Design Studio AIR Journal

LAURA BARTHOLOMEUSZ 541734

ARCHITECTURE DESIGN STUDIO | AIR


CONTENTS

1.0 | CASE FOR INNOVATION

1.1 ARCHITECTURE AS A DISCOURSE P.5 1.2 COMPUTATIONAL ARCHITECTURE P.10 1.3 PARAMETRIC MODELLING p. 16 1.4 ALGORITHMIC EXPLORATION LEARNING OUTCOMES p. 22 1.5 CONCLUSION p. 24

2.0 | DESIGN APPROACH 2.1 DESIGN FOCUS p. 26 2.2 PRECEDENTS p. 30 2.3 CASE STUDY 1.0 p. 38 2.4 EXPLORATION p. 44 2.5 CASE STUDY 2.0 p. 48 2.6 EXPLORATION p. 52 2.7 UPDATED GOALS p. 54 2.8 PROTOTYPES p. 56 2.9 EXPLORATION p. 60 2.10 TECNIQUE DEVEOPMENT p. 64 2.11 TECHNIQUE PROPOSAL p. 72 2.12 CONCULSION p. 74

3.0 | PROJECT PROPOSAL 3.1 DESIGN CONCEPT p. 80 3.2 TECTONIC ELEMENTS p. 110 3.3 FINAL MODEL p. 114 3.4 GATEWAY RENDERS p.120 3.5 NEXT STEPS p. 124 3.6 CONCLUSION LEARNING OUTCOMES p.126

ARCHITECTURE DESIGN STUDIO | AIR0.0 | INTRODUCTION

Hello and welcome! My name is Laura Bartholomeusz and I’m a third year student at the University of Melbourne undergoing a bachelor of environments, majoring in architecture. I am just beginning to learn and understand the vast world of digital design, having previously only used Rhino. My competency and understanding of digital design has a lot to develop but I am excited to grasp a better understanding of such technology as I believe its role in the progression of architecture will be vital. The design possibilities exhibited in current digitally designed buildings present a world rich in complex and interesting designs. I hope to develop my engagement with digital design and the innovative and creative realms which it opens.

INTRODUCTION

My first introduction to digital design was in the virtual environments subject. Here, I gained my first insight into the enormous world that is digital design. My project ex-plored the development of a seed pod from its closed to open structure and expressed this idea in the formation of a lantern, created using a series of 3D pyramid panels. The final outcome was a complex well of pyramids which created interesting and dramatic shadowing when lit. Regardless of the result produced, the true value of this subject was in its introduction to digital design. It opened up my eyes to the amazing capabilities of design technologies and the highly intricate and fascinating works which can be explored.

PREVIOUS WORK


04.

ARCHITECTURE DESIGN STUDIO | AIR1.1 | ARCHITECTURE AS A DISCOURSE

ARCHITECTURE AS A DISCOURSE


Throughout history the role of architecture has been imperitive to the perception of cities and societies. Architecture stands as a materialistic representation of the public realm and therefore is of critical importance to society1. The interpretation of buildings can be read as a sign. While buildings can be simply interpreted as four walls constructed to house activities history shows that we are able establish a much greater link with architecture. Architecture throughout history generates a discussion between the audi-ence and the form itself, it can represent a cultural shift, a politcal authority or an in-novative spirit. When I think about ancient Greek architecture I think about the incred-ible innovation used and the sophistication of the society. Architecture is inescapable for anyone living in the urban world1 and it is the discourse which it generates that repre-sents the ever changing social realm.

Parametric design stands as the next step in the continuum of changing discourse. Through this modern approach to design modern society, its cultural beliefs and at-titudes, and its fascination with technology can be represented not only to a current day audience, but also as a marker in the evolu-tion of architectural discourse within history.

In modern society it is important to consider architecture as not merely a one dimension-al sector; for example not just a form of art-work, but rather as a discourse1. By consider-ing and analysing architecture in this way it enables us to have a greater understanding of the canon of knowledge which surrounds architectural works and develops our

comprehension of the factors outside the purely pragmatic concerns. By looking at ar-chitecture as a discourse it becomes some-thing in which anyone can participate in and in doing so extends its branches towards a more social, as well as professional, ap-proach to buildings1.

The discourse of any architectural form is of great significance to how a building, the city in which it is established and the society around it are seen by the public.

This is why developing a strong discourse for the Wyndham Gateway project is seen as a crucial factor in the portrayal of the city as a new and innovative area. This discourse of the project, in conjunction with the design techniques used, will all contribute to the fi-nal image which is produced in the Gateway design and therefore the image projected to the audience. Hence, the technologies used for the project must compliment the desired discourse of the project in order to create a design which fulfils its purpose in the most harmonious and satisfying way possible. The discourse of the Gateway project will be the main way in which the architectural form will discuss the ideas of the new city, the inspira-tional and brave new image, with society.

The following examples will make evident the importance of discourse to the relation-ship formed with the local and wider com-munity, highlighting the value of consider-ing design in light of consumption, and not just production1.

06.

IMAGES | TOP: http://www.pesark.com/wuxigrandopera.html#BOTTOM: http://www.indesignlive.com/articles/projects/The-Wuxi-Grand-Theatre-17202

IMAGES | TOP: http://www.pesark.com/wuxigrandopera.html#BOTTOM: http://www.indesignlive.com/articles/projects/The-Wuxi-Grand-Theatre-17202


PES – Architects ‘Wuxi Grand Theatre’ is a key building within the Tai-Hu New City as its development represents a new era perception towards the cultural society. Located on the foreshore of the Wu Li Lake the building holds a strong position within the landscape, one which must be matched by the architectural image which it presents.

In this case, the architects have chosen to portray such an image through the development of 8 wing like structures, resulting in the depiction of a ‘butterfly descending onto the Wu-Li lake2’ . The reference of the butterfly into the work not only produces a sense of grandeur within the environment but also holds strong cultural significance, representing a ‘symbol of long life3’ in Chinese culture. By integrating such meaning into the design the architecture begins to symbolise and project a sense of long gevity and importance of the art forms which take place within the theatre towards society.

The Wuxi Grand Theatre presents the cultural significance which the arts play within the Chinese so-ciety. By constructing such a new age piece of architecture, one which interacts with society and the landscape around it, PES architects are able to communicate a new form of ideas towards society. Rather than just acting as a theatre the design creates discussion, it evokes emotion through its use of responsive lighting4 and challenges the user to understand the building on a deeper level, as a repre-sentation of culture.

To me this is just one of the many parametrically designed buildings that can generate a new discus-sion with society. All theatres carry the same pragmatic concerns yet where they are located and the stance which that particular culture or society holds towards the arts plays a role in the conception of form. In this design the building becomes more than just a venue for the arts. It becomes a materialis-tic representation of society, discussing more than just pragmatic concerns to the audience.

I think this ideal is something which could be translated into the Gateway to sucessfully meet the de-mands of the brief, to create brave, new and inspring ideas. While a Gateway carries certain pragmatic concerns, safety, freeway clearence, there is no presribed manner in which the form should take. By generating a discourse which reveals new and innovative thinking through the adoption of parametric design a Gateway can stand as a materialistic representation of society1.

This contemporary design represents the role in which architecture can play in society and highlights that while resolving pragmatic concerns is of upmost importance to the functionality of the building; it is not the sole factor in determining how a building is perceived by society. The need for an ongoing discourse with the surrounding environment and its inhabitants is of equal importance, and enables architecture to fulfil cultural requirements and present these to a worldwide audience

WUXI GRAND THEATRE

1.1 | ARCHITECTURE AS A DISCOURSE

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IMAGES | http://milimet.com/2011/12/beethoven-concert-hall-design-by-zaha-hadid.html


Despite both responding to relatively simular design briefs and demands the Wuxi Grand Theatre and the Beethoven Concert Hall by Zaha Hadid architects present highly contrasting design responses. While both concepts fulfil the demands required for performances and the facilitation of large numbers of people, it is the architectural discourses behind each design which makes them so unique.

The Beethoven Concert Hall in Germany, also a landmark piece of architecture set on the water’s edge, presents itself towards society in a different manner to the Wuxi Grand Theatre. In this instance the users depiction of the building is influenced by its setting in the environment and the journey taken to reach it. Through the use of a contoured pathway the architects develop a reference towards river-bank erosion, eluding to the natural history of the site. The structure opens itself out to the landscape through its porous skin which allows light to travel out into the environment and allows for users to be drawn into the space. What meets the user at the end of the pathway is a breathtaking piece of archi-tecture, a feeling which is all the more enhanced by the undertaking of the path to reach it.

The Beethoven Concert Hall is referred to by the architects as “a beacon of light, a porous multifaceted crystalline mass, growing out of earth, floating on water5.” Personally, I find this phrase a little hard to translate looking at the design as to me, the form doesn’t correlate with crystalline mass or appear to be floating on water. This is something I have found with many architectural forms. The discourse which the architects believe they are generating gets lost in translation to the public as they do not have the knowledge required to translate the building into a the desired meaningful sign. This is not to say that the building does not create a discourse with those who experience it, it just highlights the need to cre-ate architecture which is accessible to the audience on a number of levels. Architecture should not just respond to the conditions of the site, but adapt to, and represent, the social, cultural and contextual issues. Sucessful architecture should do so in a way which doesnt comprise aesthetic and pragmatic concerns but indeed approaches all these facets in an holistic manner.

The contrasting responses developed in these two designs represents the importance of architectural discourse in creating interesting, site specific and unique designs. They consider architecture as a dis-course, as not just as an avenue of design but as a combination of the sybolic realm, spatial experience and an art form1. Clearly, the discourse of both these projects have played a vital role in the adoption of the buildings, and the cultural facets which they stand for, into society. These buildings both demon-strate how new design and new discourse can influence the way in which society interacts within a city and how the population views and understands a culture. This demonstrates how, with a strongly devel-oped discourse, the Gateway project would be able to project a new image for Wyndham city and influ-ence the way in which people interact with, and view, the cultural and social stance of the area. Without the influence of discourse architecture runs the risk of becoming uniform and dull, however, with the in-corporation of many influences the discourse behind a building becomes a vital factor in the creation of architecture which interacts with, and represents an evolving society and it’s surrounding environment.

BEETHOVEN CONCERT HALL

1.1 | ARCHITECTURE AS A DISCOURSE

“A computa-tional approach enables archi-tecture to be embedded with an extraordinary degree of information. Structure and surface can exhibit hyper-resolution, with seemingly end-less distinct formations... the procedures can devise truly surprising to-pographies and topologies that go far beyond what one could have tradition-ally conceived.”Michael Hansmeyer.

