. size of final model:20 cm height10 fins as one set2. changes of detailing:(1) keep structural layer as one piece(2)create small gaps help fins to fixed in (only for model making)(3)create a base with etch line (only for model making)

our model is suggested to be around 20cm.

Furthermore, we found keeping the structural layer as one whole piece is better to divide it into separated section. Because one whole piece could support the structure stronger and it is also easier to be connected to the base. So we combined all the structural layer sections into one in Rhino and drew some small gaps in structural layer to let fins fixed in.Therefore, the structural layer and fins could suck into the base or fixed into base better. Gaps were also created in fins and that made it possible for fins fixed into structural layer without any glue.


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For (3): Sturctural layer sections combine to one piece, small gaps are created to let fins fixed in.

(1)

For (1): fins with gaps. (only for model making)

(2)

1.3.A.|FABRICATION

1.3.A|Fabrication responses

Step 2: Material selection

After decided the size of model, we began to consider the material usage. According to our argument which attempt to transform the typically mundane task of driving into memorable visual experience, our group found a strong comparison between structural layer and fins could be interesting. And this comparison could be achieved by using different colours of material. Therefore, our group came up with two selections: first, black structural layer with white fins, second, transparent structural layer with white fins.

Furthermore, in order to meet our group argument, we thought the material which allowed the light go though could create a interesting visual experience. Therefore, Perspex and polypropylene is suggested to be one good choice. However, after testing the material, we realised polypropylene was too stiff to bend and fixed into the gaps of structural. So we used box board instead.


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1.3.A.|FABRICATION

1.3.A|Fabrication responses

Pursuing direction:

Our group is interested in Attractor Point. We decide to use multiple attractor points

Experience the sculpture in different ways: Movement, dynamic, opportunity for illusion will be taken

into account.


First of all, the location of sculpture is near the highway and this means the users (drivers) are always moving. Therefore, multiple viewpoints ensure the users have visual experience all away along the highway even though they are moving.

Secondly, controlled view point guarantee that users only see what we want them to see. Therefore, a certain view or

environment for users could be provided and different visual experience could be applied.

Our group believes a successful sculpture has most to do with users. Our approach could interact with users and provide

memorable visual experience for users.


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Argument:


1.4.A.|MID-TERM PRESENTATION

1.4. A |Group argument and pursuing dirction

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BKK Pavillion Success:1. multiple viewpoints (inside, outside), outside – planes, inside – lines. Changing perception of space – surprise2. It is experiential, users can interact with it, full visual impact.

Limitations:1. It is static – the wyndham proposal deals with movement (cars).

Museum of contemporary Art at Luther Burbank Centresuccess:1. It is good because it deals with movement and the priveliged point. Undulating surface creates secondary form.

Limitations:1. It is too literal, and the image presents itself gradually and linearly (no change in perception of time / no attractor point) Central Signal Box Switzerland success: 1. Multiple view points, outside/inside, left/right depending, practical purpose but changes perception of building envelope. 2. Lead to idea of fins which are suitable to a fast moving user to create a sense of rhythm and time, and for construction. Limitations:1. Not so good because it is static.


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1.4. A |Precedent studies: success +limitation

Main focus (what we want our project produces):

Elongated roadside structure

Start point(what we interested in):

attractor points

Basic shape(Why we use fins):

fins

+

+

=OUR PROJECT!!!

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Proof of ConceptOur technique takes ideas from our precedent projects. It is to take a set of fins and lay them of a surface. The fins bend to create a secondary form that is seen from the first viewpoint. They are attracted to a point on the road.

For attractor point:The attractor point provides opportunity for creating visual effect: when users are approaching, they just see the face of fin layer (figure 0,1). However, once they reach the attractor point, they could completely see through the fins and fins will be seen as the single lines (figure 0.2). For Fins:There is a “<”shape pattern for one set of fins, this shape could provide a visual effect for users, which makes them feel like they are speeding up. For Elongated roadside structure:The sets of fins are placed along the road. When you passing those fins, a pulse of spatial transformation will be achieved and that experience could provide a desired rhythm for users. (show in the figure 0.3)

(0.1) (0.2) (0.3)

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1.4. A |Proof of concept

process dirgram

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Site observation and consideration of project

1. There are 3 sites. Each site is isolated by different roads. This raises the difficulty in site chosing and the size of our sculpture. Because our design is like a half-tunnel along the road, it could only work in one direction and only for one road. Where should we put the sculpture and how to make it work for all the drivers (from different roads) is what we need to think about.

