A R C H I T E C T U R E

D E S I G N

S T U D I O

A I R

J O U R N A L

2

Changing Discourse

Light + Emotion

Interractoin

Mimicry

Computing + Paramtric

Digital Design

Parametric / Scripting

Develop

Matrix

Case Study

Dior Ginza

Expression of Interest

Western Gateway Design Project

Reflection

Project Proposal

Reflection

0

1

3

5

7

8

10

14

15

19

20

25

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42

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C O N T E N T S

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C H A N G I N G | D I S C O U R S E

D I S C O U R S E

41

L I G H T +E M O T I O N

D I S C O U R S E

51

Personally, the Church of Light, designed by Tadao Ando, has significantly impacted

my own architectural discourse through its emotive use of light. Since enountering this

building, my understanding and appreciation of the intangibles in architecture, not merely

the physical elements, influenece my perception of built space. However the importance

of the built, physical elements should not be underestimated, for they allow the concept

of intangible forces such as light to be integrated. It is within this reasoning that I intend

to incorporate ‘light dynamicism’ within my future designs. Integration of parts (tangible

and intangible), just as Ando did, is the key to achieving an outcome that is emotionally

compelling and dynamically moving.

the most important distinction in our changed notions of architectural

design is the shift from geometry as an abstract regulator of the materials

of construciton to a notion that matter and material behaviours must be

implicated in the geometry itself

- Reiser and Umemoto, The Atlas of Novel Tectonics

“

”

Through the use digital and paramteric design, it is intended to create a series of complex

geomteries that will incorporate and facilitate the potential effects of light. These effects,

ranging from stillness to movement to fragmentation will be not only be driven by the

form-making geomtery, but integrated within it to create one dynamic system.

C H A P T E R

6

D I S C O U R S E

Pulse Spiral

- Rafael Lozano Hemmer

D I S C O U R S E

7

Architecture is basically a container for something. I hope they will enjoy

not so much the teacup, but the tea.

- Yoshio Taniguchi

Whilst the focus of architecure is on a physical form,

it should not be forgotten that architecture can be a

sensory experience. Indeed it is the built structure

that fosters such an experience, thus it is imperrative

that physical and experiential (intangible) factors are

acknowledged when justifying the design process.

Rafael Lozano Hemmer develops interractive

installations that have the ability to alter ones spatial

experience by utilising performative techniques.

Hemmer’s project ‘pulse spiral’ embodies an

interractive experience that is specific t o each individual

with whom it comes into contact. Approximately

400 lightbulbs are connected to a sensor that reads

and and responds to ones heartrate, reflecting it in

a complex lighting arrangement (Hemmer, 2008).

This project is merely an example, with such an

intrinsic interractive experience not always necesary

in a designed space. However it demonstrates the

impact of a type of stimulant that can potentially

impart emotional affects on ones sensory

experience, converting a space into a emotive vessel.

E X P E R R I E N C EI N T E R R A C T

“”

C H A P T E R

8

D I S C O U R S E

P A R A M T R IS M

NORDPARK RAILWAY STATIONS, ZAHA HADID

Each of the four train stations were required to fulfill the same criteria whilst simulataneously

responding to the spcecific conditions of each site. In order to meet the criteria, Hadid studied glacial

moraines and ice movement, allowing her to base the architecture on the natural adaptations that

occur in the surrounding environenment.

Adopting parametric design tools, Hadid was able to mimick “a frozen stream on the mountain side”

(Hadid, 2007) by adjusting each design in accordance to the variable parameters specific to each

site. In this instance, Hadid’s use of mimicry not only informed the shape of the geometry, but the

way in which the design could be concieved structurally. The use of paramteric modelling enabled

the notion of mimicry to be adopted, utilising specific areas of her study as inputs in the modelling

process.

By approching architecture in a way that is relevent to the time, Hadid, along with a number of

other designers adopting similar principles, is not only changing the discourse of architecture, she

is actively commtting to the formation of a new architectural style. This style, as termed by Patrik

Schumacher in his essay “The Parametricist Manifesto” (2010), is parametricism.

C I S M

D I S C O U R S E

9

RELATIONSHIP TO

EXPRESSION OF INTEREST

Through the examination of particular architecture and the discourse surrounding it, a basic design

idea has been distinguished that is intended to inform the design process. The three examples

analaysed in the first chapter of this journal each demsonsrate the design themes that will contribute

to the design on the Wyndham City Gateway. These themes comprise lighting and its potential effects

and the creation of an experience (as opposed to a stagnant landmark) for passers by, which will be

carefully integrated through the use of paramteric design tools.