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IMAGES | http://thedesignforum.wordpress.com/2012/10/12/amazing-laser-cut-vases-by-jon-kleinhample/

IMAGES | http://thedesignforum.wordpress.com/2012/10/12/amazing-laser-cut-vases-by-jon-kleinhample/

The role which computational design can play in the design industry is part of an ongoing argument between those stemmed in traditional methods and those embracing new technology. Architecture is a profession which relies on two contrasting, yet equally important characteristics.

It requires analytical and creative abilities in order to achieve the highest quality of design and it is this notion which enables computers to play such a vital role in the design process. Together, the human designer and the computer program which they work with create ‘a powerful symbiotic design system’6, one in which computers can contribute their ‘superb analytical engines’6 and humans their innate ability to create.

The use of computational design opens up a range of possibilities perhaps not conceivable under tradi-tional techniques and enables the design to produce a vast agree of design options in a short amount of time. Having said this, the ability of the designer to create endless opportunities depends greatly on their understanding and capability with computer programs. Much like learning a language, the ability for a designer to construe their idea properly through computation relies on their fluency and ability to communicate with the program. While there is a fear that computational architecture dehumanises the role of the human, ulitmatley the design is governed by the decisions of the designer and the inputs and manipulations which they oversee.

Computational design is an ever growing facet of design, encouraging designers towards creating a range of complex and interesting, yet conceivable, geometries and ideas throughout their architectural works.

The following examples aim to display the wide realm of possibilities which computation in design can lead to. They create interesting and innovative design schemes, an outcome desired in the Gate-way Project, which develop from a comprehensive design process steeped in human creative skills and powerful computer based analytical processes6. The range of possibilities which computational methods present, the ‘powerful symbiotic design system’ created between human and machine, the quick pro-duction of many outcomes, the complex geometries formed6 and the ability for designs to respond to their surrounding environment with specific detailing are all evident in these examples and are all valid reasons for the use of computation in the Gateway Project. These benefits would enable the Gateway design to be eye catching and new and would play a significant role in the development of a discourse which highlights the innovative nature of the area and its adoption of modern technologies in design.

COMPUTATIONAL ARCHITECTURE

ARCHITECTURE DESIGN STUDIO | AIR1.2 | COMPUTATIONAL ARCHITECTURE

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IMAGES | http://www.michael-hansmeyer.com/projects/voxels.html?screenSize=1&color=1


Architect Michael Hansmeyer’s work explores the vast range of possibilities computational design pres-ents. Computational design provides a framework for his designs in which complexity is embraced and explored, rather than acting as an obstruction to design and fabrication . Hansmeyer’s ‘voxel’ project explores the possibilities of computational design and a procedural based approach to design by gener-ating volumetric cells, or ‘voxels’, as the foundation of the geometric form.

This work demonstrates the ability of computational architecture to produce a series of outcomes which are not only visually satisfying but also interactive with surrounding stimuli. Computational design has al-lowed Hansmeyer to produce design outcomes which are grounded by a set of rules which can construe design ideals or constraints of the surrounding environment, therefore enabling the computer to exhibit its strong analytical capabilities.

The voxel project also displays the ability for a range of design outcomes to be explored and developed at once, unlike in traditional methods where one design is developed over time. Computing appears to be in solely charge of the design process in this particular project. While this opens up a range of pos-sible geometries it could also be seen to limit the role of the human in the design process. Hansmeyer himself states that while the design process leads to a ‘truly astounding range of structures6 ’ it can be ‘very difficult to control in that the output is hard to predict7 ’.

The development of architecture from a purely construction area of design, to a more conception based area6, has allowed for the experimentation and testing of designs which is so prevalent in computational architecture. The highly innovative works produced in the ‘voxel’ project highlight the realm of compu-tational design and its ability to produce complex geometric responses which are incredibly complex in their reasoning, visually captivating and yet still conceivable. This highlights a technique which could be investigated in the Gateway Project. The desire for an eye catching installation which presents brave, new ideas lends itself particularly well to the development of complex geometric forms. Computation presents an opportunity for creating such forms at a large scale as designs can be realised using compu-tational techniques for ensuring structural stability, referencing complex shapes and fabricating forms, translating an otherwise unfeasible form into the real world and the constraints it presents.

MICHAEL HANSMEYER’S ‘VOXEL’ PROJECT

1.2 | COMPUTATIONAL ARCHITECTURE

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IMAGES | http://grimshaw-architects.com/project/the-eden-project-the-biomes/


Grimshaw architects work ‘the biomes’ highlights the ability of computation based design to not only open up design possibilities but also potential fabrication outcomes.

The use of the geodesic dome enables architects to develop a design which not only captures sunlight effectively but also adapts to the surrounding typology with ease, thus demonstrating the analytical po-tentials of computation.

While this design is feasible using traditional methods the adoption of a computation based approach drastically enhances the capabilities of the design to meet the demands required and eventuate into a fabricated form in a much more viable time period. The design comprises of 625 hexagon structures used to optimise the encapsulation of the temperate environment8. Computer programs not only play a vital role in the realisation of this design conceptually, they also play a vital role in the realisation of the design physically. Computers take the design and convey it to machinery which is then able to produce materials at the exact measurements as specified by the computer program9.

Such forms of design highlight a shift in the role of the architect. Digital design has the capacity to move the role architect back towards a more traditional one, the role of master builder. This is an idea which stretches back to pre Renaissance architecture, a period in which the architect was also the builder, the engineer and the stone mason. This is a more holistic approach towards design, one which is facilitated by the tools which computer based design brings to the table and is intergral to the development of forms which translate the specific digital components, and therefore there technical capabilities, to real world forms. Computer based design enables the designer to deal with how things are constructed and the fabrication of elements, encouraging a more thorough understanding of the design as a whole. The ability of computation to develop ideas from the conception phases to the manufacturing phases high-lights the innovative and unique opportunities which this type of design can fulfil.

THE EDEN PROJECT: THE ‘BIOMES’

1.2 | COMPUTATIONAL ARCHITECTURE

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IMAGES | http://matthias-studio.com/sit/sit.html#

ARCHITECTURE DESIGN STUDIO | AIR1.3 | PARAMETRIC MODELLING

Parametric modelling introduces a new way of thinking to design. The capabilities for designers to not only add and subtract whilst designing, but also relate and repair components, impacts how designers think about the relationships within a piece of work and in doing so, impacts on the designs produced10.

Much controversy surrounds the role of parametric modelling however, the unique and new possibilities of architectural design made possible by parametric techniques highlight the need for such techniques in development the architectural world. Throughout history avant garde approaches to architecture have been met with criticism and doubt. Any change from the norm brings about scepticism at inauguration. Parametric design may have flaws which are highlighted by critics, its tendency to create “anticontextual” designs, designs which are generated from a “fake creativity”14, however it must be noted that paramet-rics is a field in its relative infancy. If parametrics can be adopted and understood widely it presents an opportunity for designers to create forms which realise the contemporary evolution of technology and science, to create forms which are steeped in mathematical and scientific knowledge thereby enhancing architecture in a holistic manner, generating new discourse which challenges the traditional preconcep-tions of architectural development.

While parametric modelling allows for a vast exploration of ideas, many critiques query the role of such programs in dehumanising the design procedure. However, if the designer truly understands the para-metric technique they are implementing then parametric modelling system simply provides a ‘new medi-um from which we can conduct design’10. As is highlighted by the works of Robert Woodbury ‘designers do design, not media’10. Parametric modelling systems lack the human aspect of design and while they ‘do much of what we call design’, they cannot do all10 . One of the key aspects to producing thorough designs through parametric modelling is an understanding of the system. Once the designer under-stands the process and adapts to a new way of thinking about the design process, parametric modelling opens up a world of interesting and unique design opportunities.

The following examples not only demonstrate the complex and captivating architecture which paramet-ric modeling can produce, but also highlight the way in which these designs can project a certain dis-course towards society. Both examples strive to project a sense of new, much like the Gateway Project. Their adoption of parametric systems highlights how this design technique is seen worldwide as a valid way of portraying innovative and modern designs, and demonstrates through well established and veri-fied projects how parametric modeling aids discourse in projecting a rejuvenated and fresh image. As key player in the forefront of modern architectural design, parametric modelling is an obvious choice for the design of the Gateway Project as its use will enable the creation of complex and innovative designs, while complimenting the desire for a new and inspiring discourse.

PARAMETRIC MODELLING

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IMAGES | ‘Computation Works - The Building of Algorithmic Thought’ p62-63


The Museo Soumaya in Mexico represents a design which has successfully used parametric modelling in order to fulfil its functional roles, create a unique, complex and interesting design whilst also meeting the demands of the site and presenting a new face to the cultural scene of Mexico.

The role of parametric systems were paramount to the formation of this design in a situation in which there was little to no precedents or local expertise11. Parametric modelling allowed for the realisation of the complex double curve surface and the intricate hexagon panel design which overlays it11. By using a parametric system the designers are able to explore the concept of the building at many different stag-es, quickly analysing different attempts and eventually determining the most appropriate outcome.

For this particular project the way of thinking introduced by parametric design was a key factor in the production of such a complex design. ”Looking at the project in an integrated, holistic way, where all the elements and how they interact with each other are visible, was fundamental to both comprehending the complexity and documenting it.11” It is complex architectural forms like this, which are only possible through the use of parametric modelling, that demonstrate the vital role in which such systems play in the development of new and exciting architecture, an avenue appropriate to the demands of the Wynd-ham brief.

MUSEO SOUMAYA

1.3 | PARAMETRIC MODELLING

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IMAGES | http://www.fosterandpartners.com/projects/smithsonian-institution/


The Smithsonian Institute in Washington demonstrates the ability of parametric design to elevate tra-ditional spaces to a new level. The adoption of the parametrically produced canopy over the courtyard of the institute enables the space to fulfil a new range of possibilities not previously feasible. Computer code was used through out to produce the final design, a fluid and seamless composition of ‘three inter-connected vaults that flow into one another through softly curved valleys12’.

“The computer code was used to explore design options and was constantly modified throughout the design process. It was also used to generate the final geometry and additional information needed to analyse structural and acoustic performance, to visualise the space, and to create fabrication data for physical models13”

The use of parametric systems so thoroughly in the design of such an important building in Washington clearly highlights the status of not only the building, but also the design technique used. As is evident in this design parametric systems enable the exploration of ideas not only at a conception stage but also when considering the function and structural properties of the space. A full understanding of the para-metric system allows for architects to create new and innovative, context reflective responses which, as the Smithsonian Institute demonstrates, can be integrated into existing architectural forms to develop a sense of new life, presenting a fresh and revitalised image to their audience. This notion lends itself well to the Wyndham Gateway project, as it highlights how a new discourse, and indeed a new image, can be created through the adoption of parametric modelling, generating an eye catching form which captures the audiences attention and challenges the notion of what architecture should be.