Response:I think we could change the shape of our design. For example, we could change the half-tunnel into a whole tunnel. Meanwhile, we make it in a really large scale, which could cover all three sites. However, it is difficult to satisfy the structural work and this needs further grasshopper definition to make it possible.

2. There is electricity pit around the site and site is pretty dark in the night. Electricity pits means it is possible for us to develop the technique which may use electricity. Furthermore, our sculpture could not be observed during night time and that could be kind of waste.

Response: the existing electricity pit makes the idea of moveable fins (mentioned in pervious page) which runs by electricity possible. Also, we could put lights and so on into our design (if needed). Furthermore, our sculpture could use materials which reflect car lights to deal with the invisible problem in night time. For example the material used for making traffic Warnschilder could be a good choice.

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refer to observation 1



131.4.B.|FEEDBACK

1.4. B |Site observation

Our problem:

1. We didn’t push the definition far enough. To be honest, our definituion is basically followed the one Alison posted on our group wiki and just changed small part of it. personally, this may be one of our biggest problems.

2. We ’ve either got a good technique or a good design idea but not both. I think our group design intent is very clear and our technique is interesting. However, both of them are not good enough. Just as Stanislav mentioned in the tutorial, our design is quite straightforward, but it may lose attraction for users because the experience produced by sculpture is the same as they went through free way. Obviously, the more complex the design is , the more complex the grasshopper (or the technique) should be.

How we improve:First of all, I think the matrix is what we should work on. We could text more matrix by change part of the ‘stater definition’ (which we

used for our design). Last time we tested various images, slider numbers and inputs (different curve shapes), and this time we could keep all the elements as the same but change part of the grasshopper definition. Through this experience, we may create something interesting and that could provide ideas of how the design could be changed.

Secondly, we could involved more aspects in our design. So far, our group only focus on the Attractor point. However, after learning from other groups, I think we can take more things into account. For example, our argument is aim to preset opportunities for distorting the user’s perceptions of space and/or time. Therefore, kinetic, responsive or Bio-mimicry could be the interesting aspect to work on.

Third, we can also improve the attraction of our sculpture through constructions. For example, we could make the fins moveable and response to the sun shading

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or something else. Our precedent, the Centro signal box is a good example how the fins response to sunlight. We can learn from the construction method of that and develop our own connection joints.

The last thing we need to push further is the rhythm thing our group came up with. We had several ideas of how the rhythm

could be achieved and we also thought about the effect it will offer. However, it is not deep enough. We should try to make the rhythm eftects more obvious and test each of the purpose in Rhino and figure out what the effects will look like. Moreover, it will be quite intersting if our sculpture could involve several different rhythms and comes put with really interesting effect.

1.4.B.|FEEDBACK

1.4. B |Feedback response

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CONTENTS



2.0.A|GROUP ARGUMENT AND NEW INTENT2.1.A|CONCEPT PRECEDENT

2.1.B|SITE ANAYLSIS2.2.A|DESIGN DEVELOPMENT

2.3.A|CONSRUCTION PRECEDENT2.3.B|CONSTRUCTION PROCESS

2.4.A|MATERIAL SELECTION2.5.A|CONSTRUCTION DETAIL

2..6.A|FINAL OUTCOMES

PART III: PERSONAL EXPERIENCE AND

FUTURE STUDY

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New Pursuing direction:

1. Our group is still interested in Attractor Point and we still decide to use multiple attractor points2. We still want users to experience the sculpture in different ways: Movement, dynamic and opportunity for illusion will taken into account.3. But this time, we want to focus on and deep in the rhythm which we touched in mid-semester. 4. Aim to provide more interesting effect than mid-semester.


We believe our design is relevant and advantageous for this freeway art project because it reflects one of the natures of driving, and travel and movement, that is rhythmic - driving is full of rhythms that we sometimes when we pass things at regular intervals, and it is a thing that surrounds us that would be nice to brought to our attention. The effect can be quite powerful and can be highly experiential and memorable. The musical nature of the approach also offers a way to create a nice analogy with regards to the specific location of Wyndham.