Similarly to Ando’s use of light and shadow, the intention is to focus on the impacts of light, both

natural and artificial and the way in which they are percieved as motorists travel past.

The creation of an experience is perhaps the most important aspect to the design of the gateway.

The ability to instill a form of interraction between the design and the road user creates a sense of

intrigue, promoting the visual exploration of the Gateway; not merely driving past it. For example,

at night, when automobiles are using their headlights to guide them, this light will splash onto the

Gateway, changing perspective from driver to driver. This will also create a dynamic experience as

the positioning of such lighting will always be differing.

1 0

C O M P U T I N G +

P A R A M T R I C

C O M P U T I N G

11

A G ED I G I T A L

D I G I T A L

D E S I G N

Digitally enabled architecture does not conform

to rules and it does not know any boundaries.

These intangibles do not exist - at least in the

realm of digital design. It is so new and so

raw that its potential is yet to be defined, yet

it has the power to impart drastic change on a

profession that has existed for centuries.

This change is due to the development of

new and capable computer programs that

have bridged the gap that existed between

the communicational processes of man and

machine. The ability of the machine to now

understand a set of manipulative, dynamic

instructions (dialogue), allows digital design

to occur. Previoiusly, this was not feasible

as computer systems lacked the ability to

interperate information inputted by man.

Each of the two systems (man and machine)

have ther own insufficiencies. In a way, digital

design processes ablolish such insufficiencies

beacuse the said communication process

inadvertantly combines the dominant traits

of each system. The key to this notion is that

insufficient traits of the computer system are

in fact the dominant traits of human cognitive

functioning, and vica versa.

Due to the integration of the two opposing

systems, there is no need for an ultimatum by

which one system should be preferred over the

other. The fact that ‘the best of both worlds’ can

now coexist throughout the design process, a

much more informed design solution can now

be achieved.

The computer is not simply following input

C O M P U T I N G

1 2

The term parametric design, especially when

applied to architecture, encompasses the whole

manifestation of what digital design is and how

the industry may progress. Parametric design

techniques define geometrical primitives as

objects that are variable by their dimensional

parameters (Menges & Ahlquis, 2011). This

suggests that an object has endless variational

capacity due to said parameters. This is the point

at which digital design enables architecture to

once again be current with the time.

Perhaps most importantly, the creation of

‘new’ spaces and the evocation of ‘new’ spatial

experiences is one of the most intriguing

aspects made possible by digital design.

Looking at the work of Daniel Libeskind,

he creates architecture that moves people.

He does this by generating a unique spatial

experience conjured by the formation of

imperculiar geometries (Daniel Libsekind,

2011). Whilst libeskind does not rely heavily (if at

all) on parametric design methods, his design

philosophies do demonstrate its potential. Its

potential to not only create complex geometry,

but to manipulate this geometry to form a

unique interaction of spaces.

but while they can follow instructions

precisely and faultlessly, computers

are totally incapable of making up

new instructions: they lack any

creative abilities or intuition

- Yehuda Kalay, Architectures New Media

commands, but is responding to questions,

movements, impulses, etc, and thus, becomes

capable of virtually anything.

Digital design through human and computer

interraction allows the exploration of a

multitude of design methods, reducing the

rationalism factor, leading to a much less

‘mechanic’ and therefore, a more creative

design outcome. This, through other means,

can be achieved via the notion of parametric

design, highly specific in relation to this journal.

“

”

C O M P U T I N G

13

As a continuation from the previous section

of this journal, scripting is a form of digital

design that gives the designer power at the

highest level. One’s engagement with digital

design software is significantly enhanced

through the use of the generic computational

language referred to as ‘script’. Through

the mutual understanding of scripting

(between man and computer), an increased

level of control is presented to the designer.

Scripting allows the designer to tailor a

programme to a set of specific needs,

depending on the project. The strength of

scripting, particularly for designers is that

it provides opportunity for the designer to

escape strictures that may be inherrent in the

software (Burry, 2010). It basically allows one

to further maximise the predefined capabilites

of a programme and manipulate it to perform

in a way that was not necesariy intended by its

creators. This process, being more flexible than

traditional digital design methods provides a

multidirectional approach to design, provoking

a much more intellectually informed creativity.

C A S E | S T U D Y

The 0-14 Tower, designed by architects Jesse

Reiser and Nanako Umemoto, utilised scripting

methods throughout the design process.

The concrete exoskeleton of the tower consists

of a number of perforations that fulfill a number

of complex functions. Constituting a reactive

architecture, the facade adheres to structural

implications, sun exposure, overall program,

views and luminosity. The complexity of these

functions is not the function itself, rather

it is the way in which they were designed.