THE SMITHSONIAN INSTITUTE

1.3 | PARAMETRIC MODELLING

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ARCHITECTURE DESIGN STUDIO | AIR1.4 ALGORITHMIC EXPLORATION | LEARNING OUTCOMES

My understanding and development of skills in grasshopper still require a lot of work however each week I feel as though I gain a further understanding of a new avenue. The way of thinking required in parametric modelling takes adjustment however I feel that once developed it allows the designer to gain a greater understanding of the relationships between elements as you begin to reflect upon how plug-ging in one aspect can alter the outcome all together. The outcomes possible are vast and while I am just beginning to understand them, my experiences with the program already have demonstrated how com-plex designs can be produced quickly, something which would have taken a considerably longer period of time using traditional methods, if it was even possible at all. The sketches also demonstrate the large number of outcomes which can be explored and developed at once, as well as the ability for designs to reflect and change depending on the characteristics which the designer implements. While parametric modelling opens up a range of possibilities for creating new, innovative, complex and exciting designs it cannot do this without the creative input of the human. The way in which the best parametric designs can be achieved is by developing strong communication between the designer and the computer, a relation-ship which is crucial for outcomes which incorporate both creative and anayltical responses.

Learning about the theory and practice of architectual computing has opened up a new world of design to me. At the beginning of the semester I was sceptical about the role of computation, especially in de-sign. However, I now feel as though computation is a more than valid approach to design and its role in the architectual industry is important. I think perhaps one of the most fundamental aspects to producing computational designs and using parametric modelling is an understanding of the system. Without this the designers ideas and goals can get lost and the best outcome cannot be achieved. Researching into examples which have implemented computational architecture demostrates clearly the range, and com-plexity of designs possible. There is perhaps a misconception towards computational architecture, with many people regarding it as purely ‘blob’ like forms, however in modern architecture this could not be further from the truth. Anything is possible using computational and parametric design systems, and this is what makes it such an interesting facet of design which if explored further enhances the potential for architecture to develop and meet the demands of the modern world. The use of this type of design cre-ates architectural forms at the forefront of innovation and creativity, and can combine to form a discourse which reflects these ideals, making it perfect for the Wyndham Gateway Project. As my understanding of these systems develops I am able to adopt more readily to their use in design, however I feel as though a medium between tradional methods and computational methods is still the best way of achieving inno-vative and complex designs which still value the role of the designer.

LEARNING OUTCOMES

ALGORITHMIC EXPLORATIONS

As the previous sections have discussed, the adoption of computation and parametric modelling into the modern world of design has opened up a realm of possibilities for innovative, complex and interesting designs. It is factors such as these which make these techniques the forefront of modern architecture. As the previous examples have shown, architecture fulfils a greater role in society than just the pragmatic concerns contained within a building. It is through the discourse of architecture that society and cultural sig-nificance can be highlighted to a greater audience.

Architecture is an ever growing and changing facet of design, a materialistic represen-tation of society. This change is translated in the evolution of architectural discourse throughout history as architects challenge the norm. Avant garde and innovative archi-tecture is crucial to the development of forms which are representative of society and its ever changing timeline. The modernist movement challanged the preconcieved notions of design and generated new discourse, in much the same way as parametric and com-putational design are now. Parametric modelling is the next evolution of architecture.

It is for this reason, as well as the many other beneficial factors addressed in previous sections, that computation and parametric modelling systems are so suitable for the design of the gateway project. Parametric modelling will ensure that the brief for the gateway project is fulfilled to its greatest capacity, with the exploration, development and refinement of many design schemes throughout the design process. The previous ex-amples demonstrate the ability for designs produced by these techniques to create un-doubtedly exciting and new architectural forms which capture the audience’s attention. The examples also display a proven successful ability for design to inspire and enrich municipality through innovative technology, resulting in rich cultural and social benefits. By adopting the use of computation and parametric modelling in the gateway project, Wyndham will present its self as an innovative city, a city at the forefront of architectural practice, a city embracing the height of technology. A new discourse will be generated, one which portrays Wyndham as an innovative and inspirational municipality. This new image brings with it a sense of pride amongst the community as they are portrayed as leaders in architecture and digital technology not only to a local, but to a worldwide audience.

CASE FOR INNOVATION | CONCLUSION

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ARCHITECTURE DESIGN STUDIO | AIR1.6 | REFERENCES

1. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116

2. http://www.contemporist.com/2012/08/27/wuxi-grand-theatre-by-pes-architects/wg_270812_02/ retrieved on 14/3/2013

3. http://www.kwintessential.co.uk/articles/china/chinese-art-butterflies/1775 retrieved on 28/3/2013

4. http://www.indesignlive.com/articles/projects/The-Wuxi-Grand-Theatre-17202 retrieved on 28/3/2013

5. http://www.zaha-hadid.com/architecture/beethoven-concert-hall/ retrieved 28/3/2013

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

7.http://www.michael-hansmeyer.com/projects/voxels_info.html?screenSize=1&color=1 re-trieved 21/3/2013

8.http://grimshaw-architects.com/project/the-eden-project-the-biomes/

9.http://www.solaripedia.com/files/461.pdf retrieved 21/3/2013

10. Elements of Parametric Design - Woodbury, Robert (2010). (London: Routledge) pp. 7-48

11. ‘Computation Works - The Building of Algorithmic Thought’ p67-69

12. http://www.fosterandpartners.com/projects/smithsonian-institution/ retrived 29/3/2013

13. Computation Works - The Building of Algorithmic Thought’ p13

14. Mayer, Adam, ‘Style and the Pretense of Parametric Architecture’, <http://adamnathanielmayer.blogspot.com/2010/06/styleandpretenseofparametric.html, retrieved 4/6/2013

REFERENCES

2.0 | DESIGN APPROACH

26.

2.0 | DESIGN APPROACH

There is no design approach that can match the 3.8billion years of experience, research and development that feeds the field of biomimicry1. Biomimicry draws its rationale from nature and the systems, forms, strategies and processes2 which have developed within it overtime. In doing so, biomimicry is able to produce responses which adapt tried and tested methods from nature into modern day design solutions. By incorporating biomim-icry into design, architects are able to enhance their designs and develop comprehen-sive responses which are steeped in the knowledge and expertise of billions of years of natural evolution.

“If you look beyond the nice shapes in nature and understand the principles behind them, you can find some adaptations

that can lead to new innovative solutions3” Michael Pawlyn

Without a doubt biomimicry has its critics. It can be easily dismissed as designs that emulate only natural form3 which, while presenting visually appealing solutions, fail to grasp a hold of the exciting and vast potentials of biomimicry. By using an understand-ing of the logic behind natural phenomena to inform design ideas or provide rules for the rationale behind an idea, biomimicry can produce the innovative and captivating design required for the Gateway Project. It is this realm of biomimicry which we believe will be the most advantageous for the Wyndham Gateway Project. Research into the behavioural methodologies found in nature will enhance the design created, shifting the way in which form is created and developing strong interactions between all elements of the project to inform the configuration of the structure will indeed produce a new and exciting solution which can fulfil the requirements for the Gateway Project. By using biomimicry in this way the Gateway Project can present new, inspiring and brave ideas, ideas which are at a stage of relative infancy within the architectural community and will therefore highlight Wyndham as a community at the forefront of architectural explora-tion. While many of the other avenues for design focus, and indeed many other freeway installations, appear to be steeped in linear, almost one dimensional representations (for example the ‘Seeds of Change’ project), biomimicry presents an opportunity to explore more dynamic, captivating designs which can progress beyond simple planar solutions and create significant impact. By generating a solution which is unique, surprising and unexpected a Gateway design which is worthy of reflection can be produced, thus reveal-ing Wyndham in a positive manner, presenting them as forward and innovative thinkers to a wide audience.

DESIGN FOCUS | BIOMIMICRY

ARCHITECTURE DESIGN STUDIO | AIR2.1 | DESIGN FOCUS

28.

The intention is therefore to transcend the mimicking of natural forms and at-tempt to understand the principles that lie behind those forms and systems.4"

Michael Pawlyn

THE WYNDHAM BRIEF & INITIAL IDEAS

ARCHITECTURE DESIGN STUDIO | AIR2.1 | DESIGN FOCUS

The Gateway Project should enhance the physical environment by introducing an eye catching installation which presents brave, new and inspiring ideas at an iconic scale.

It should generate a new discourse for Wyndham, encourage further reflection and represent the growth of the municipality and thus, promote pride within the

Wyndham community.

The Wyndham Project brief highlights a number of key factors which are crucial to the development of a successful Gateway Project. The combination of parametric modelling and biomimicry provides an excellent avenue of exploration to fulfil these requirements. By identifying these factors in the early phases of design we will be able to maintain fo-cus on the goals of the brief and ensure our design is compatible with the requirements for the Wyndham community. While the progression of conceptual ideas will develop and alter throughout the phases of design, these factors will remain critical to creating a solution which meets the specific demands of the Wyndham project.

These initial ideas included:

Establishing compatible relationships between elements so that the structure can be elaborated upon endlessly, thus enabling a design to be generated at an iconic scale

Encouraging further reflection by arranging elements into understandable shapes (such as arches or pillars) so that the form is accessible and not impenetrable.

Utilizing the benefits of biomimicry to present brave, new and inspiring ideas. The fact that biomimicry is in its infancy will mean that its adoption in a project will highlight pro-gressive thinking which is appropriate for Melbourne’s fastest growing municipality.

Using references to systems found in nature in order to portray a sense of growth, some-thing which can be tied back to the Wyndham community

Adopt biomimicry as a reference to allow us to develop form from a system, rather than a set of principals

30.

IMAGES | THE ICD PAVILLION TOP | http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/BOTTOM | http://www10.aeccafe.com/blogs/arch-showcase/files/2012/01/FP11-516_View-E.jpg

ARCHITECTURE DESIGN STUDIO | AIR2.2 | PRECEDENTS

THE ICD RESEARCH PAVILLIONThe pavilion represents a contemporary realisation of biomimicry teamed with digital design and fab-rication techniques. Using the logic of a sea urchins plate skeleton the design transfers biological ra-tionale into architectural form5. The result is an eye catching and distinctive design which rethinks the way in which form can develop by referring to nature instead of existing construction methodologies. The architecture produced utilizes the performative capacity of the sea urchin skeleton to develop a modular system which, much like the sea urchin plates themselves, offer a ‘high degree of stability and performance5’ due to their geometric composition and the joining techniques employed5. The adoption of biomimicry, teamed with computational design, is paramount to the success of this structure. These factors not only contribute to the overall form of the design, but also to its materiality and the spatial aesthetics this produces.