2.0.A|GROUP ARGUMENT AND NEW INTENT |55|

part 2.0|PRPJECT PROPOSAL

Argument:


2.0.A|GROUP ARGUMENT AND NEW INTENT

2.0. A|Group argument and New pursuing dirction

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General information:Star guitar is a song of The Chemical Brothers and directed by Michael Gondry.

Why for our project:The key idea behind our project was drawn from a film clip for this song. It is entirely the view looking out of a train and he has manipulated this video so that the things flicking past align with the music so it is a visual rhythm which aligns with the song. We wanted to create the real life, unique Wyndham version of this.

How we changed: As I mentioned before, we want to create a visual rhythm through our project. Therefore, based on our mid-semester project (which is the fin project), our group decided that the each elements like fins, holes and the overall shape of sculpture will form different rhythms and those three kinds of rhythms could create a visual music when put them together.

2.1 .A. CONCEPT|PRECEDNT STAR GUITAR

14

2.1 .B|SITE ANALYSIS |57|


We choose the road between site A and site B as the site to install our project. There are three reasons for choosing this road:

First of all, this is the road leading back to Melbourne, and our group assumed that the overall shape of our project (which is acted as an analogy for the transition from the relatively quiet and easy suburban, to the higher volume and speed of the city) could reflect the excitement of going back to Melbourne.

Secondly, the brief stressed the importance of the project as a gateway into metropolitan Melbourne so we focused on the road going into Melbourne and sited the project here.

Thirdly, this road between site A and site B is the longest one, and our group assumed our sculpture will be quite long and will need enough distance to enable the construction.

2.1 .B|SITE ANALYSIS

2.1. B|concpet precedent +site anaylsis

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Design choice and development(response to feedback):1. The first thing we changed is the position of fins. In mid-term design, we put our sculpture in the roadside. However, according to the feedback we got from mid-semester (the guest tutor figured out that our project lacked of ‘surprising’ for users and every time they drive through, what they saw is the same), our group considered that if we put the sculpture overhead, drivers could get better experience: drivers could see through the sculpture and saw the sky behind the sculpture, what they experience could be different due to the changes in sunlights and weathers. The second reason why we change fin’s location could be traced back to our precedent: BKK pavilion. And we thought in this way, it will allow visitors to duck underneath and position their heads at the point of convergence. And

that could produce a stronger visual effect than the effect from roadside.

2. After changing the position of fins from roadside to overhead, our group started to develop the final design from mid-term project. Basically, we still took the proof of concept model (which is the10 set of attracted fins) and we repeated it to create a wave-like form. The repetitions of this are about 600m and create a 20s experience. Then, the circles were put beyond fin layer. There are reasons for doing this: 1. let the circles to be acted as visual pulses to create a rhythm to test the effect, just like those in video clip. 2. Create the see-through effect which provides users the comparison between light and shadow. Besides, from the construction perspective, we decided the minimum height for this structure should be 5m and this height is also appropriate for users to experience according the view angle..

Images refer to step 2

2.2.A. DESIGN DEVELOPMENT |RESPONSE|59|


2.2.A. DESIGN DEVELOPMENT |RESPONSE

2.2. A|Design choice + responses

Images refer to step 2

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Design choice and development(response to feedback):3. A stable structure of our final design was what we will focus on in the rest of the semester. The mid-term design is very conceptual – we only consider about the physical model fabrication. Otherwise, our mid-semester model could not stand up and this indicated that the structure of sculpture is not stable.

For the structure, several ideas had been discussed in our group and experiments had been done in order to choose a stable and artistic structure for the future.

Idea 1: Extending the fin to the ground and let the fin support the whole structure.Idea 2: Extending the fin to the ground but have another structural layer

r to support both fins and the whole structure.

In comparison: The Idea 1 had couple shortcomings by comparing to the Idea 2. First of all, Idea 1 was quite hard to achieve because our group considered the material for fins should be lightweight and be able to bend. However, if the fins had to support the structure, we should use some solid material like steel beam or concrete and that is reversed to our idea. Secondly, the comparisons (which are the main visual performances for our project) like the comparison between light and shadow works better in Idea 2.Because the structural layer could block part of sunlight and that will make the comparisons more obvious.Therefore, our group decided to focus on the Idea 2.