They were to be integrated in such a way

that each perforation would fulfill multiple

functions in the most efficent manner possible.

Using scripiting techniques, each function

was treated as an input according to its

primary function, size and placement. The

process of modulating the perforations

was originally accomplished using a

script, however this method was not

present through the entire design process.

C O N T E M P O R A R Y

S C R I P T I N G | C U L T U R E S

C H A P T E R

1 4

C O M P U T I N G

1

Human intervention was required in order

to maximise efficenincy. As mentioned,

computers are flawed in their ability to solve

problems using processes such as reasoning.

Therefore, the cognitive capacity of man is

required to further refine and resolve ideas

that will contribute to a desired output.

The ability to design using scripting methods

allows for extreme precision and the

opportunity for a greater range of diverse

outcomes. However it must be recognised

that limitations do exist within the digital

realm and therefore, not all design power

should be surrendered to machine. Rather

it should be used as a tool that informs the

design process, working in conjunction

with, and second too, human cognition.

RELATIONSHIP TO

EXPRESSION OF INTEREST

Digital design will be at the forefont of the design process. The ability to integrate parametric

modelling (in the form of Grasshopper) will significantly impact the final geometry, including the

effects it will generate.

The ability to interract with the software, with it understanding the tasks that it is required to perform,

enables a high level of control. The intention is to use Grasshopper in similar vain to the way Reiser

and Umemoto designed the O-14 Tower. Specifying inputs that are specific to the design of the

gateway will allow geometry and form to adhere to specific principles.

C O M P U T I N G

15

1 6

D E V E L O P

D E V E L O P

17

D E V L O P M E N TM A T R I X

ATTRACTOR POINT VS PATTERN OVERLAY

CURVE ATTRACTOR VS PATTERN OVERLAY

MATHS FUNCTIONS VS PATTERN OVERLAY

The main focus of this matrix is to examine the effects of overlayed patterns and surfaces using a

number design techniques. The specified inputs, outputs and associations were chosen in order

to create a series of optical tricks. Each pattern, although stationary, defines a non-linear path of

movement as it is examined by the eye. Overlaying the patterns and creating a series of layers

allows this conceptual idea of movement to become much more kinetic once fabricated or animated.

This is due to the disallignment of the overlayed patterns whereby light can only penetrate where

perforations align, creating the illusion of movement.

D E V E L O P

1 8

USING SETS VS PATTERN OVERLAY

Model images that depict the form

and effects of the geometry in reality

D E V E L O P

19

C A S E | S T U D Y

C A S E | S T U D Y

2 01

Whilst the Dior Ginza presents as a complex

optical trick, the process of creating the

geometry is relatively simple.

Fundamentally, the ‘lines’ of Diors famous

Cannage pattern are achieved by making

a series of strategically placed perforated

cirlces in the outer layer of the facade. These

perforations vary in size and positioning in

accordance to the specified pattern.

It seems that this form of geometry does not

require paramatric software in order for it to

be produced. Indeed, digital design methods

allow for the design to be achieved in an

extremely efficient manner, especially when

referring to the fabrication methods that are

involved. However, having stated this, there

are certain advantages that parametric design

offers compared to general three-dimensional

modelling in relation to this geometry.

Parametric techniques allow the key elements

of the geometry (perforation sizing) to be

manipulated as a whole. Therefore, once the

pattern has been defined, the dimater of both

the small and large circles can be altered,

applicable to each and every perforation as

required, in a single process.

Layering a series of predefined geometry over

one another provides a dynamic effect for people

moving past. It serves as potential to alter ones

visual experience as the geometry housed

within the layers aligns with the direction of

ones view. Moving past at speed, if utilising an

effective pattern, elements of movement within

the static strucure may become evident. Such

patterns can be manipulated to reflect a desired

pattern of faux movement.

D i O R | G i N Z A

C A S E | S T U D Y

211

30 percent size decrease of the

second sheet.

Accurate depiction of perfora-

tion pattern and sizing.

Optical trick: The eye percieves

that the second layer is cin-

siderably further back than it

actually is

C H A P T E R

2 2

C A S E | S T U D Y

1

C A S E | S T U D Y

231

L A Y E R S

L I G H T

+

S H A D O W

D E V E L O P

2 4

RELATIONSHIP TO

EXPRESSION OF INTEREST

The ability to study realised projects offers insight into the way they are designed and concieved.

Just as important is the ability to fabricate such designs, gaining a perspective into how they may

operate at full scale.

The creation of the developmental matrix provided a direction for which the design of the Wyndham

City Gateway would evolve. While perforations are present in each stage of the matrix, the idea of

layering, creating varying densities in ‘dark’ and ‘light’ is now the driving force in the design process.