The experiential qualities of this space are quite intriguing. As my previous research has shown critics often question the role of parametric design, relating it to “egregious16” forms stemmed in “fake cre-ativity”16. However, I feel as though this pavilion branches away from such a stereotype. Here, the use of parametric modelling enhances the complexity of the design, generating a strong discourse between the form and the surrounding environment. It also, perhaps more importantly, creates a space which is compelling, without being confronting, for users. The form, through its use of timber and ambient light-ing becomes warm and inviting, it encourages emotive connections with the public and in doing so, creates a form of parametric design which is accessible and interactive with a large audience.

The pavilion provides a prime example of biomimicry in contemporary design, demonstrating how utilizing logic found in nature can enhance the structural capabilities of a design and produce innova-tive and compelling forms, thus highlighting the benefits this design focus could bring to the Wynham Gateway Project.

32.

IMAGES | THE SHI-LING BRIDGE http://www.arch2o.com/shi-ling-bridge-tonkin-liu/#prettyPhoto


THE SHI-LING BRIDGEThe Shi-Ling Bridge, found in the forests of Yunna, China, adopts biomimicry to produce a structure which is innovative in its thinking. The design finds its natural inspiration from seashells, which gain strength through their ‘optimised curvilinear geometry, locking in stiffness with corrugation6’. Because the structure is informed by these principals it becomes incredibly efficient, allowing designers to incor-porate lightness by perforating the design. Teamed with computational design which allows designers to analyse the outcomes, the result is a ‘highly efficient and responsive structure with minimal weight and wastage6’. By using biomimicry in this way the architects are able to develop a bridge which breaks away from traditional conformity, they are able to rethink what architecture must be and in doing so generate a new discourse. This again demonstrates how the field of biomimicry and parametric mod-elling can inform a design to create innovative structures which stand at the forefront of architectural advancement and therefore present their environment and community in the same manner, an ideal which highlights clearly the benefitical factors that adopting such a method would present for the Wyndham community.

34.

IMAGES | THE GROTTO 1. http://www.moma.org/interactives/exhibitions/yap/2005_arandalasch

Research into the existing links between parametric modelling and biomimicry lead us to the work of Benjamin Aranda and Chris Lasch, in particular their work in the field of tooling. Tooling looks at the rules that exist in a ‘hypothetical pre material state7’ which go on to influence the ‘movement into the realm of the material7’. It is interested in the ‘elusive logic which remains resolute7’ behind natu-ral phenomena. Several algorithmic techniques make up tooling, all of which can be used to describe different natural phenomena and turn these into logic for construction7. Our initial interest lied in the technique of tiling.

Tiling is concerned with repetition, modularity and adjacency7. Unlike many other design approaches tiling lends itself particularly well to creating a thickness of form, rather than a flat, planar system. The result is the creation of rich, three dimensional forms which adopt repetition, modularity and adja-cency in order to organise a ‘constructive expansion toward infinity in all directions without any gaps7’. This kind of system would provide an interesting avenue for exploration for the Gateway Project, as its ability to transcend into the realm of rich three dimensional organisation would lend itself well to the development of a brave and new ideas in an eye catching form.

In this instance, tiling is used to represent the boulder and the structural composition of its order. The result is a form comprised of individual molecules, or boulders, each of which behave in their own way, forming an erratically ordered three dimensional pattern that never repeats the same way7. Here, the tiling technique is used to inform the structural logic behind the design. This approach could be valid for the Gateway Project as it enables the development of a form based on the rationale of the natural crafting of forms found in nature, such a crystalline packing, to create a visually interesting and structurally stable design. Overall the interesting form developed in the Grotto demonstrates the unique possibilities and outcomes which can be produced by the adoption of the tiling technique and how such a form generating tool could create a design which stands out in the environment.


ARANDA LASCH | TILING

36.

The ‘boulder mess’ made up of only four modules or ‘boulder types’

IMAGES | TILING | WOOD/MARSH EASTLINK INSTALLATIONLEFT | Aranda, Benjamin, and Chris Lasch. 2005. Tooling: Pamphlet Architecture 27. New York: Princ-eton Architectural Press p83RIGHT | http://www.woodmarsh.com.au/projects/detail/e/


Due to its rich three dimensional composition tiling offers a unique approach for adoption in the Gateway project. As seen in the grotto, tiling demonstrates how mathematical, scientific or indeed biomimetic references can enhance parametric design, generating much more complex forms than the conceived typical typology of the tactless parametric blob17.

An adoption of a technique such as tiling offers an alternative to the somewhat linear gateway typol-ogy which is currently evident in freeway installations such as the ‘Seeds of Change’ project and the work done by Wood/Marsh architects along the Eastlink in Melbourne which, whilst employing a tight packing of standard geometric modules, fails to truly impact upon the fast moving user. By developing a rich and complex form through three dimensional geometric packing the capabilities for the Wyn-dham Gateway project to engage and captivate the user would be enhanced, thus making a stronger impression on the public and cementing Wyndham within the minds of travellers, generating a form which not only breeds new discourse but is worthy of reflection.

ARANDA LASCH | TILING

38.

IMAGES | THE MORNING LINEhttp://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/

The Morning Line sets out to challenge architectural convention8. A collaboration between mathematics, cosmology, architecture, art, music and science, the morning line explores an interplay between multiple disciplines8. The form created via this interactive development openly ‘expresses its content through its structure – a structure that is simultaneously generating itself and falling apart, enclosing an interac-tive environment inside which a possible future can be seen, and changed8’. By challenging architectural convention, the morning line sets forth a new discourse.

Rather than considering the mundane factors of architecture they extend their boundaries into the realms of crystallography, molecular structures and cosmology9. Instead of developing form based on a set of principals Aranda Lasch’s approach favours systems, allowing them to produce structures that can replicate infinitely and grow to produce a number of solutions, much like a living system9. This presents an exciting and interesting approach which could work well with biomimicry. By considering the logic of a natural system we can generate an innovative form which challenges convention and can present Wyndham as a leader of architectural exploration.

Again, it is through the technique of tiling that they are able to reference both the parametric and biomimetic in this design. The result, The Morning Line pavilion, presents a new discourse, challenging a preconceived notion of the form architecture should take, and the way in which it should develop it. This is an interesting notion to consider and could indeed present beneficial outcomes if adopted for the Gateway Project. The Morning Lines ability to generate an eye catching form which creates itself based on a rationale of natural logic highlights the ability for biomimicry to develop new and innovative forms. It also displays a new avenue possible through the tiling technique, expanding on the molecular based structure of the Grotto by introducing a patterning system. This takes a relativley simple composition of molecules and develops them to form a complex and intricate aesthetic. This is something which could build intrigue and visual stimulation if considered for the Gateway Project, however in this case the ef-fects of patterning would need to be thought of in conjunction with the movement of the audience.

The Morning Line provides a good case study for our group, as it highlights a design technique which intergrates natural references to develop from a system based approach. The result is a powerful archi-tectural piece which stands out within the landscape and identifes itself as a bold and innovative design, a design which showcases a new generation of architectural thinking.

ARCHITECTURE DESIGN STUDIO | AIR2.3 | CASE STUDY 1

THE MORNING LINE

40.

This matrix demonstrates our exploration into the ge-ometries which make up the Morning Line. By manipu-lating parameter values we were able to produce a number of different iterations or ‘mututions’ of the ori-gnal geometry, the truncated tetrahedron. For this task we considered a three parameters the most interesting and therefore chose to explore the effects that altering these would have on the form. The parameters were:

The number of sides of the base polygon. (min 3, max 5, this became restrictive on the amount of iterations we could produce)

The number of fractal steps on each polyhedra. (added a 3rd to the basic definition, this produced intricate systems of fractals)

The size of the fractals. (scale of 0.25 and 0.50 used, larger fractals were fa-voured by the group as they produced more interest-ing forms)

The results produced are interesting and would each have a dramatic effect on the end product. By simply altering two parameters of the original geometry a completely different architectural form could be gen-erated.

Looking at these different iterations and the way in which the interactions between elements would be altered by changing the parameters highlighted an in-terest in a theme which had been evident through the work we had been looking at. Spacial packing.

Each of these different iterations now possess differ-ent characteristics which will alter the way in which they combine to develop a form and the aesthetic and experiential qualities of such a form.


THE MORNING LINE MATRIX

42.

SIMPLE

There were two main criteria which the group considered to be important when analysing and comparing the geometries. We were interested in a balance between simplicity and complexity, as well as the spacial packing characterisitcs of each form.

Ironically, this led us to the three sided tetrahe-dron used by Aranda Lasch. Many of the other geometries became too complex and intricate, which meant that they were incompatible to repeated packing or stacking.

Although the tetrahedron was the most simple in terms of its fractal composition, it compen-

sated for this through its ability to combine sucessfully to create complex and interesting geometric forms, making it the most sucessful iteration.

The three iterations which stand at the complex end of the spectrum create interesting pattern-ing however, a fast moving user on the freeway wouldn’t be able to decipher this. They also lack the ability to generate interesting forms through packing, as they do not connect smoo-thy. Indeed, these cells are far to intricate for the Gateway project and would create messy forms.

COMPLEX


The tetrahedron provides stable and solid sur-faces which can combine with themselves to create an interesting form. To develop a more unique form elements can be connected along a line or curve, thus avoiding the repitition of pattern which may result in a three dimension-al packing using only one geometry.

It also represent a form which is feasible to construct. Many of the other geometries be-come too intricate, which may not be suitable for a Gateway Project where the audience is moving past at fast speeds.

The use of modular elements such as these al-lows a design to develop recoginisable shapes, making it accessible to a wide audience. It would also enable compatible relationships between elements that would contribute to create a form at an iconic scale

Using a combination of individual geometries to form a whole and the spatial packing logic behind such a creation is an interesting con-cept which would enable us to fulfil many of our initial goals.

44.

Throughout the initial phases of design there has been a focus on growth, and a desire to incorpo-rate it through the realm of biomimicry. While researching into precedent projects and exploring them through grasshopper there has been an ongoing desire to find an appropriate example with which we can use to inform the growth of our design. Research and precedent projects, such as those by Aranda Lasch, have led us to crystals and the way in which they grow and develop forms.

