ADS3AlexAnDrA Gower 201443

DESIGN

AS

DISCOURSEA

S

DESIGN

Con

tent

sPart One

Discourse as Design:-Wyndham City Council brainstorm-Herzog and De Meuron; Ornament-Computerisation, mass customisation-Callum Morton; Art interpreting architecture-R&Sie(n), dynamism and emotion

Part Two

Design Devices- Bio-mentor- Brainstorm- Inspiration- Diagram of inputs- Case Study CUT - Solution Development- Matrix

Part Three

Fabrication- Fabrication- Performance

Part Four

Refinement- Communication

Society is changing. The continuing growth of the popula-tion on the limited surface of the world and the reduction of distance within the world through fast methods of travel and instant communication has resulted in a shift in soci-ety’s relation to space. Space is becoming a valuable com-modity. Advances in design tools and construction tech-niques has also altered how and what space is defined.

Architecture is also changing. The introduction of para-metric modeling allows designers to respond factually to site factors and removes many assumptions to allow a new freedom in design. Parametric design therefore enables the designer a fresh appraisal of their project, site and con-text and the ability to respond to the issues in a directly cause and effect manner.

As a suburb in flux, Wyndham is moving through these is-sues of space and it’s new meaning in 2012. In many ways this rapid change of a community can be perilous. Com-munity identity can either be strengthened when guided in the right direction or completely broken down by the dis-turbance. It is therefore important for Wyndham to create an icon that engages with contemporary notion of space exploration and encourages discourse. As only through discourse can a positive direction be discovered.

PART ONE

- Wyndham City Council brainstorm- Herzog and De Meuron; Ornament- Callum Morton; Art interpreting architecture- Scripting Culture and emotion- R&Sie(n), dynamism and emotion- Computerisation, mass customisation

discourse as design

Great Australian Dream of the detached house = Urban sprawl Fastest growing municipality in Australia by percentage

Per week: 60 babies born and 120 new rubbish bins requested

Rose Garden, Fibonacci sequence

Former orchard farming area, mostly family run. Only

pockets now remain.

Site for filming one of the car chases from Mad Max, great

Australian cultural icon. Commented on the sustain-ability of our preoccupation with cars, petrol and speed.

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The Country Suburb

Werribee Mansion: -Historic landmark-Former nationwide recognized art competition, suspended due to financial difficulties

Werribee Races; former cultural event appreciated by general population, suspended due to track reorien-tated as quarantine for Melbourne Cup horses.

Melbourne’s outer west suburb

Werribee open range zoo, African animals with strong fur patterning

Yarra river referred to the spine of the country by local indigenous population

Herzog and de Meuron - Ornament

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Ornament has consistently been a point of contention in architecture. The Art Nou-veau and Art deco styles illustrated with or-nament the new dynamism and energy of the modern period. These previous explo-rations in ornament predominantly focused upon ornament as an applied fixture, very separate from the mass of the building. As a result, ornament was rejected by the In-ternational style as a extraneous trapping of past styles and not to be included in a new rational architecture based on the economy of industry.

Architecture materializes an extensive range of elements, some pragmatic but also many arbitrary, interrelated but often contradic-tory idealizations. These aspirations, while not entirely related to function, are what dif-ferentiates humanity from the animal king-dom and are a vital inclusion in our built form. It is due to these competing factions that successfully balanced architecture is by nature complex and cannot be comprised of a singular element. Nor can elements exist in isolation, as highlighted by the In-ternational style, as units such as ornament consequently loose all significance without

context. It is only when individual units are in dialogue as a whole that the distinction between them dissolves and each alters the conception of the next to create an entirely new architectural expression. Herzog and DeMeuron re-frame ornament, form and structure to investigate how ornament in this manner shifts the conception of space to something transientl.