Perforating the material demonstrates the varying effects that can be created when combining two

or more large layers.

The Dior Ginza was studied for the exact same reason. Perforations and layering add a sense of

visual complexity that is relatively simple to achieve.

Each of these projects formed a design idea that ironically does away with the use of perforations.

Given that perforations may be to detailed to incorporate into the gateway project, layering and

contouring methods will be preferential.

25

EXPRESSION OF INTEREST:

WESTERN GATEWAY DESIGN

PROJECT

EXPRESSION OF INTEREST:

WESTERN GATEWAY DESIGN

PROJECT

2 61

DESIGN BRIEF AND CONSIDERATIONS:

Following an assessment of the design brief it has been decided that the following considerations

will be most influential when designing the Wyndham City Gateway:

1: ORIGINAL & ENGAGING IN FORM

2: ABSTRACT ASSOCIATION

3: DAYTIME AND NIGHT TIME VIEWING

1: The design should take into account other projects of similar cause, ensuring that they do not

inform the final design. The design should utilise innovative design techniques that are prevalent in

digital and paramteric modelling softwares.

2: The design will be based on a concept that has a conncetion to Wyndham. Whilst the design

idea will be present once the Gateway is complete, it will not be obvious, generating thought and

speculation about its relationship to the city.

3: The highway is used 24 hours, 7 days per week. Because of this, the design should be relevant

at all times. The effects of light, both natural and artifical will be used to create contrasting effects

between noght and day, ensuring a dynamic design.

I N T E R S E S T

27

INFLUENTIAL FACTORS INFORMING THE DESIGN:

In adhering to the chosen design considerations, the followng factors have been researched and

developed in order to inform the design of the Wyndham City Gateway:

1: ILLUSION / PERCEPTION

2: MOVEMENT

3: LIGHT

2 8

The purpose of illusion is to create an experience that is

percieved differently to how it actually exists. Through this

notion, movement, using the effects of light and shadow,

will be incorpotated into the Gateway design. Falsified

movement, or ‘static kineticism’ is being persued rather

than actual movement due to the speed at which people

will be tavelling past the Gateway. If real movement

were to be utilised, an increased level of detail would

be required, causing the effects to become irrelevent at

100km/h.

In order to develop this perception of movement, a design methodology will be adopted that

such a perception will be created due to ones point of view moving around specified geometry.

The primary means of achieving this effect will be through the use of targeted moire patterning or

contour sequencing. Both of these methods utilise layering systems, which through the presense of

fluctuating light (bright and dark), provides a different perspective from whichever angle it is viewed.

As ones angle of view or perspective alters, varying sequences of movement occur. In the case of the

highway, ones point of view is being altered on a consistant basis, being controlled by the speed and

the path of movement that is being travelled. By targeting this path of movement, a controlled pattern

can be applied to the geometry that will systematically unfold as one moves past.

LOCATION + FORM:

The design brief offers the choice of three divided locations. Given this, site-A and site-B have been

selected due the size and felxibility they offer as opposed to site-C. In addition, the ability to design

the Gateway so that it extends over the road, integrating the two locations, eliminates possible

shortcomings of the final design.

The following image depicts the intended form that the Gateway design will present.

The geometry for the overall form has been taken from a section of the Werribee River that runs

past Wyndham. The significance of the river lies within its name. ‘Werribee’, in the language of the

native Australians, can be translated to the word ‘spine’ or ‘back bone’. As the river is depicted as the

spine of the Werribee shire, emphasis has been placed on its spiritual connontations to the people

of Wyndham.

I N T E R E S T

29

CONVERTING DESIGN IDEAS TO REALITY:

Three varying design approaches have been considered in the planning of the design for the gateway.

As the idea of percieved movement is the driving concept behind the design, the following methods

have been adopted that have the capability to create effects of illusion:

CONTOURING

PERFORATION

LAYERING

The ability to contour or perforate specified geometry, according to specific data, can lead to the

effect of movement through the use of layering. Layering, which in this case ultimately achieves

variations in the density of the overlayed geometry, combined with fluctuations in light, enhances

the desired effect.

I N T E R E S T

3 0

Above: Perforation

Above right: Contouring

Right: Layering

31

EXPRESSION OF INTEREST:

PRECEDENCE STUDIES

PARAMETRIC MODELLING + SCRIPTING:

O-14 TOWER, JESSE REISER + NANAKO UMEMOTO

I N T E R E S T

3 2

The O-14 Tower, designed by Jesse Reiser and Nanako Umemoto is an example of digital design that

was achieved through the use of parametric and scripting modeling tools.