2.2.A. | FURTHER DESIGN DEVELOPMENT|61|


2.2.A. | FURTHER DESIGN DEVELOPMENT

2.2. A|Further development

Images refer to Idea one

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Design choice and development(response to feedback):4.how could the holes and overall form indicates rhythm

After we decided to use Idea 2, our group began to develop this design based on our design intent. According to the mid-semester feedback, our group realized we should deep in the rhythm idea. Therefore, we comes put with the idea that different layers in our design could represent distinct rhythms and they are all ‘playing’ different rhythms like different drums on a drum set. Comparing with the mid-term design, the multiple layers and multiple rhythms could produce a richer experience for users. Since we already put the rhythm elements into other part of our design, our group began to think how we could indicate

rhythm element in the arrangement of holes and overall form. Since our project was musical in nature, the overall form (which is the wave shape) could follow the sound wave: a swaying from left to right and right to left to add an additional part o the music and better express the fluid nature of music. At the same time, this wave is made to increase in frequency as it approaches Melbourne as part of the analogy. For the arrangement of holes, we wanted them also acted as a representation of the journey when users driving from rural to urban. Therefore, the arrangement of hole should be from slow and relaxed to fast and loud. In order to achieve this, we tried to use grasshopper and firefly to generate those holes according to melodies input manually into grasshopper. r to support both fins and the whole structure (grasshopper defination shown above).

2.2.A. | FURTHER DESIGN DEVELOPMENT|63|


2.2.A. | FURTHER DESIGN DEVELOPMENT

2.2. A|Further development

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General information:The Melbourne Australia City Link toll project is most notable for its long tunnels and its toll automation features, but it also has an innovative sound tube over an elevated section. Located on the western section which links the airport-oriented Tullamarine Freeway with the central business district and the motorways heading southeast and west, the tube is part architectural, part functional.

Why for our project:This precedent provides the construction methods for our project. Basically, this project enables our design (which is the overhead fins). Our curved and tapering steel plate frames that form oval shapes supporting the whole structure is learned from this project. Moreover, the idea of cladding also comes from sound tube. The sound attenuating cladding forms a C-shaped enclosure on one side and roofs over one outside lane of traffic completely. On the other side cladding rises only a little above parapet level. Furthermore, ten thin struts span each gap between frames longitudinally down the roadway stabilizing the structure which is a kind of high-technological pergola. And this also gives us clues how the structures around holes will be.

2.3.A. CONSTRUCTION|PRECEDNT SOUND TUBE

15

2.3 .B|CONSTRUCTION PROCESS|65|


2.3. B|Construction process and method

2.3 .B|CONSTRUCTION PROCESS

How the work transported to site:

1. The massive scale project is constructed form many smaller scale parts, avoiding large cranes and costly transportation costs.

2. All the per-fabricated materials like steel beams, steel joints, aluminum cladding panels and fins will be transported to site by trucks. And the size of truck should be allowed to let the material fit in.

3. According to the construction process, the delivery order should be: steel beam, aluminum cladding panels, steel angle joints and fins. For the concrete footing, it should be made on site and the cement truck should be sent firstly.

4.What is more important is, in order to ensure the smooth flow of traffic, all the deliveries are suggested to be done at night (around 0am to 5am).

Construction process or the steps :

1. Steel beam, steel angle joints, aluminum cladding panels and fins are fabricated offset.

2. Mechanical excavator makes holes for footing (at night).

3. Cement truck fabricated footing on site and steel beams are put into place to provide the primary structure (could be done at either day or night, because it is located on the side of the road).

4.Installation of aluminum cladding should be done after setting the primary structure and the surface is formed (at night).

5. Finished by the attachment of fins at fixed angles using sets of 10 unique steel brackets. The fins should be attached carefully according to the right angles. The visual performence only works

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For the physical model:

Plywood 2.7mmPlywood is used to represent the steel beams of design. Because plywood is strong enough to hold the structure and it could be cut in curved shape.Ivory card 250gsmIvory card is acted as the aluminum; both of the fin layer and pulse layer are made by ivory card. Because Ivory card is soft enough for bending and it is light enough to be settled under playwood. Steel bar 3mm diameters3mm-diameter steel bar represent the struts which tie the steel beam together.

2.4.A.MATERIAL SELECTION | FOR MODEL|67|


2.4.A.MATERIAL SELECTION | FOR MODEL

2.4.A|Material selection for model

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For the real construction:1. Steel beams: 260 mm thickness 2200mm Centres12m AVE. cantilever length 5m height 100mm lateral beamsSteel beams are significant material for both of the structure and design intent. They undertake the weight of the whole structure and enable the design of overhead fins. The idea of using steel beam comes from one of our precedents: Sound Tube. Because the appearance of our design is quite similar with Sound Tube and we assumed that steel beam will also work well in our project.