The two dominant walls of the Ricola-Europe SA, Production and Storage building are constructed with translucent poly carbonate panels which have been printed with a repetitive plant motif. Although weight bearing, the effect of the patterned panels is more like a curtain or robe. Light filtered through the patterning transforms the appearance of the in-ternal space during the day, as the volume seems to shift and recede. At night, the facade material dominates, closing and sealing the volume within the confines of the form and becoming more akin to the concrete capping ends.

Australia’s current insistence upon separated space such as the detached family home with specific room designation and private but often under uti-lized backyard space and consequent unmitigated sprawl is no longer sustainable. This new concep-tion of space as transitory and flexible is an impor-tant consideration for the future society of Australia and in particular Wyndham as our fastest growing suburb.

Notes1. Ching, Jarzombek, Prakash, A global history of Architecture, New Jersy; Wiley and sons, 20112. Jean-Francois Chevrier, Ornament, Structure, Space. A conversa-tion with Jacques Herzog, Basel, Winter 20063. Herzog de Meuron, Ricola Europe Storage Building, www.herzogdemeuron.com/index/projects/complete-works/076-100/094-ricola-europe-production-and-storage-building.html4. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012

Design objective: The Transient nature of space

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Design objective: Units in dialogue to make whole

The International style as defined by Hitch-cock and Johnson’s influential book, The International Style: Architecture Since 1922, ****** something about wanting a style that was applicable to everywhere. The new prevalence of technology like ****** from WWII encouraged the more dogmatic Mod-ernist architects to believe that this building type was applicable to all climates as a dis-crete unit, shut off from the environment and independently conditioned with machines to the ambient temperature of 24’C. Conditions were treated as black/white, yes/no, light and HVAC system on/off. Grey was not to exist.

A suggested alternative model is the camp fire. With a gradient of heat and light, the inhabitant is able to adjust their comfort by their proxim-ity to the fire. Additionally external influences such as airflow, drafts experienced by the in-habitant, type/condition of wood use etc will change the experience to create a more thresh-old/dynamic experience and offer a more flex-ible solution.

More akin to the comprehensive needs of hu-mans which includes emotional requirements is the this threshold manner. In order to con-vert this transient model of the campfire into the conclusive mode of built form, a highly complex object must be created. Consider-ation must occur of both the unit scale and the whole, how each affects the other and is also affected by environmental factors. Parametric design is built around this notion of self organi-zation, where the base geometry is populated by a unit that can be continually altered and updated. Elements respond and adapt to exter-nal stimuli which in turn affects the configura-tion of the adjacent component and the whole until equilibrium is achieved. An entirely unique space is created by an entirely unique manifestation of the form. In the case of Daniel Coll I Capdevila’s, ‘Strip Morphologies; Design Study for Environmentally Differentiated Heal-ing Environments’ a unique wall configuration creates a specialized variety of conditioned spaces in the aim of terrorization to each hospi-tal, ward (wall itself altered) and ultimately pa-tient (choice of appropriate rooms). As stated

by LAB; Industrialization in this case no longer equates to standardization but rather mass customisation.

Like a renaissance sculpture, the Wyndham gateway project is to be viewed from a multi-tude of different angles and scales, both from those immediately going through the gateway and those viewing it from afar. It will also be viewed at a variety of different speeds and heights including pedestrian, car and truck cabin. With parametric design it is be possi-ble to account for each of these instances and create a complex work that will be successful from all vantage points while still maintaining it’s character as a whole.

Notes1. Sharp, D, Twentieth Century Architecture, New York; Facts on File, 1991, p102 2. Hensel and Menges, ‘Differentiation and Performance: Multiper-formance architectures and modulated environments,’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Mor-phogenetic design, London; Architectural design, 20053. Banham, The Architecture of the Well-Tempered Environment,Chicago, University of Chicago Press, 1973.4. Hensel, ‘Computing self organization: environmentally sensitive growth modelling’ in Hensel, Menges and Weinstock (eds), Tech-niques and Technologies in Morphogenetic design, London; Archi-tectural design, 20055. LAB architecture, Federation Square Fractal Facade, www.labar-chitecture.com

Design objective: Units in dialogue to make whole

Callum Morton - Art interpreting Architecture

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Design has always involved discourse. Sub-jective elements such as aesthetics tradition-ally compose a large portion of architectural composition. Innovation depends upon dis-course for stimulus and refinement. Dis-course as the final desired product of design however is a new phenomenon. To present ideas and stimulate discussion as ultimate purpose is a conceptual and luxurious notion. Poignant only to the first world, this form of architecture is concerned with the moral ele-vation of a society not their physical situation.