Each of the perforations within the exoskeleton of the building were generated using scripting

techniques that controlled a series of project specific inputs. Based on structural requirements,

views, luminosity and overall program, a script defined the size and placement of each perforation

in order to maximize functionality.

Through the study of this building, a greater understanding of the way in which parmatric design

will inform the gateway design has been developed. Similar design strategies will be incorporated,

whereby inputs specific to this project will be utilised in order to shape and manipulate an overall

form.

Parametric design software will be advantageous throughout the design process, offering precision,

efficiency and fabrication capabilities, while at the same time applying functionality and meaning

to the final design. Parametric modeling will be of increased importance as it will help to identify a

formal pattern that can be systematically applied to the design to create a distorted perception, be it

through the use of perforation or contouring.

LAYERING + MOIRE:

GALLERIA CENTRECITY FACADE, UN STUDIO

I N T E R E S T

33

The facade of the Galleria Centrecity shopping centre, designed by UN Studio, demonstrates the

effects of opticl illusion through the use or moire patterning.

Comprised of two seperate layers, the moire works due to a slight variation in the patterning or

geometry of the layers. In this instance, the pattern on the internal layer deviates slightly at calculated

points, resulting in the perception of a wave cascading down the building.

The space in between the layers, although minimal, is vital in achieving ths effect. The space also

allows the facade to look as though it is moving as ones point of view alters.

CONTOURING / PROFILING:

DYNAMIC PERFORMANCE OF NATURE, SOFT RIGID

I N T E R E S T

3 4

The Dynamic Performance of Nature installation, designed by SoftRigid, is an example of static

movement created by the conturing of specififed geometry.

In this case, the effect of movement is generated via three-dimensional methods, with extruded,

pinch-like elements attributing. The variation in light and shadow that occurrs at the extruded areas

provides the effect.

This same principle can be applied to the Wyndham City Gateway by situating the geometry somewhat

paralell to the road as opposed to it being perpendicular. This would be reverting back to the idea

of layering, as each contour would be strategically placed behind the next, allowing the effect of

movement to travel with the motorists on the highway. The inclusion of strategicaly placed lighting,

and / or from the light emitted by car headlights will add depth the the effect of movement.

PERFORATION / LAYERING:

DIOR GINZA, KUMIKO INUI

I N T E R E S T

351

The Dior building of Tokyo, designed by Kumiko Inui illustrates the concepts that are driving each of

the fundamental design ideas. Comprising of two layers, the façade of the Dior building presents as

an optical trick. It does this through its use of space between the layers: the external being perforated

and the internal being printed. The pattern on the interior layer is scaled to be 30 percent smaller

than that on the exterior layer. The result is that of a distorted moiré effect, inducing perceptions of

slight movement as one moves past the building.

Through the use of parametric modeling, the aim is to reflect the concepts behind this building, not

the building itself.

Given that the Wyndham City Gateway will be viewed as people travel past, the Gateway should

offer an experience that moves with them. It should not be a be static blob on the landscape. More

accurately, it will be perceived as moving, creating an interactive experience that lasts for the 15-20

seconds that it takes for motorists to travel past.

It is not simply viewed by people moving past, it is engaged with and interacts with them as they

make their journey. Not dissimilar to the way the Dior building interacts and creates an experience

for its admirers.

A major consideration however, is that of detail. Recognising that people moving past are travelling

at speeds of 100km/h, the level of detail embedded in design needs ot be kept at a minimum. This

is why the theory of static movement has been incorporated. The addition of moving parts would

ultimately serve little purpose because at 100km/h, they are likely to become a blur of speed. Ned

Kahn’s “Wind Veil” project is an excellent example of a kinetic facade, however this is due to the scale

at which it was implemented. Given the restricitons imposed by the allocated site, the significance of

such dteailed elemnts would be lost due to the spped of passers by.

3 61

DESIGN DIRECTION:

The measured use of layering, light and shadow will be critical in the formation of static movement

in the final design. In order implement this percieved form of movement, two desin strategies will

be used, both of which have been previously discussed.

CONTOURING / PROFILING: This method will be adopted in order to create a form of movement that

is experiential. Situated in a manner that is marginally parallel to the highway, fluctuations in the

geometry of each layered panel create the illusion of movement as one moves past. The panels will

be positioned in accordance to the speed of the passing vehicles in order to avoid becoming blurred

and ineffecive.

MOIRE PATTERNING: Will have the most impact on drivers approaching the gateway. The high speed

will destroy the effects of the pattern if viewed at the exact time motorists are passing it. Rather than

situating this part of the gateway parallel to the highway, perpindicular will allow the patterns to be

appreciated before the geomteyr shifts into a series of contours.