2. Steel variable angle joints:The aim of steel joints is to tie the cladding to fins (shown in figure 1). Because fins are set with angles and angle joints are necessary for putting the fins in place.

3. Aluminum Cladding and fins1200mm x 3600mm panels for claddingAluminum is one of the most

important materials in our design. First of all, it has lots to do with our design intent. Aluminum could reflect lights. In the night time, the aluminum could reflect the car light to create a comparison (with dark environment). In the day time, the aluminum cladding will block part of the sunlight from the roadside and create a comparable dark environment in the tunnel. Thus, a visual contrast between bright (the light from the hole above) and dark could be provided. Secondly, aluminum is a bendable, soft , lightweight material and those two natures are perfect for our fins.

4. Reinforced concrete footings:Suitable sizes of reinforced concrete footings will create a strong foundation for our project. They will hold the steel beams and make the whole structure more stable. Moreover, waterproof treatments will also be done because this is an outdoor site: rainwater will percolate through the concrete and cause crack in footing. Furthermore, the crack in footing might result in the collapse of whole structure.

2.4 .A. MATERIAL SELECTION|FOR REAL 2.5 .A. CONSTRUCTION |DETAIL|69|


2.4 .A. MATERIAL SELECTION|FOR REAL 2.5 .A. CONSTRUCTION |DETAIL

2.5.A|Material selection for real+details

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2.6 .A|FINAL DESIGN OUTCOMES

We (Attractor point group) are interested in attractor points and our concept for the final project is based on rhythm.

We believe our design is relevant and advantageous for this freeway art project because it reflects one of the natures of driving, and travel and movement, that is rhythmic - driving is full of rhythms that we sometimes when we pass things at regular intervals, and it is a thing that surrounds us that would be nice to brought to our attention. The effect can be quite powerful and can be highly experiential and memorable. The musical nature of the approach also offers a way to create a nice analogy with regards to the specific location of Wyndham



2.6.A|Final outcomes

2.6 .A|FINAL DESIGN OUTCOMES|73|




Precedents:

The key idea behind our project was drawn from a film clip for this song. It is entirely the view looking out of a train and he has manipulated this video so that the things flicking past align with the music so it is a visual rhythm which aligns with the song. We wanted to create the real life, unique Wyndham version of this.

Site:We choose the road between site A and site B as the site to install our project.There are three reasons for choosing this road:First of all, this is the road leading back to Melbourne, and our group assumed that the overall shape of our project (which is acted as an analogy for the transition from the relatively quiet and easy suburban, to the higher volume and speed of the city) could reflect the excitement of going back to Melbourne.Secondly, the brief stressed the importance of the project as a gateway into metropolitan Melbourne so we focused on the road going into Melbourne and sited the project here. Thirdly, this road between site A and site B is the longest one, and our group assumed our sculpture will be quite long and will need enough distance to enable the construction.

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STEP 1. We then create a long surface that follows the user overhead and creates the time span.

Here we change our sculpture from side of the road to overhead and there are 2 reasons for this change. The first one could be traced back to the feedback we got from mid-semester (the guest tutor figured out that our project lacked of ‘surprising’ for users and every time they drive through, what they saw is the same). Therefore, our group considered that if we put the sculpture overhead and sculpture blocked part of the view of drivers. What they experience could be different due to the changes in sunlights and weather (because they will only see the sky through sculpture). The second reason could be back to our precedent: BKK pavilion. And we thought in this way, it will allow visitors to duck underneath and position their heads at the point of convergence. And that could produce a stronger visual effect than the effect from roadside.



STEP 2. The surface then has fins put on it along the whole way.STEP 3. The stretch of fins is divided into 32 sets, which are then attracted to different points on the road as you pass through. By doing this, as you drive through the fins flick in pulses instead of justgradually. This pulsing creates the regular time keeping rhythm goes for 4 bars of 8 beats.



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STEP 4. The surface then has holes put in it for flashes of light to create a rhythm of strong beats in the way the film clip does.