Discourse as design is contrary to object prized architecture. It is common for archi-tecture to be described purely as an aesthetic object, without critical reference to function, site or context. Although aesthetic objects do engage in the general discourse of architec-ture, they refer to ideas only familiar to those initiated and often use jargon to further alien-ate general society from reflection or input. However as stated by Williams, when dis-course is the aspired to product, it purpose-fully seeks participation from all members of society. This egalitarian approach is a core objective of identified in the brief for this project.

One method of materializing dis-coursed based design is replacing the focus upon the creation of an object with the creation of an emotional re-sponse. More subjective than aesthetics, this primal response cannot be validated by, nor requires previous knowledge or specific language in order to participate. The psy-chological effect of architecture has been acknowledged since the C19th with the over-whelming affect of the new building typol-ogy of the soaring skyscraper in the 1880‘s. More recently, the sameness of suburbia and housing estates have encouraged a particular type of depression in many residents includ-ing those from Wyndham. The purposeful provocation of an emotional response, while popular in cathedrals of the Gothic period and contemporary art appears under utilized in current architecture.

The art of Callum Morton works to highlight

our relationship to, and interaction with, the built environment. Public and private space are ex-plored with a focus upon how ‘we encounter, per-ceive or experience personal or communal space often unconsciously.’ Valhalla was Australia’s in-clusion in the Venice Biennial and is 1/3 scale model of the Morton family home which Morton’s architect father aspired to provide. In its represen-tation for the biennial the building is not ideal-ized as an object of perfect Australian Modern-ist architecture. Instead the badges of habitation and time are celebrated as Morton presents both personal and general stories of childhood, fam-ily and the society of the time. This highlights the positive as well as the negative. Morton hoped that viewers would respond, either sympatheti-cally or critically, to the notions of life presented in this physical form and in this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’ The design serves as a prompt for an emotional response and as a consequence, encourage discussion.

Design orientated for emotional and sensory ef-fect is therefore an appropriate device to encour-age egalitarian discourse for the betterment of the Wyndham community.

Notes1. Williams, ‘Architecture and Visual Culture,’ in Rampley, Exploring Visual Culture, 20052. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012 3. (Morton, ‘Babylonia,’ in ACCA Education kit, Melbourne; ACCA, 2005)4. Wyndham CIty, Western Gateway Design Project, Melbourne; Wyn-

dham city council, 2011

Design objective: Egalitarian discourse through

emotional response

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Parametric design offers architecture, as a profession, the opportunity to reconsider the role of computers in design. Predominantly computers have simply been approached as alternative drawing implement to the pen and not to be involved in the conception stage due to the perceived risk of thwarting inspiration.

Parametric design places focus primarily upon the process of creation in scripting instead of the final object. The eventual form of the design therefore be-comes an inconsequential by product of this system-atic application of best suited component to script to meet the objective. The postwar functionalists found that this rule based generation of ideas was important when designing new building types that were without precedent. Form was limited by their then current knowledge of what was possible and applicable. Al-ternatively, parametric design as rule based de-sign can be a design tool whose determined focus upon the process enables systematic analysis of the site, brief and even concepts previously considered as ridiculous. Historical applications of this design mechanism include Lewis Carroll’s use of mathematics in his fiction, applying

R&Sie(n); dynamism and emotional response

mathematics principles of symmetry and proportion to his writing in order to rationally consider the absurd.