The use of perforations will not be effective as the detail would surrender any effects due to high

speeds. However, research into perforations and layering has formed the direction and form of the

final design. So whilst not being part of the design, the analysis of perforations has been crucial in

forming design concepts.

I N T E R E S T

371

R E F L E C T

3 8

REFLECTION / CONCLUSION

The greatest challenge presented by this design project is that it is a form of architecture that I am

not completely familiar with. I have always had a desire to create spaces that provide a stimulating

experience as a opposed to a place that one simply occupies. Given this, the difficulty faced is the fact

that this project does not call for the design of a space, rather, it asks for the creation of an object. In

labelling it an object I mean no disrepspect to sculptures or the like, I am merely expressing my own

desires in the direction I intend on travelling in the future. Having said this, the knowledge gained

and my new found interest in architectural theory has definitely attributed to a greater understanding

of the architectural discourse.

In his book “The Eyes of the Skin”, Juhani Pallasmaa wrote: “Architecture offers pleasurable

shapes and surfaces moulded for the touch of the eye and other seneses, but it also incorporates

and integrates pyhsical and mental structures, giving our existential experience a strengthened

coherence and significance” (Pallasmaa, 2005). To me, this is what architecture is and I have had

trouble conjuring any sort of emotion through the design of the Wyndham City Gateway. Nevertheless,

instead of focusing on emotion and embodiment, I have directed my concentration toward effects

that may potentially be emitted by the gateway. The effect, which is the perception of movement

through something that is absolutely stagnant, is the driving force of the design rather than the

emotoins it may conjur.

As stated by Kalay (2004), design is a process that it engaged in when the current situation is different

from a desired situation, and when the actions needed to transform the former into the the latter

are not immediately obvious. This is true of applying the same architectural principles to the design

for a home as it his for the design of a ‘sculpture’. The ability get to a desired situation, I found, was

through the process of parametric design. As this is a new concept, it made the process of designing

something I generally wouldn’t, simpler. The ‘thing’ being designed and the software encouraging

this ‘things’ conception created an intriguing means for me to step out of my comfort zone.

Something I had previousy never considered was the ability of computer-aided design to dampen ones

creative instincts. Burry (2011), argues that the computers ability to mechanise the design process

creates a tension in the way humans percieve its primary use. This is to say that the computer takes

over the design process by disallowing the computer user to step out of the boundaries imposed by

software. Alternatively, paramteric and scripting design methods break such barriers, allowing the

computer user, through human intellect, to use the software in a way that best suits them.

Whilst my expections of this subject were severley distorted, it has generated knowledge that will

hopefully improve my prospects of becoming a proffesional. The introduction to new design tools,

methods and projects has instilled within me an understanding of the importance of the past and the

present. By this I am alluding to the discourse, which exists based on precedence, and technology,

which is paving the way forward. The integration of theory, precedence and technology has allowed

for an axtremely diverse learning outcome.

39

C H A P T E R

4 037

C H A P T E R

4138

RUNNING

WITH

PERCEPTION

4 2

PROJECT PROPOSAL:

WESTERN GATEWAY DESIGN

PROJECT

P R O P O S A L

43

SITE / LOCATION:

Located in site-A and site-B, the design of the gateway

connects the designated area’s by extending over the Princes

Highway. Emulating the form of the nearby Werribee River, the

gateway, boasting a long, narrow form, creates a stimulating

visual experience for users of the highway. The gateway has

been designed in accordance to the 100km/H speed of passing

vehicles, which, in order to generate a lasting experience

for road users, is approximately 420 metres in length. This

experience, with specific reference to the speed of passing

vehicles and the length of the gateway, lasts approximtely 25-

30 seconds.

bring attention to

Wyndham

visual experience

420 metres

8 metres

100km/H

PURPOSE:

D E V I C E :

L E N G T H :

H E I G H T :

S P E E D :

ALTERING

THE

PERCEPTION

OF

MOVEMENT.

4 4

MOIRE PATTERNING

Galleria Centrecity Facade

UN Studio

CONTOURING / PROFILING

Dynamic Performance of Nature

Softrigid

The focal point of the deisgn is the effect it creates as road users travel past. Focusing on illusion

and perception, the gateway is designed to emit a form of stagnant movement that is contrived

from the specificities of the site. Given that the gateway will only be viewed as people are moving

past, design components will be used that not only take advantage of this movement, but rely on it.

Moire patterning and contouring will be applied to the design in order to create a fabricated perception

of movement. Each of these design components will be applied to the entire design; however the

position from which they are viewed will create a variation in the dynamics of the effects. The moire

pattern will be the dominant contributor to the effects of static movement when viewed perpendicular,

while the contours will be most effective when paralell to the viewer (refer to Drivers View on page 42).