This rhythm was composed by us as a simple build up in intensity to signify the transition from rural to urban. The brief talks about the gateway as a signifier of the first point of metropolitan Melbourne and as something that should bring excitement with it, so it acts as an analogy for the transition from the relatively quiet and easy suburban, to the higher volume and speed of the city. We also experimented with a grasshopper definition which used firefly to allow us to play notes whose frequencies could be output into a table. We momentarily departed from the solely rhythmic or percussive nature of the project and considered that a melody or tune could be infused into the experience. So we



played different melodies and had grasshopper create circles with radii’ inversely proportional to the frequency, so low notes made big circles, high notes made small circles. These were layed into the rhythm of the song manually and they were mapped onto the skin to create the pulses of light. It didn’t really produce more interesting results, and though it could allow the council or community do decide on their own song, it wasn’t particularly intelligible.



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STEP 5. Create the waveThe whole thing then has an extreme close up soundwave form mapped onto it plan to create a third rhythm that is experienced as a swaying from left to right and right to left to add an additional part to the music and to better express the fluid nature of music. This wave is made to increase in frequency as it approaches Melbourne as part of the analogy, but at a different rate so there is this interplay between the parts, but they still achieve the same effect.





STEP 6. Structure

The structure then becomes real by having the surface fold down on one side to ensure there is at least on point of support for the entire length. We chose the southern side to ensure than the northern side was open so the sun would still be able to enter to have the fins visible enough.The steel outer structural beams are placed in the ground with generous footings to account for the cantileversThey are tied together to provide lateral supportA skin of aluminium cladding is tied to the beamsThe aluminium fins are then tied to the cladding with fixed angled joints.

2.6.A|FINAL DESIGN OUTCOMES|83|




Site plan 2.6.A|FINAL DESIGN OUTCOMES

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Site plan 2.6.A|FINAL DESIGN OUTCOMES

All up, the design creates an 11 second musical passage of 4 bars of increasing intensity that represents Wyndham’s position as a gateway to Metropolitan Melbourne and the point of transition into excitement. We feel that this satisfies the argument by making the rhythm of driving felt, and that is a rhythm about the location, and it creates excitement and a memorable experience fit for Wyndham.

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Animation to show the experience: please watch the full video at: http://www.youtube.com/watch?v=z3fk3AhnbO0









CONTENTS



PART III: PERSONAL EXPERIENCE AND FUTURE STUDY

3.0.A|PERSONAL EXPERIENCE3.0.B|LIMITATION AND FUTHER STUDY

3.0.C|REFERENCE

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Personal experience:

Before studying air studio, I just had a little digital modeling skill and almost had no idea what parametric design is. For drawing software, I had some basic learning of Auto CAD and Photoshop. For 3D modeling, I usually use sketch up and Rhino 3D, but I could not use Rhino 3D very well. Before air studio, I never heard about parametric design and digital design tools like grasshopper. Generally speaking, I used ‘computerization’ system which is the ‘analytical systems with enough understanding of data to be able to provide rational appraisal of human designers’ solutions’ (kalay, Architecture in New Media). And this system could only solve the mathematical problems. But after learning air studio, I was not only widern my vision, but also gained knowages from various aspects. First of all, I understanded what the digital architecture is and how it works. And I used to think digital architecture is more like ‘paper work’ than tradition architeture. But through analysising some specific digital examples like airspace building in Tokyo, Zaha’s GuangZhou Opera house, works of Frank Gehry and so on, I started to change my opinion about digital architecture: it is just another kind of designing apporach undertaken by architects to solve problems or another comptuer system which is called ‘computational system’ by Kalay in New Media. However, the parametric design also has shortcomings. For examples, the socical issue is one of the biggest challenges, like the exponential cost of constructing. And parametric design is usually hard to be understood by public, especially for those without any architectural background. Overall, after this subject, I got a deeper understanding of digital architecture and I believed I will use digital design skill or approach in my future design process.

part 3.0| Personal experience and futher study

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3.0 A|PERSONAL EXPERIENCE

Learning objectives: After finishing this subject, there are 6 major learning objectives in this course (in my understanding):

1. Understanding what is digital design and how it works.2. Understanding the advantages and shortcomings of digital designs (and making full use of those advantages and avoiding those shortcomings in design process if possible.)3. Gaining some ability of using parametric design tools like grasshopper. 4. Learning how to grow ideas from the precedents, understanding the successes and failures of those precedents and trying to overcome those failures if needed. 5. Learning the philosophy of architecture and looking what is behind the projects like the concepts and theories.6. Learning how to link the digital design to reality through deeper considerations of materials, structures and so on.