R&Sie(n) have explored the potential for Parametric de-sign in creating new building types from existing func-tions. The code scripted for the FRAC Center project continued to grow and change from past performed iterations by further adding to it’s own future script. A machine controlled by the script is to adjust the loca-tion and extension of glass rods which projected into the courtyard space to form the circulation spaces for the building. The final outcome of the courtyard space is not a static object which can be idealized by the architects but rather a space which is informed by the history of the action of the machine. Although a changing space is impractical for a programme space such as the intended circulation space for FRAC, the idea of dynamism in both conception and manifesta-tion is something sadly lost in architecture today. The progressive script also prevents the architect from ma-nipulating the script in order to achieve a certain pre-conceived notion of form. This fraudulent approach to parametric design is at risk of becoming common-place, as designers aim for the parametric aesthetic without comprehending the motivations and possibili-ties of the tool.

As an ever unfinished space, almost alien in appear-ance as the rods protrude out to invade the private space of the occupant, R&Sie(n) believe people will respond strongly to the unique nature of the space. Whether this emotion is positive, negative, curiosity or apprehension is not important. The shock of the different and unapologetic change of conventional ap-proach to space is intended to shatter the indifference with which many people view their built environ-ment. Habits and conforming dull the senses of ob-servation and reflection, so that subtle changes are not perceived. This is particularly prevalent in commuting driving where boredom and habit slowly reduces the alertness of the driver to external stimulus other than the road. The potential for a unique, unconditioned response to the Wyndham gateway project as provided by latest technology in Parametric design and its ability to compose radically unique forms without precedent, would reawaken many people to the project, encour-age them to engage emotionally and reflect upon the concepts provoked by the piece.

Notes1. Inaba, Clouette, Unfinished Business, François Roche Interviewed, C-Lab Columbia laboratory for architectural broadcasting, 2006, http://c-lab.colum-bia.edu/0063.html2. Herbert Matter, Charles Eames and R Buckminster Fuller, Prefabricated Housing, From Arts and Architecture, July 1944R&Sie(n), Olzweg, Paris, 2006 www.new-territories.com/welostit.htm3. Fornes, Scripted by purpose, Philadelphia; Fuel Gallery, 2007. http://script-edbypurpose.wordpress.com/participants/rsie-francois-roche/

Design objective: Systematic approach

to design

PART TWO

- Bio-mentor- Brainstorm- Inspiration- Diagram of inputs- Case Study CUT - Solution Development- Matrix

design devices

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3. Nature as Mentor – Biomimicry is a holistic way of viewing and valuing na-ture. It introduces an era based not on what we can extract from the natural world, but on what we can learn from it.

Janine M. Benyus

The forms of nature are produced by complex principles. Rather than sim-ply applying the given forms of nature, architecture can examine and interpret the underlying principles as a method or script to derive highly sophisticated forms.

Storey Hall was inspired by fractals, self similar patterns, which are commonly found in nature including Romanesque broccolis. The principle of self similar patterns was translated mathematically into the Penrose Tile pattern; flat and thin rhomboids which create a pattern that is identical at the finite small scale and the infinite large scale. At Storey Hall, the Penrose Tile pattern is utilized to organically cover and unite the ex-panse of the facade, walls, floor and ceiling.

The points of inspiration obtained from Wyndham will be approached in the manner of bio-mentor. They will be broken down to their essential princi-ple and this script will grow the form of the project. This will further extend the creative freedom produced by script-ing through parametric design.