The design, being approximately 420 metres long passes over the road to create a

continued, dynamic experience. It is not intended to create an object that one would

simply drive past or under and forget. Instead, the focus was on a gateway that travels

with motorists, allowing a lasting experience, accompanying drivers on their journey.

45

FORM.

FUNCTION.

COMPONENT.

South Western Perpsective Elevation

Form-Making Component / Function Relationship

Drivers View

A: Moire Pattern; Perpendicular

B: Contours: Paralell

P R O P S A L

4 61

FABRICATION.

CONSTRUCTION.

DIGITALLY

DESIGNED

LAZER CUT

STEEL

REINFORCED

CONCRETE

SLAB

MATERIALS.

Following the completion of the parametrically enabled design process, each component of the

design is labelled, lazer cut and assembled off site.

Componenets:

Contour shape profile x 2 (per contour)

Top contour capping

Front contour capping

Rear contour capping

Moire pattern sheet

Steel bar connection

Each contour is 400mm wide and therefore has an internal timber frame support. Each assembled

element is transported to site, positioned and restrained at the base by a concrete slab. In order to

prevent lateral movement from wind and vehicle force, each contour is pinned at the top by a steel

rod. As the gateway rises out of the ground and extends over the road, a truss system is used to

connect the contours and the moire screen and to support self load.

Construction Diagram: Reinforcement of contours

Bronze sheeting will be applied to the entire gateway. The depth of the bronze will be vary throughout

the day according to lghting and will also undergo changes in colour and texture due to weathering.

P R O P O S A L

47

Tested connection at top restricting lateral forces

P R O P O S A L

4 8

1

Above: Driving from city

Top: Curving into the distance

Above: Speed of vehicle

P R O P O S A L

49

1

1

Above: View from car

Below: Night time aerial view

C H A P T E R

5 01

PHOTOGRAPHICAL TIME SERIES OF VISUAL EXPERIENCE.

C H A P T E R

511

PHOTOGRAPHICAL TIME SERIES OF VISUAL EXPERIENCE.

C H A P T E R

5 2

C H A P T E R

53

R E F L E C T

5 4

REFLECTION / CONCLUSION

OVERALL SUMMATION:

A term that best describes my learning experience throughout much of this subject is Arbitrary.

This term applies predominantly to the first 6-8 weeks of the studio experience as opposed to the

last 4. Many of my colleagues had differing perceptions of expectation in terms of week-to-week

submission requirements. This, combined with extremely stagnated teaching processes (referring

to video tutorials etc.) and learning resources in regards to the comprehension of a ‘foreign’

software, severely reduced my self confidence. Radical experimentation with parametric software

was encouraged, however with an extremely limited knowledge of such a design tool, the ability to

gauge ones progress was bordering on impossible. Admittedly, the subjectiveness of the subject also

allowed for a broader, more flexible method of learning, yet it did seem to lack a logical direction/

progression of learning.

Upon completion of the mid-semester presentation, I finally felt like I knew what was expected in the

final weeks. I started to enjoy the subject a lot more, which can be attributed to a renewed sense of

structure. Whilst still not concrete, the brief reduced the arbitrary nature of the subject, leading to a

refined design process, one that was more specific in its layout of requirements. It must be pointed

out that an ‘open’ learning experience is definitely encourage, however there needs to be a balance

of subjectivity and objectivity.

In regards to the journal, I wish someone had of said at the start of the semester that it was basically

a collection of research that is aimed at informing your final design. This would have allowed a more

specific mode of research, tailored toward one’s specific design direction. It would also eliminate the

need to reproduce sections of the journal, allowing them to coincide the chosen design direction.

PROGRESS:

The most significant aspect of the subject was the learning of a new, architecturally progressive

design technology. Prior to this studio I was completely unfamiliar with parametric design. I didn’t

know how to use it or why it would be used in the field of architecture. Admittedly, 12 weeks since

being first being introduced to Grasshopper, my skills within the software remain relatively limited.

I have now learnt the basics but feel that more time needs to be invested in the design software if

I were to incorporate it within my design ‘toolbox’. Nonetheless, it was the learning of the theory

behind parametric design, and the reasons as to why it is used in architecture, or any other field

of design for that matter, that were most beneficial. To have the ability to make alterations without

unnecessary complexity and utilise various parameters as design input are at the core of parametric

technology (Woodbury, 2010). Whilst programs such as Grasshopper have the ability to generate

unimaginable geometries, it is through efficiency that parametric software is most valuable. Efficiency

in both design and fabrication methods allows for changes to be made swiftly whilst ensuring that

fabrication can occur with minimal fuss, time and material wastage.