We felt that growth was an appropriate avenue to explore, as it is particularly relevant for Wyndham, the fastest growing municipality in Victoria. By exploring this through design we can highlight the specific characteristics of Wyndham, therefore creating a design which is unique to the area, not just a generic freeway art form. Crystal growth provides a natural reference from which we can establish rules for growth within a design.

‘Quasi crystals’ grow to form a structure that is uniquely ordered, but not periodic10’. Much like the tiling technique used by Aranda Lasch they grow to fill all available space of an area, thus producing unique formations that are dependent on environmental constraints. As a group, we felt that crystals provided a good partnership with the Wyndham project. Much like parametric modelling crystals develop a structural system before they develop a form. Their structure, comprised of individual molecules, follow a set of rules to develop form, much like the tooling techniques which we have researched. Constructed from individual molecules they will allow us to futher develop the stream of design which we have been following, and delve further into the possibilities which modular based forms can produce. Their adoption can also provide an analogy between the Gateway Project and the Wyndham community, however this connection is vague and questionable and while it was a line of thought we considered, wont be taken further.

ARCHITECTURE DESIGN STUDIO | AIR2.4 | EXPLORATION

THE CRYSTAL

46.


Combining our interest in Aranda Laschs modular creations and the theme of growth presented by crystals we developed an algorithm. This grasshopper definition allows us to represent the growth of molecules along a curve and observe how an object forms based on this rule.

The ‘line of best fit’ considers the four mirrored surfaces of each tetrahedron in relation to the curve and choses the one which is closest to the curve to direct the growth of the next module. This sys-tem loops through, repeating the process for each module in the curve and results in the growth of modules along the line, seen in the images to the left. This curve can be altered, resulting in the pattern of modules changing.

This is an interesting form finding technique and could be translated into the Wyndham environ-ment so that the line of the curve suits the demands of the environment, avoiding some factors and alluding to others.

The use of a modular system presents a number of benefits. If taken further a technique like this could explore in the detail the theory of ‘stability through adjacency’ put forward by Aranda Lasch. It could also develop forms with unique aesthetic and experiential qualities, which could be enhanced through the use of patterning much like the Morning Line project. It is also highly beneficial for pro-duction, as only one geometry must be developed.

While this exploration proved interesting and allowed us to gain an understanding of modular ge-ometries it also highlighted some downfalls. The ‘line of best fit’ is greatly limited in the outcomes it can produce, its modules lack a relationship from which they can develop stability through adjacen-cy on mutliple levels. The geometric itself lends itself too much to linear geometry and fails to pro-duce an interconnected structural lattice which is evident in rich three dimensional packing systems. Essentially this form of growth is highly constrained by the line which we input and its geometric simplicity and must be taken further to reach the level of depth and quality of experience we desire.

THE LINE OF BEST FIT

48.

IMAGES | THE ‘WATERCUBE’ http://www.okeanosgroup.com/blog/water-as-art/water-cube/


The Beijing Aquatics Centre, or the ‘Watercube’, is a collaboration between PTW architects and the CCDI and ARUP firms and represents a modern day partnership between parametric modelling and natural rationale. The Watercubes form expresses clearly the design idea, it explicitly reflects bubbles of water foam to create an understandable and iconic piece of architecture which makes reference to the activi-ties housed within. To create this appearance architects adopt the logic found in nature, mimicking the strict geometry which is ‘found in natural systems such as crystals, cells and molecular structures11’ to develop a highly ordered structure in which all elements are integrated11. In this case, the combination of biomimicry and digital technology creates a singular, unified system which ties together structure and the overall aesthetics of the building. Whether or not you like the building, you cannot deny its success both at a global scale where the ‘watercube’ has become a household name, and a local scale. The design of the Watercube meets the demands set forth by the brief. It adopts new technologies, uses state of the art materials, respects traditional Chinese culture and encompasses efficiency in a truly unique and iconic form of architecture11. Behind all this stands the logic of natural phenomena, spatial packing and parametric modelling techniques, demonstrating clearly how such a design focus can gen-erate architecture which presents itself, and the city it is in, as innovative and brave.

THE BEIJING AQUATICS CENTRE

50.

WHEARIE PHELAN PACKING 60 DEGREE ROTATION REDUCED TESSELATION PIPED EDGES|FINAL OUTCOME

IMAGES | PROGRESSIVE ITERATIONS OF THE WATERCUBE RE-ENGINEERING | WATERCUBE DEFINITION


By re-engineering the Watercube using Grasshopper and the BullAnt/Geometry Gym plugin, we were able to develop a better understanding of the logic and parametric techniques used to develop it. Initially, it was thought that the design employed the voronoi technique to establish pattern. However by recreating the design we were able to learn about the way in which the form was generated and the spatial packing technique which was used to achieve this. Using a Wearie Phelan structural system archi-tects are able to simplify the logic of water foam and translate this into a developable form.

The use of the Wearie Phelen packing system plays a crucial role in the generation of structural and resource efficiency. By creating a form which fills all available space with the minimal amount of mate-rial the Wearie Phelen packing system not only creates a pleasing aesthetic, but a comprehensive and ecomically friendly design.

Through our progression we modified a number of parameters in order to generate the most accurate representation. At different points in the process it seemed as though we had reached a form which replicated the Watercube however, by changing more parameters we found new ways in which we could advance the form to produce a more accurate representation (as shown in the diagram to the left). The final outcome shown, which employs piping, appears fairly simular to the original however, unlike in the original design where the surface of the bubbles protrudes outwards to utilize the material properties of the ETFE layer and create a dynamic effect, the bubbles in our representation simply remain flat along the surface of the cube. Overall this was a valuable exercise as it enhanced our knowledge about spatial packing systems which will enable us to develop our technique further to develop a system which incor-porates the Aranda Lasch ideal of ‘stability through adjacency’ and produces a more thorough outcome which is not only concerned with pattern, but the structural philosophys which create it.

THE BEIJING AQUATICS CENTRE

IMAGES (L-R) WEARIE PHELAN APPLIED TO: CONE | SPHERE | ABRITARY SHAPE | APPROXIMATE GEOMETRY | SUBTRACTION OF FORM | PERFORATED MOLECULES

52.

Our interest in the Watercube deepened as we began to understand the packing system which it adopts and how this might benefit our goals. The Wearie Phelan system of tessellated 3D geometry presents a number of benefits. Much like the tetrahedrons the Wearie Phelan system consists of mod-ules, however by adopting two different modular geometries, that of the tetrakaidecahedron and the dodecahedron, the Wearie Phelan system is able to pack much more efficiently and therefore reduce material waste. It also demonstrates an ability to agglomerate which can add mass to a design. We went on to consider how we could develop the Wearie Phelen system further, exploring how it could be applied to the same shape through a number of different techniques (as seen in the diagram to the left).

The general consensus amongst the group was that developing form using an approximate geometry was more interested than the designs which just cut out the form. Using the Wearie Phelen packing system in this way produced much more unique and interesting forms and was something we wanted to continue to consider through the designing process.

The Wearie Phelen packing system opens up a realm of new possibilities which could indeed enhance our design and our abilities to reach our goals. It shares similar characteristics to the tetrahedron but advances further on these, enabling us to create a more rich and developed design. The characteris-tics of the Wearie Phelen packing system mean that a much more cohesive combination of modules can be produced, thus enhancing ‘stability through adjacency’.

We went on further to explore how the the molecules of this system could be manipulated to incor-porate some of the characteristics of crystals. In particular, we were interested in replicating light play. Crystals are capable of transmitting and refracting light particals through their form which produces interesting patterns. We wanted to represent this using the modules of the Wearie Phelan system to evoke emotion in the audience and create dramatic shadowing effects. It is important to note this is an aesthetic desire and should be used as a feature within the standard Wearie Phelen geometries.


WEARIE PHELAN PACKING SYSTEMS

54.

“The wildest things that you can think of, just because they are not known to exist, doesn’t mean that they didn’t, or

doesn’t mean that they can’t”Chris Lasch

ARCHITECTURE DESIGN STUDIO | AIR2.7 | UPDATED GOALS

The Gateway Project should enhance the physical environment by introducing an eye catching installation which presents brave, new and inspiring ideas at an iconic scale. It

should generate a new discourse for Wyndham, encourage further reflection and represent the growth of the municipality and thus, promote pride within the

Wyndham community.

Through the progression of the design process a number of new goals or ideas have arisen, while some of the initial goals have developed further. These ideals will continue to grow and develop throughout the stages of design, however research into precedent projects and natu-ral phenomena have played a large role in the development of goals which are specific to the Wyndham brief. Our updated goals for the project include:

Establishment of a structural system before form, thus enabling the logic of natural phenom-ena and growth to inform the system, rather than mundane aesthetic qualities

The combination of parametric modelling and biomimicry presents the opportunity to explore brave and new ideas within the architectural world, presenting Wyndham at the forefront of architectural exploration and innovation.

A reference to crystals will enable the exploration of materials and their properties to produce characteristic refractions and light play, resulting in an eye catching form

Establishing compatible relationships between elements will allow the structure to be elabo-rated upon endlessly. Teamed with the logic of crystalline growth a structurally stable design can be produced at an iconic scale.

By incorporating references to crystalline structures and the spatial packing systems which they adopt growth can be reflected and experienced in transition through the design.

Fractal representation and the broader discipline of biomimicry is worthy of reflection (R. Wil-liams’ multiple readings). The form and meaning of the design should also encourage reflec-tion. This intrigue will encourage positive reflection on Wyndham.

The formation of a Gateway which adopts the relatively infant field biomimicry and explores it further through parametric design will present Wyndham as a leader in the field of innovative art and architecture, encouraging pride amongst the growing municipality.

THE WYNDHAM BRIEF & UPDATED GOALS

56.

Prototyping throughout the design development was important in enhancing our understanding of the physical realm.

Construction in the physical realm highlighted some issues which would be replicated if the project were to be constructed at a large scale. Due to the thickness of the card used and the fact that each module was made out of one continous template folded at the edges, aligning the faces of each module accurately was diffi-cult. This is an issue which would exaggerated at a larger scale. In order to combat this it is likely that each face of the modules would need to be made seperatly and aligned to the next with

consistant tolerances for materiality considered throughout.

These models, each made from a collection of truncated tetrahedrons, were made in relation to our line of best fit explorations. Following this rule connecting the modules occurs on one of the four triangular faces in correlation to the curve we set out.