Notes1. Stuart Hanafin, Growth and Replication: Explor-ing Façade Subdivision based on Natural Processes, Geelong; Deakin University, 2011.2. Janine M. Benyus, Biomimicry: Innovation Inspired by Nature, New York; Harper Collins, 2002

Bra

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Time MovementRAAFCut: Build/destroyMomentaryHistoric LegacySamenessShadowWittyNoveltyInspiringClaustrophobicReflectWonderUnit WholeRiver as SpineNegative SpaceCommunityCarsPetrolOrnamentSpaceFormColourMix primariesMonumentSoundThe country SuburbArt CommunityCommuterHolidayFreedomMaterialsDynamicKinetic1950PatternsFurEngulfedAnti - indifferentInvoke emotional reactionPositive changeIdentityGreat Australian DreamReframeCar enabledTransform MeaningInnovativeexperience vs objectrefract

InnovationNovelty and Positive change

Establishment in context, acceptance is vitalTransforming meaning

BriefNew Identifier

Arrival experienceNew discourse

Integrate site inc service stationAppropriately scaled

Spatial QualityEfficiency

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Dazzle Zebra:

To confuse lions in chase. Dif-ficult to estimate speed and

direction and discern individual animal from pack

DisruptionLeopard:

High contrasting, non-repeating pattern to disrupt recognizable

shape outline of animal

CountershadingDeer

Compensating application of graded colour. Darker on area likely to

be lit by light and lighter on darker areas so as to appear flat.

Insp

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tion The transition between completely different elements by Escher

illustrates how the many complex items of the piece may be unified through morphing.

Materiality Brick: Experimental House by Alvar Aalto breaks apart the flat surface on the house by manipulating bricks to create the appearance of an undulating surface. Brick Veneer is also venerated in Australia as a more expensive and therefore elevated form of house in the Great Australian Dream and is thankfully well suited to our climate due to thermal mass.

The configuration of petals to create a rose is formed in accor-dance with the Fibonacci rule.

Classification of Roses is established by a progressional change in cup shape and number of petals.

The transition between completely different elements by Escher illustrates how the many complex items of the piece may be

unified through morphing.

The Werribee River was referred to as the ‘Spine’ by the local Indigenous people. The spine has connotations of stability as the back bone structure and implies fluid linear direction

Materiality Brick: Experimental House by Alvar Aalto breaks apart the flat surface on the house by manipulating bricks to create the appearance of an undulating surface. Brick Veneer is also venerated in Australia as a more expensive and therefore elevated form of house in the Great Australian Dream and is thankfully well suited to our climate due to thermal mass.

River as spine/Car travel: linear direction

PIX: Population/ Arrangment on Spiral

Rose Classifi cation: shape to populate

Rose Fibonacci: Spiral form

Components for the Wyndham Gateway

Escher: Rate of Morph between shapes

Rose Classifi cation: shape to populate

Components for the Wyndham Gateway

Escher: Rate of Morph between shapes

Camoufl age: Embossing concentration

Applying the principle of Biomentor; the essential principles of the items of inspiration above are to be applied as rules. This will create the form of the piece to achieve the objective of systematic approach to design.

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Cut pattern is independent of the em-bossing. Circles on a grid are altered in

diameter according to the contrast present in the image.

The ornament of the Herzog and DeMueron De Young Museum breaks up the solid appearance of the facade material to make a permeable skin that erodes the boundary between inside and outside of the building. This transient space within the project is a driver also identified as important to the Wyndham Gateway project. Reverse engineering the parametric design will inform the design process of the Wyndham gateway project. The erosion of distinction in space is further enhanced by the patterns concep-tion from images of dappled sunlight through the trees immedi-ately surrounding the site.

Case study: CUT

The embossing varies in depth according to the contrast present in a different image. Positive embossing where white was present, neutral, as in the original flat material sheet, for grey and negative debossing for black. This corresponded to the script as a re-mapped values of -1, 0 and +1 respectively

The ornament of the Herzog and DeMueron De Young Museum breaks up the solid appearance of the facade material to make a permeable skin that erodes the boundary between inside and outside of the building. This transient space within the project is a driver also identified as important to the Wyndham Gateway project. Reverse engineering the parametric design will inform the design process of the Wyndham gateway project. The erosion of distinction in space is further enhanced by the patterns concep-tion from images of dappled sunlight through the trees immedi-ately surrounding the site.