Besides, I also got ‘Bonuses’ through this subject:1. Learning how to make critical argument for designs. 2. Learning to develop a design and how to make it more interesting 3. Learning how to make physical models and how the model making experience could change the design or fabrications.4. Got cool group mates and learning how to cooperate with them.

3.0 A|PERSONAL EXPERIENCE

3.0.A|Personal experience+learning objectives

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Our limitations:1. The relationship between our concept and city seems weak.One of the guest tutor pointed out that our concept (which is the music and rhythm) does not have much relationship with Wyndham City gateway project. It is true that the ‘star guitar’ song has little to do with Wyndham. Because the aim of our group is providing drivers experiences and we are too focused on this aim and probably ignored the link to Wyndham city.

Therefore, in the future design, I will care more about the relationship between design concept and the things I am designed for.

2.Materiality should be considered deeper.Materiality is one of the most important parts to change the ‘ideal digital design’ into ‘solid reality’. Even though our group did consider the materiality of our project, but there still had a lot of to think about. And

lacking of deep consideration of material, we caused lots of potential problem in our design:

(1) The Aluminum will reflect sunlight in the daytime and that will cause potential safety hazard for drivers.(2) It will be better if there is some reason why create rhythm with aluminum. (3) How this work at night(there is no power supply at site)

Therefore, in future design, I will care materiality more. And how the material response to my concept, how the material support my structure, will this kind of material causes any potential safety hazard and how it works in both daytime and night time are the questions I will ask myself before I choose the material

3. The overall form of design could not be seen and Our projects seems ends roughlyThe overall form is quite important for design but our


3.0 B|LIMITATION AND FUTHER STUDY|97|

group didn’t make a site model to show our whole design. Furthermore, the site chosen for our design seems a little weird: Paul pointed out that our project suddenly begins and ends roughly, it will be better if we have kind of ‘transition’ for our project. In fact, our group had noticed this problem, but our rhythm had already been set and change the rhythm will change

the whole deign. However, we run out of the time and it is quite hard for us to start over.

Therefore, in the future design, I will consider more about the overall form of design and put more attention on the ‘continuity’ of deign. Moreover, it is quite important to make some models during design process to examine and improve designs.

3.0 B|LIMITATION AND FUTHER STUDY

3.0.B|Limitation and future study

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01| source from: http://goodchurchdesign.blogspot.com.au/2008/04/church-of-light-

02| sourse from: http://wraptnotes.com/img/eiffel%20tower/eiffel%20tower%20(4).

03| sourse from: http://www.forest.impress.co.jp/article/1999/11/16/ho_cad.gif

05| sourse from: http://www.core.form-ula.com/wp-content/uploads/2007/11 testuser5_oct2007_01_airspace_lzaalw_jqaw8w.jpg

06| sourse from: http://openbuildings.com/buildings/airspace-tokyo-profile- 44082#!buildings-media/2

04| sourse from: http://www.mayaprzybylski.com/systemstalkerlab/?p=2098

07| sourse from: http://innovativebuildings.net/wp-content/uploads/2010/06/Water-Cube2.jpg08| sourse from: http://archiblast.com/amazing-olympic-water-cube-in-beijing-china/09| sourse from: http://faulders-studio.com/proj_moca.html10| sourse from: http://www.evolo.us/architecture/casalgrande-ceramic-cloud-kengo-kuma/11| sourse from: http://www.architecture.com/Awards/RoyalGoldMedal/11|text refer to book: 1997-2007 :Herzog and de Meuron, P74-P75l/RoyalGoldMedal2007/


3.0 C|REFERENCES|99|

12| source from: http://b-k-k.com.au/projects/cultural/project/venice-biennale-2008-australian-pavilion/urch-of-light-tadao-ando-1989.html

13| source from: http://app.lms.unimelb.edu.au/webapps/portal/frameset.jsp?tab_tab_group_id=_5_1&url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_252885_1%26url%3Durch-of-light-tadao-ando-1989.html

14| source from: http://www.youtube.com/watch?v=0S43IwBF0uMch-of-light-tadao-ando-1989.html15| source from: http://www.flickr.com/photos/ssandars/3089907/in/photostream/

3.0 C|REFERENCES

3.0.B|References

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Documents

air design journal