While the modules each join together easily, it became apparent that further structural support would be needed in construction. The linearity of the forms means stability is an issue. We thought that to enhance the joining between molecules

PROTOTYPING | THE TRUNCATED TETRAHEDRON

ARCHITECTURE DESIGN STUDIO | AIR2.8 | PROTOTYPING

and the overall stability steel framing could run through the line of the curve, providing a struc-tural base from the the modules can grow off, however this simply exaggerates the fact that this system is not representative of one which pro-duces ‘stability through adjacency’.

58.

These models represent our exploration into the Wearie Phelan packing system. By using this technique the orientations and positions of ele-ments is determined by the surrounding form. To ensure that we created the form which was set out by our algorithm we would have to employ a reference system, otherwise determining the ex-act location of each cell would become very time consuming and difficult, a taste of which we ex-perienced through exploration with the models.

In this case, the structural packing is much more dense and therefore much more stable. We tried joining the pieces using h-clips however this technique failed. It created messy forms and the

protrusion of the clip interupted the stability of the modules. Joining this way was not appropri-ate for Wearie Phelan packing however, given that all the faces meet up tightly there are a num-ber of ways in which we could join pieces. This exploration directed us to believe interior joints most be might be most effective.

The characteristics of the modules mean that there are a vast range of suitable material op-tions. Given that we want to explore crystals and the light play which they produce, we felt that perspex or fibreglass could both be viable op-tions. However clear materials such as these run the risk of blending into the surrounding environ-

PROTOTYPING | THE WEARIE PHELAN

ARCHITECTURE DESIGN STUDIO | AIR2.8 | PROTOTYPING

ment. Given the brief calls for an eye catching installation it is likely that a combination of ma-terials would need to be used to achive light play and a clarity of form within the environment. We also explored producing modules with perfora-tions which would further enhance the refractions and shadows produced.

How the modules fit together, how they are con-nected and their materiality will play a crucial role in structural, as well as aesthetic and experiential qualities of our design. As our design develops further we will need to consider these factors again so that the most suitable techniques are adopted for the form.

Above: unfolded modules (with perfo-rations) for fablab fabrication

60.

SEPERATIONSteer to avoid crowding orcolliding with �ockmates

ALIGNMENTSteer towards the average

heading of �ockmates

COHESIONSteer towards the average

position of �ockmates


Through exploration of the design process it has become apparent that there is a large area of weak-ness in our thinking. By focusing all our energy on producing the ‘line of best fit’ algorithm our design intent has lost focus and meaning, with form being generated based on purely aesthetic reasoning. Our original intent was to develop a form based on the rationale of a natural system however, as it cur-rently stands we lack any logic for where structure should go. While we have developed an interest in spatial packing to form an interesting geometry we want to evolve our design further and incorporate strong natural rationale and meaning.

This led us to the natural phenomenon of self organisation or emergence. Self organisation is a pro-cess found in nature where individual behaviour at a local scale produces a pattern of emergent be-haviour at a global scale13. The rules which generate this pattern are determined by the individual interactions between components at a local scale and use only local scale information12. Thus, ‘the pattern is an emergent property of the system, rather than a property imposed on the system by an external influence12.’

Self organisation can be seen in many facets of nature ranging from ants to slime mould, or even a flock of birds. No matter which area of emergence you look at there are always three local rules that influence behaviour; separation, cohesion and alignment14.

Emergence provides us with the perfect platform to develop our design as it is concerned with col-lective behaviour which will enable us to transfer logic to our form and the relationships between our population of modules.

EMERGENCE

62.

"BEHAVIORAL DESIGN METHODOLOGIES REPRESENT A SHIFT FROM ‘FORM BEING IMPOSED UPON MATTER’ TO ‘FORM EMERGING FROM THE

INTERACTION OF LOCALIZED ENTITIES WITHIN A COMPLEX SYSTEM’. ROLAND SNOOKS

This presents a number of opportunities for our design. By applying the logic of self organisation to our modules, or ‘crystals’, we can generate a structure which relates all individuals to one another using their own geometries. We can maintain the modular elements which we discovered through the Wea-rie Phelen system in order to do this, as they possess important qualities to enhance ‘stability through adjacency7’.

This kind of system is of one mutual feedback13. The relationship between each element is critical to the formation of the whole. By considering architecture in this way we begin to breakdown the hierarchy which exists, thus enabling the generation of a new discourse. This is an argument supported by Roland Snooks, “designing through non-linear behavioral systems challenges the hierarchies that are embed-ded within design processes and the architecture that emerges from these methodologies.13” Incorpo-rating this system therefore presents an opportunity for Wyndham to display brave, new ideas which challenge architectural convention. By establishing our design intent at local scale between individual molecules we can then observe the interactions and the consequential form produced. The relationship between the micro scale, where we can see behaviour, and the macro scale, where we can see form emerging, will encourage further reflec-tion and challenge the preconceived ideal that ‘detail is a finer resolution of the whole13’. Instead it is the interactions at a local stage that generate the form and organisation of the overall structure.

Realising the principals of an emergent system can be done by employing the plugin ‘locust’. This will enable us to give our ‘flock’, or crystals, a heading (generated through an attractor point) and we as something to avoid (through a repulsion point), as well as an area in which they can self organise (a bounding box is necessary to avoid indefinate growth of the system). We can then observe the patterns and form which the system produces, altering the flock size and introducing obstacles to create vary-ing results. Using this system will allow us to cater to the specific needs of the Wyndham site, as we can direct the flow of movement based on external factors to create a design which encapsulates the best views and directs the views attention.

Self organisation provides an excellent realm for us to enhance our design, adding meaning and logic for the form we create. It will enable us to fulfil one of our most important initial goals, to generate form through a system, rather than principals. This means that our final form will be dictated by the rules of nature, making it somewhat unpredictable, yet at the same time the decisions we make as de-signers, the location of attractor points of the shape of the bounding box will influence how the system grows, thus generating a parametric design which is representative of the “powerful symbiotic design system” discussed earlier, a system which utilizes the analytical capabilities of the computer and the creative intuition of the designer18. This will further enhance the Wyndham project, developing a design which is highly unique and eye catching within the landscape, presenting an exciting architectural piece which breaks away from preconceived forms.


EMERGENCE

64.

The following pages of graphs sample a number of different iterations produced when considering emergence and the modular Wherie Phelen packing system. The samples were made by applying the Wearie Phelen spatial packing system to emergent lines created using the Grasshopper plugin ‘lo-cust’. The tesselation sizes have been scaled to factors of four, eight and sixteen.

The results produced are each unique, with varying levels of intricacy and complexity. Generated us-ing the logic of natural phenomena the forms are able to fill one of our most prominant goals; they develop based on the rationale of the system, not mundane principals. The compatible relationships between elements means that we are able to grow the system infinitly and can therefore replicate the design at an iconic scale. The overall forms are all unique and can be catered to the Wyndham site to develop a design which is identifiable amongst the landscape. By introducing natural logic in this way we are able to fulfil many of our goals and create an eye catching form which generates further reflection.

ARCHITECTURE DESIGN STUDIO | AIR2.10 | TECHNIQUE DEVELOPMENT

TECHNIQUE DEVELOPMENT

66.

EMERGENT LINE ITERATIONS | SCALE FACTOR 4

A

B

C

D

E


THE GOOD: Cell E4. Here there is a mix of geometric complexity and accessible form. Arches make recognisable shapes which would create good spatial experiences. However the size of the modules may be too small for viewing at fast speeds, creating a con-fronting form rather than an interesting one.

THE BAD: Cell C16. Due to the large size of modules the out-come lacks any definition, becoming one large ac-clomeration rather than an identifiable form. This is something we need to be careful of as the packing system lends itself to tightly combined modules. We need to make sure that the form maintains fluidity and variation, rather than solid uniformity.

8 16 DESIGN MATRIX

68.

EMERGENT LINE ITERATIONS | SCALE FACTOR 4

F

G

H

I

J


THE GOOD: Cell F4. While the scales of modules at this level is perhaps too small for fast moving traffic to identify the form expresses complexity. I find the depth the form creates quite interesting and I think a canopy effect like this would translate well into the Gateway Project, enhancing the experince for the user and enabling a direct interation.

THE BAD: Cell H8. To me, this form is too linear and doesnt explore the complexity and depth which the pack-ing system has to offer. This form limits interaction with the user and presents a relativley consist shape. While there may be complex packing occuring to build the shape, these interactions are hidden within and not experienced through varia-tion of the overall form.

8 16 DESIGN MATRIX

72.

The following examples display some of the most successful outcomes produced through a combi-nation of self organisation and spatial packing. These designs were considered successful based on a number of factors which would determine how well suited they were for the Gateway Project. The most critical factors included how the form could be perceived by a fast moving audience, the com-plexity of the design and how unique and surprising the form was. By combining a logical packing system with the rules of a system from nature the forms produced are all ordered yet unpredictable, generating results which are exciting and new.

Throughout the course of design we have been considering two main forms of geometrical compo-sition. These are both explored in the designs to the left however our group has chosen the Wearie Phelan packing system as the most desirable for further exploration. This is because of its ability to form rich, dynamic designs, its close packing and its ability to abide more closely to the rules of the emergent line. We believe that teamed with the logic of self organisation the Wearie Phelen packing system will present a surprising form which captures the audience’s attention.

Not only will this technique enable us to produce an eye catching design, it will also allow us to cater to specific needs of the site as well as logistical and structural requirements. There are a multitude of possibilities and avenues to explore using this technique and by doing so we will generate a design which is a complete in all areas. Structure and form will be informed by the logic of nature and there-fore create a design that not only fulfils the pragmatic concerns required but goes beyond this to create a form which generates new discourse and enlightens people’s perception towards the Wynd-ham area.

We have already begun to explore the possibilities which this design technique can entail, by consid-ering the piping of edges to bring much needed relief to the monotony of the Wearie Phelan struc-ture. By creating light play and dramatic shadowing the effect will be felt on the audience and is just one way in which this technique can produce interesting experiential qualities. We hope to progress this technique further to make the most of the vast possibilities it presents and create a form which will fulfil all our goals and present Wyndham as a brave and innovative city.

ARCHITECTURE DESIGN STUDIO | AIR2.11 | TECHNIQUE PROPOSAL

TECHNIQUE PROPOSAL

74.

We believe that the combination of parametric modelling and biomimicry presents us with an exciting avenue to explore brave and new ideas within the architectural world. This will allow us to present Wyndham as a leader in architectural advance-ment and thus at the forefront of modern art and design.