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t The parametric design tool, Grasshopper, repeats a list of simple ta in order to create a complex item. The hierarchy between the whole and the geometies which popu-late it, enables alterations to the individu-al geometries to impact upon the form of the whole. Computerisation therefore enables quick visualization of forms and changes.

In learning this new program and applica-tion to design it was important to break the process down into stages and visual-ize the effect each component had upon the whole. Dramatic changes can even be made simply by altering the sequence of set components. A matrix enables clear visualization of which element in particu-lar is working where, and which param-ters are related to another. The method of ‘Solution Development’, as outlined by Kalay, involves the definition of param-eters and then the systematic application of trial and error to realise the end goal. Iterations are then compared to the end goal to determine their validity.

Throughout this course, the point from which I commensed within this system has been closer to the desired end prod-uct as my knowledge of the program, it’s grammar and components has improved.

Notes1. Kalay, Architectures New Media, 20042. Burry, Scripting Cultures, 2011

EXTRUSION OF

GEOMETRY VIA

IMAGE SAMPLER

CHANGE OF GEOMETRY TO

RECTANGLES// HEIGHT AND DEPTH DICTATED BY

PIXEL DATA

CURVES ALIGNED TO GUIDE CURVE

AS PER IMAGE SAMPLER

SURFACE NORMAL

PIXEL DATAEXTRUDE

GEOMETRY APPLIED

VIA IMAGE SAMPLER

LOFTING GEOMETRY

TO DIFFERINGRADII

FINAL DIMPLED

PANEL

EXTRUSION OFGEOMETRY FROM

LEVEL PLANE// HEIGHT DICTATED BY IMAGE DATA

GEOMETRY EXTRUSION

DICTATED BY IMAGE SAMPLER // DARK = POSITIVE

SHIFT, LIGHT = NEGATIVE

REVOLUTION OF CURVES ALONG A

SURFACE AS PER IMAGE SAMPLERS

APPLIED TO SURFACE IN

LIEU OF A CURVE

CURVES REVOLVED PER

GUIDE CURVE WITH MULTIPLE

PERP FRAMES

PRIOR ITERATION WITH ADDED

LATERAL ROTATION AXIS FOR EACH SET

3D ROTATION AROUND CURVE

AS AXIS WITH MULTIPLE PERP

FRAMES

Herzog & DeMueron

Form Exploration

PART THREE

- Evaluation- Performance

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MaterialityThe sliced form successfully illustrated the transition between each unit to evoke an idea of morphing. The em-bossed metal rosettes manipulate the surface to catch light in different ways according to the different position and intensity of the sun in the sky. The two prototypes produce very disparate re-sults and each is not able to convey both objectives. The sliced form is un-able to show the further break down from the intermediate unit to the detail and each rosette did not relate back to each other on the whole.

Evaluation according to Design ObjectivesThe first phase of design applied a systematic approach to all elements within the design. The various units that were included are brought togeth-er in dialogue due to the generative process of parametric design. While the variety did produce a transient effect due to relation of the object to the moving spectator in the car, this design objective is not strongly com-municated in the form. Neither iteration is able to provoke an emotional response and encourage dialogue.

Change in perspectiveThe form created was sliced and split apart to illustrate the gradual changes between two units. While this did enhance the sensation of movement as the form was broken down into rhythmic discrete objects, this experi-ence created a distinct separation between the object and spectator. The design criteria of transitional space implies the idea that the experience is dynamic rather than simply a discrete object and so greater integration of car, site and sculpture is required.

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Light Studies performed in the car discovered that shadows produced in this manner would not interact with the car space as hoped but instead would be seen as a flicker due to the speed of the car. This model highlights the power strips of light can have to create a spatial experience in a transient nature when singled out from surrounding shadow. This would ef-

fectively be seen on the road in front of the car.