C H A P T E R

55

C H A P T E R

Personally, the most compelling aspects of parametric design software lay within its precision and

responsiveness. These aspects instil a significantly greater level of control within the computer user

as opposed to CAD software and the like. As the computer user, you can see the design evolving in

front of you, which is typical of any digital design software.

Parametric design enables one to respond to the evolution of the design as required, targeting

specific areas that require alteration, without impeding on the entire design. This runs somewhat

parallel with Burry’s (2011) depiction of the benefits of scripting when he states that scripting allows

the designer to escape the strictures inherent in design software. Basically, scripting and parametric

techniques add additional layers to that of the primary design software, allowing the performance of

actions that would not otherwise be possible.

FUTURE LEARNING PLANS:

I acknowledge that technology is at the forefront of the changes that are occurring in the realm of

architecture and design. Evolution occurs due to the need to change and adapt to modern society.

Architecture, being concerned with such a broad rang of issues – environmental, sustainability, social,

economic, technological, etc., must continue to adapt to changes in each of the said parameters.

In terms of design, parametric and scripting software is the most recognised, up to date technological

advancement of modern day. The fact that project specific data can be inputted into the software

allows for greater diversity and precision in terms of the issues that the design is aiming to address.

It is because of this that I wish to pursue this form of digital design in future studies. However, I do

not believe that parametric and scripting design methods are the only way in which architecture will

progress. It is a combination of human intellect and digital design methods that I will be aiming to focus

on in order to develop myself as an architect. The most advantageous elements of human intellect

are the elements that computers cannot perform well. Alternatively, it is the areas that computers

are most dominant that human intellect does not perform in comparrison (Kalay 2004). Therefore,

it is through the integration of such design methods that will enable me to design architecture that

is appropriate for the time, taking into account the external factors that are increasingly inflicting on

the proffession.

FINISH:

The past 12 weeks have been arduous and intense, however in an opportune manner. I have been

provided with a foundation that will allow me to become more directional in my learning on my

quest to becoming an architect. Whilst being introduced to and learning the very basic elements of

parametric modelling, it is the theory behind this style of design that was most influential. The reading

material throught the semester detailed the capabilities of parametric and scripting software; the

most important aspect being the ability for such software to not only break the barriers of primary

design programs, but to enhance the level of understanding between man and machine (Kalay 2004).

This is the way in which I plan to evolve my skill set. I aim to integrate a variety of design methods,

intending to create a dynamic, yet flexible mode of architectual design. Integrating the best of both

R E F L E C T

5 6

worlds approach, using technology and human intellect in an alternating fashion, the style of design

suited to a modern society has been realised, yet not perfected. Parametric design is still raw. It is

used in both realised and conceptual design projects, however the surface has only been scratched

in terms of what it can achieve. Having now been intriduced to this technology at such an early stage

of my career can only be of benefit, allowing much time to experiment and hopefully implement it to

its full capacity in years to come.

Shenzhen Bao’an International Airport, Jesse Reiser + Nanako Umemoto

57

R E R E R E N C E S

5 8

Achim Menges & Sean Ahlquis, Computational Design Thinking: Computation Design Thinking (United Kingdom: John Wiley and Sons, 2011)

C. B. Liddell ‘Talking With Taniguchi’, in Architecture Week< http://www.architectureweek.com/2008/0213/design_5-1.html> [accessed 2 April 2012]

Daniel Libeskind, ‘Hillman Curtis: Art series: Daniel Libeskind,’ in Daniel Libeskind

< http://daniel-libeskind.com/> [accessed 11 April 2012]

Jesse Reiser & Nanako Umemoto, The Atlas of Novel Tectonics (New York: Princeton Architectural

Press)

Juhani Pallasmaa, The Eyes of the Skin (England: John Wiley and Sons, 2005)

Mark Burry, Scripting Cultures (United Kingdom: John Wiley and Sons Ltd, 2011)

Patrik Schumacher, The Paramtericist Manifesto (London, 2008)

Rafael Hemmer, ‘Pulse Spiral,’ in Rafael Lorenza Hemmer Projects

< http://www.lozano-hemmer.com/pulse_spiral.php> [accessed April 7 2012]

Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010)

Yehuda Kalay, Architectures New Media: Principles, Theory and Methods of Computer-Aided De-sign (Cambridge: MIT Press, 2004)

Zaha Hadid, ‘Nordpark Railway Stations,’ in Zaha Hadid Architects Archive

< http://www.zaha-hadid.com/architecture/nordpark-railway-stations/> [accessed 11 April 2012]