By generating a form through the system of self organisation and Wearie Phelan packing the design created will be exciting and new. It will captivate the audience’s attention and have the capacity to mould to the topography of Wyndham, thus en-abling the most satisfying views to be highlighted, enhancing the way in which visi-tors experience the environment. By adopting this technique we can set forth a new discourse, challenging the way in which design is generated and the hierarchy which exists within architecture. Through the logic of a complex and organised pack-ing system which have the capabilities to create a design at an iconic scale, making an impact on the physical environment and highlighting the importance which the Wyndham area holds on new and innovative art. Natural references provide us with an opportunity to explore the growth of a system, the material characteristics and the experiential qualities which can be produced in a resultant form. Biomimicry is crucial to us achieving many of these factors and allows us to create a unique form, one which will become recognisable to the audience as a landmark, thus placing Wyndham on the map.

THE WYNDHAM BRIEF & OUR GOALS

ARCHITECTURE DESIGN STUDIO | AIR2.12 | CONCLUSION

The mid semester presentations provided very helpful feedback. We have in part already tried to further develop our technique in relation to this feedback by adding a natural phenomenon, emergence, as a system from which we can generate form. This has been very beneficial to our explorations and ongoing design progress as it enables us to fulfil one of our most crucial goals; devel-oping form via the logic of a system, rather than mundane principals. By intro-ducing this rationale we add logic and meaning to our design and will be able to fulfil many of the goals set forth. Our next step is to develop this principal further and relate it to the specifcs of the site. By combining the logic of emer-gence with the modules which we already have we should be able to develop a unique and eye catching form.

This class has definitely helped my development in various three dimensional media, in particular through the realm of parametric modelling, something I had never considered trying before this, but something I now feel I could adopt in other classes. It has also introduced me to digital fabrication and the many advantages this has over lengthy and tedious traditional methods. It has broad-ened my understanding of contemporary architectural designs and the ways in which unique and captivating designs are now being developed.

LEARNING OUTCOMES

76.ARCHITECTURE DESIGN STUDIO | AIR

2.13 | REFERENCES

1. Pawlyn, Michael, 2011. ‘Biomimicry in Architecture’ RIBA Publishing

2.http://biomimicryinstitute.org/about-us/what-is-biomimicry.html retrieved 16/4/2013

3.http://www.wired.co.uk/news/archive/2012-02/22/biomimicry-in-architecture retrieved 20/4/2013

4.http://www.treehugger.com/green-architecture/biomimicry-architecture-michael-pawlyn-book-review.html retrieved 10/5/2013

5.http://icd.uni-stuttgart.de/?p=6553 retrieved 9/5/2013

6.http://studiogreig.wordpress.com/2012/11/13/biomimicry-1-shi-ling-bridge/ retrieved 10/5/2013

7.Aranda, Benjamin, and Chris Lasch. 2005. Tooling: Pamphlet Architecture 27. New York: Princeton Ar-chitectural Press. p7-9 and 74-90

8.http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/ retrieved 6/5/2013

9. Creators project, Aranda Lasch feature http://thecreatorsproject.vice.com/blog/making-the-mundane-cosmic-meet-modular-designers-aranda-lasch retrieved 6/5/2013

10.http://phys.org/news/2013-03-potential-quasicrystals.html retrieved 26/4/2013

11.http://www.architecture.com.au/awards_search?option=showaward&entryno=2008196910 retrieved 9/5/2013

12.http://order.ph.utexas.edu/Camazine.pdf retrieved 10/5/2013

13. Roland Snooks presentation on volatile formation at Texas A&M University http://www.youtube.com/watch?v=ULkRh-rJGyg

14. Craig Reynolds http://www.red3d.com/cwr/boids/ retrieved 9/5/2013

15. Frazer John 1995, ‘An Evolutionary Architecture’ Architectural Association Publications, Themes VII, London

16. Mayer, Adam, ‘Style and the Pretense of Parametric Architecture’, <http://adamnathanielmayer.blogspot.com/2010/06/styleandpretenseofparametric.html, retrieved 4/6/2013

17. Lawson, Bryan, “Fake’ and ‘real’ creativitiy using computer aided design: some lessons from Herman Hertzberger’, In proceedings of the third conference on creativity and cognition, ed. by Ernest Edmonds and Linda Candy (New York: acm press, 1999) p174-179

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

2.13 | REFERENCES

78.

3.0 | PROJECT PROPOSAL

ARCHITECTURE DESIGN STUDIO | AIR3.0 | PROJECT PROPOSAL

3.0 | PROJECT PROPOSAL

80.

The Gateway Project should enhance the physical environment by introducing an eye catching installation

which presents brave, new and inspiring ideas at an iconic scale. It should generate a new discourse for

Wyndham, encourage further reflection and represent the growth of the municipality and thus, promote pride

within the Wyndham community.

ARCHITECTURE DESIGN STUDIO | AIR3.1| DESIGN CONCEPT

Throughout the design process a number of key factors from the brief have been con-sidered, in order to develop a form which suits the specific needs of the Wyndham com-munity. These factors influence the design generation and the way in which biomimicry and parametric modelling are adopted to create a form. As a group, we believe that by implementing a self organised crystalline structure, a form which combines comprehen-sive packing logic with the natural phenomena and rules of emergence, we will be able to fulfil the demands highlighted and thus produce a successful outcome which not only creates a unique experience for commuters, but also stands as a strong visual marker, representing Wyndham as place worthy of reflection, a place made distinct from the monotonous freeway journey.

RELATING TO WYNDHAM

82.

STABILITY THROUGH ADJACENCY

IMAGE | ‘STABILITY THROUGH ADJACENCY’“Stability through adjacency”. Similar to how a brick wall resolves load transfer by transmitting forces from one adjacent brick to another, the Wearie Phelan packing system adopts a system which enhances stability through adjacency, trans-ferring load through the tightly packed structure from one neighbour to another, using more complex bricks as a basis to ensure forces are resolved and the system is structurally stable.

ARCHITECTURE DESIGN STUDIO | AIR3.1 | DESIGN CONCEPT

In order to generate a form which utilizes the potential that the field of biomimicry can offer, one which exploits the systems and rationale found in nature to create a form rather than merely replicat-ing mundane aesthetic qualities, as is often found in biomimetic architecture, the group will look to-wards the phenomena of emergence. Emergence will provide the rules, separation, cohesion and align-ment, to inform our geometries, becoming the system which defines the growth of our design. This, in conjunction with the Aranda Lasch theory of ‘stability through adjacency’, a concept through which we are able to challenge preconcieved ideals of building typology by generating a new way in which form can be generated through packing and therefore develop a new architectural discourse for form generation, is demonstrated through our adoption of the Wearie Phelan packing system and creates a unified form which combines natural logic and geometric stability to infer growth and progression.

CONCEPT INFLUENCES

84.

EXISTING SITE

A

B

C


EXISTING SITE

A

B

C

In order to develop a design which makes the most out of the freeway location and the surrounding environment the site, its sur-roundings and the pathways of users must first be considered.

EXISTING SITE

86.

A

B

C

REFINING SITE BOUNDARIES


A

B

C


The location of development is confined to sites A and B. It is believed that these will provide the most interaction with users, as designs will be evident from each of the three roads allowing for the observation of the gateway from different perspectives and distances.


ESTABLISH BOUNDING BOX

88.

ESTABLISH BOUNDING BOX


In order to prevent the geometries from grow-ing indefinitely a bounding box is needed to constrain the form. Previously, our form was greatly influenced, and indeed limited by, the bounding box which we set. As a result, the forms themselves were developing in certain ways as they were derived from the character-istics of the bounding box itself. This placed a great limitation on our form. Most often we applied a rectilinear bounding box which had no significance to the design, the system of emergence or the Wyndham site. A disconnect developed between our conceptual ideals and the form we were creating.

By extruding the boundaries of the site the form created will be specific to the constraints of the area and unique to the Wyndham site.

ESTABLISHING A BOUNDING BOX

90.

LINK SITES


LINK SITES

The sites are linked together with consideration of the 4.5m freeway clearance. This provides agents with the opportunity to self organise across the entirety of the site whilst being con-fined by the constraints presented. Arches and pillars are often effective in gateway designs and by linking the site we establish an oppor-tunity for these to develop in the design, thus unifying the site.

LINK SITES

92.

ADD AGENTS


ADD AGENTS

Agents are positioned at the extremities of the site, providing the maximum opportunity for interaction over the entirety of the site.

AGENTS INTRODUCED

94.

ADD AGENTS


ADD AGENTS

The rules of emergence are applied to the agents travelling through the site boundaries. The paths they make are tracked providing a representation of the way in which an emer-gent system may self organise within the site boundaries.

RUN EMERGENCE AS PATHS

96.


A relationship is developed between lines by creating an interconnection between paths.

We use a proximity relationship between the agents to create an interlocking structure which is a direct descendent of the flocks spatial arrangement, thus enhancing stability through adjacency on another level.

This further enhances our design and enables us to make the most out of the Wearie Phelan packing system by forming a more intercon-nected relationship between modules. It also prevents our design from returning to the simple, linear iterations we were producing earlier through our ‘line of best fit’ definition, therefore encouraging a complex, rich design.

ESTABLISH INTERCONNECTION

98.

1. 2. 4. 5.

8. 9. 10. 11.


This matrix shows a selection of the iterations produced by running emergence through the site. The best outcome was chosen according to the following desirable characteristics:

Complexity without excessive density

Depth of form in relation to the road, a balance between immediacy and relief

Incorporation of a canopy within the design

The inclusion of pattern and its interest

The best outcome was noted so as it fulfilled these criteria most effectively. Other designs were disregarded as they were either too com-plex, resulting in an overwhelming form that would be difficult to construct, too repetitive and one-dimensional, resulting in a form that is less interesting for users travelling through, they failed to create enough experiential inter-action by not establishing a strong canopy or did not create interesting and unique pattern-ing which could lead to an eye catching form.

For example, while the 2nd iteration shown does include some interesting patterning it fails to produce an interesting canopy within the design, the 12th iteration fails to produce complexity at any level, while the 13th iteration produces complexity to the point of excessive density in sections.

MATRIX

6. 7.

13.12.

100.


As a result of the geometric packing and the site boundaries used for running emergence the form created is undoubtedly at an iconic scale. It stands strong within the landscape and is clearly identifiable as a visual marker.

ICONIC SCALE

102.


By establishing an interconnection between elements of the form complexity is enhanced. The most complex and eye catching sections of the form are used for the final outcome in order to maintain an iconic scale while the remaining sections are discarded in order to prevent excessive material usage. The com-plexity of the geometric cells and the form they combine to produce is definitely eye catching within the Wyndham landscape and presents brave ideas which challenge the commuter to reflect further about the form.

COMPLEXITY/EYE CATCHING

104.


The form created enhances the experiential journey for the user by building an element of surprise. The section on the bend of the road conceals the archway further along the road and therefore builds a stronger journey for the commuter by progressively revealing elements of the design.

UNEXPECTED/SUPRISING

106.

STAGE 2

STAGE 1

STAGE 3


In order to take advantage of the modular geometry, avoid large financial expenditure at once and link the development of the form to growth we have decided the design will be installed over a period of time. This will create a growing installation, allowing commuters to experience the development of the form over time.

Constructing the Gateway in this manner highlights the beneficial characteristics of our modular geometry and demonstrates clearly how they can be used to effectively to construe growth, making them ideal for our design con-cept. Because each cell packs in tightly with its neighbours segments of the form can be pro-gressively added to others by simply aligning the sections together and joining with a bolt.

This presents us with the opportunity to ex-plore material textures, as the timber in each section will weather differently over time, al-lowing for the installation to exhibit a depth of textural quality and tonal variance.

Fragments of the design can be manufactured off site and then transported to the site once completed. Using a reference system a com-ponents location can be identified from the computer model or plans into the constructed form. References will also be established between the individual faces of each cell to ensure the correct orientation is easily defined.

CONSTRUCTION DEVELOPMENT

* Note: the number of stages is not yet defined and could be larger than three, allowing the form to grow over days, weeks, months or years.

108.


Piped sections are added to the form in order to preserve a structural core yet enhance the depth of the design by introducing geometric complexity. This should increase the experi-ence for the user, adding an extra dimension of experiential quality by introducing light and shadow play into the design.

The final outcome is a form which combines all these factors into one cohesive whole. In doing so it creates a Gateway which is unique to Wyndham and one which considers the fac-tors highlighted in the brief. It is undoubtedly an eye catching form which presents brave, new and inspiring ideas at an iconic scale. It sets forth a form which is unique, one which is derived specifically from the topography of the Wyndham landscape, enhancing the physical environment in a site specific manner. By gen-erating this form through a system based ap-proach we are able to challenge preconceived hierarchies within architecture, thus generat-ing a new discourse evident in the formation of a design which represents growth through many facets, from its installation process to the interactions of form both at a macro and micro scale.

OUTCOME

110.

THE VERTICES OF EACH SHAPE ARE NUMBERED IN CORRESPONDENCE WITH THEIR JOINT TYPE. THE FACE OF THE BRACKET THAT IS TO CONNECT TO THE SHAPE IS INDICATED WITH A SMALL CIRCLE. THIS IS WITH THE EXCEPTION OF TYPE 8 WHICH HAS FACES O EQUAL PROPORTION AND THEREFORE DOES NOT NEED SPECIFIC ORIENTATION.

THE VERTICES OF EACH SHAPE ARE NUMBERED IN CORRESPONDENCE WITH THEIR JOINT TYPE. THE FACE OF THE BRACKET THAT IS TO CONNECT TO THE SHAPE IS INDICATED WITH A SMALL CIRCLE. THIS IS WITH THE EXCEPTION OF TYPE 8 WHICH HAS FACES O EQUAL PROPORTION AND THEREFORE DOES NOT NEED SPECIFIC ORIENTATION.

IMAGE | MODULE CONSTRUCTION

BRACKETS MODULE FACES JOINING FACES

ARCHITECTURE DESIGN STUDIO | AIR3.2 | TECTONIC ELEMENTS

Given that our form consists of only two shapes, the dodecahedron and the tetrakedecahedron, the jointing technique used can be replicated and altered only slightly to generate eight iterations. This means that the number of different elements in our design is relatively constrained, consisting of two geometries, a total of only three different face types, some of which remain solid while others are piped, and eight joint types. This presents us with the option to fabricate at a large scale using a mass production method, perhaps by creating basic templates for each element that can be used repeti-tively, similar to the technique adopted for the RMIT FabPod design, and metal presses for brackets. Creating a reference system which identifies components between the physical and digital realm would be necessary to develop the form accurately.

A reference system has been established between the module faces and the brackets. Each of the vertices within a module are numbered from 1-8 in correspondance with the correct bracket type. In turn, the face of the bracket which connects to the shape is marked with a small circle (type eight is not marked as all sides are of equal proportion and therefore do not require identification). This system allows for brackets and faces to be associated and joint quickly and easily, preventing lost time spent determining bracket specifications.

This resolves a number of issues which were raised during the prototyping phase. Using this system of bracketing the overall aesthetic of the form is maintained and the packing system is not interrupted by extruding elements thus ensuring ‘stability through adjacency’ is maintained.

FABRICATION | JOINTS

112.

IMAGE | FABRICATION LAYOUT

ARCHITECTURE DESIGN STUDIO | AIR3.2 | TECTONIC ELEMENTS

By using this construction technique and implementing the installation over a of period of time the construction cost becomes more agreeable as the impact can be spread out over time and less pres-sure is placed on fabrication deadlines as the form is generated progressively over time in sections. Constructed in a series of phases the installation itself becomes a growing system which commuters experience evolving overtime.

This is reflected in the material qualities of the design. Rather than ignoring the characteristics of timber we chose to embrace them, fabricating a form which will progressively weather overtime. It is hoped that by doing so the impression of the design and the textual qualities it entails will be further enriched, producing another level of complexity which can capture the attention of motorists.

The fabrication of modules which pack so well together presents a number of benefits. Not only can these modules be mass produced, they also behave in a manner which resolves forces, creating a sys-tem which is self supporting without the need for additional reinforcements. Parametric design aids in the development of this form not only through the conceptual phases but also the fabrication process, enabling us to deconstruct our model into fragments ready for assembly. The nature of our design lends itself well to construction techniques raised earlier in the journal, in particular the computer based manufacuring discussed in the Eden Biomes Project (p14), a fabrication process which could eas-ily be translated for this design had the budget been excessive. This highlights the benefits of paramet-ric design for modern day construction and provides us an insight into the change that digital design is creating in architecture, allowing us a designers to develop a much creater understanding of the form as a whole, from design tectonics to construction both on a micro and macro scale.

FABRICATION

114.

FINAL MODEL | PROCESS

ARCHITECTURE DESIGN STUDIO | AIR3.3 | FINAL MODEL

116.


118.


120.

GATEWAY ENTERANCE

GATEWAY JOURNEY

ARCHITECTURE DESIGN STUDIO | AIR3.4 | RENDERS

122.

GATEWAY EXIT AT NIGHT

ARCHITECTURE DESIGN STUDIO | AIR3.4 | RENDERS

124.

ARCHITECTURE DESIGN STUDIO | AIR3.5 | NEXT STEPS

While we are pleased with the outcome we have reached there are still facets of the design which could be enhanced had there been more time to address them. Currently, the location of piped sec-tions in the design is chosen on solely design based factors, aesthetic considerations achieved by manually selecting sections of the design which would best be suited to piping. While this achieves an objective of enhancing geometric complexity and introducing light and shadow play into the design, it fails to make the most of parametric modelling.

Our goal was to preserve a structural core of solid geometric forms, introducing piped cells to enhance depth and geometric complexity. It is believed that the piped cells will add a dimension of experien-tial quality to the design through the light and shadows they create. In order to achieve this our next step in the design process would be to develop a parametric technique for determining the location of piped cells. While as yet we are only proposing to develop a parametric technique, our discussions have mentioned the idea of using a plugin, such as geco to analyse and evaluate the form to find the areas which are affected by the sun the most dramatically, those which receive the most sunlight dur-ing the day or those which create the best shadows throughout the year. In doing so the form would be more responsive to the site and incorporate piped modules in a way which enhances the design based on empirical research rather than purely aesthetic concerns. However tying this in with our goal of maintaining a structural core would take time, as would any method, so a viable conclusion for this element of our design has not yet been met.

Another facet of our design which could be enhance by implenting a parametric tool is the structural composition. While the Wearie Phelan packing system is characteristically structurally sound, using a parametric tool to identify interior non loading bearing modules would allow us to remove unnesses-sary pieces, therefore decreasing cost and waste whilst maintaining a structurally sound form.

There are a myriad number ways in which we could incorporate parametric tools into this facet of de-sign and choosing the most appropriate option would be our next step, ensuring our goals are met in the most effective manner possible.

NEXT STEPS

126.

Our design for the Gateway Project strives to utilize the field of biomimicry and parametric design to create a brave and eye catching form which challenges preconceptions. By developing a bold Gateway piece we provide a clear visual marker which encourages further reflection on Wynd-ham and their role as a leader of architectural and technological innovation. We have not only produced an iconic piece of architecture but a system which resolves structural issues through its characteristic packing to create a structurally stable and easy manufacturable design. A de-sign which is developed through intricate relationships between parts according to the rules of emergences which see the overall form being generated through the interactions which occur at a local scale, thereby challenging the existing hierarchy in architecture to produce a form which is derived from non linear behavioural methodologies. We create a design which utilizes the analytical power of the computer to solve complex problems and the creativity of the designer to generate a form which encompasses the advantages of both man and machine, producing a powerful symbiotic design system and therefore powerful architecture that stands boldly within its environment.

CONCLUSION

ARCHITECTURE DESIGN STUDIO | AIR3.6 | CONCLUSION | LEARNING OUTCOMES

The knowledge I have gained through the designing and researching of digital techniques will no doubt affect the way I consider design from now on. Looking at precedent projects and the way architects tackle different problems makes me want to consider design in a different light. I came across the following quote while researching biomimicry in architecture which I found very interesting. Roland Snooks stated that ‘something considered to be ugly in architecture, often becomes known in architecture, a type of strangeness can be exciting in architectural form’. This to me represents a new wave of thinking. Previously we have been so concerned by creating elegant, simple, understandable architecture that it all begins to become monotonous. For me, the architectural forms I remember are the ones which stand out from the norm. Architecture like Snooks, and Aranda Lasch, and indeed many who adopt parametric modelling, challenge architectural convention. They challenge the way we find form and the way we think of buildings. Without this kind of innovative thinking architecture wouldn’t develop and we wouldn’t discover the exciting possibilities which lie ahead. I think that throughout this semester this is something we have been able to develop in our design. While it may not be what is considered traditionally beautiful, the form is no doubt memorable, it challanges preconcieved notions of freeway archi-tecture to create a form which interacts with the user both visually and emotively. By creating such a bold form which utilizes the benefits and strong analytical capabilites of parametric mod-elling we begin to delve into the exciting realm of digital design and the innovative and exciting design possibilites this presents.

LEARNING OUTCOMES

Documents

Design Studio AIR Journal