PART FOUR

- Communication

Refinement

As the Wyndham Gateway Project is an abstract sculpture without func-tional purpose, it is important to clearly articulate the message of the project through the object itself. As no clues can be gained from function, all ele-ments including the structure, experi-ence and form must contribute to, and enhance this message. If one element is not in dialogue with the other and is disconnected from the message, the strength of the message will be diluted. For this reason phase two has focused upon clearly communicating the intended message of the piece from all scales including: the small detail scale, the experience of moving through the space and the large scale of the point of observation from the other road. Some elements as a consequence were not scripted in a systematic approach but instead created with the sole objective of enhancing the communication of the message.

Of the design objectives previously identified, the third point of ‘egalitarian discourse through emotional response’ was flagged as a key driver for the suc-cess of the project. While the others can be applied to varying degrees of intensity for the success of the project, it is most important that the project em-body and communicate the emotional and egalitarian discourse objective in the design.

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Response to Critique I

Design objectives: - The Transient nature of space- Units in dialogue to make whole- Egalitarian discourse through emotional response- Systematic approach to design

Response to Critique I

TILED APPLICATION OF DESIRED

GEOMETRY

CHANGE OF GEOMETRY TO

RECTANGLES// HEIGHT AND DEPTH DICTATED BY

PIXEL DATA

CONVERSION TOCURVED LOFTS WITH

OPENINGS TO ALLOW LIGHT ENTRY AND INTERPLAY

LOFTS APPLIED ACROSS GRADIENT

OR PATTERN TO CONTROL LIGHT FLOW AND INTERPLAY

REPLACEMENT OF HDM DIMPLES WITH MORE INTERACTIVE

TILED GEOMETRY TO HELP CONVEY FORM

CHANGE OF GEOMETRY TO

RECTANGLES// HEIGHT AND DEPTH DICTATED BY

PIXEL DATA

Refinement 1The prototype of phase two examined the manipulation of light through funnelling and the gradual manipula-tions of these forms. The angle of light required to suc-cessfully create an effect through the panel was too spe-cific for application to the project as it would only be effective in creating an emotional response through light to those spectators who visited at that particular time of day. The undulating surface however did capture light and shadow in a dramatic fashion to break up the sur-face form in an exciting manner.

These units were then applied to a general form that would enhance the experience of an emotionally charged space, a constricted dark tunnel that expands out to convey the feeling of release. It was hoped that this surface treatment would dissolve the blunt form a little more and push the object towards more of an ex-periential direction.

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The formal critique highlighted the importance of interrelating the project with the site and context. The scale of the project is much grander than that of past studios within the degree as an ur-ban design project. The specified rate, direction and route of experience is also prescribed due to the nature of car travel which is also unusual. There will be a finite moment in which the mes-sage of the piece must be convey with no chance for the spectator to pause nor take a second glance. Parametric design assists design in these circum-stances due to the simple addition of factors to the rules that generate the design and additionally the ability to rapid form test and alter.

Due to the parameters of the site and manner of experience, the start end concept of a tunnel has been discard-ed. Phase three has further developed and refined the successful communi-cation of the message of the project with these ideas particularly in mind. In responding directly to the site, the project will additionally have a greater possibility to be directly relevant to the people of Wyndham and be adopted as an identifier as per the brief. A more generally driven concept may not re-sound with enough conviction with the people of Wyndham for them to take ownership.

Responce to Critique II

The rule of morphing or gradient is now applied directly to the site to determine the location of units within the proj-ect. This is a shift from the creation of an arbitrary object which is populated with surface ornamentation and does not engage with the site or those experiencing the site. It is through this interaction, that it is more likely to provoke a stronger emotional response as identified earlier. The units therefore become the surface ornamentation to the earth’s surface itself and the whole, linear shape of the site shall be utilized. The rule of morphing will determine the frequency of the units experienced. The node of mass concentrate will reference the camouflage principle of dazzle from the zebras, where at the speed of the car the quicker frequency will make it hard to discern the individual from the whole. The units themselves are to also morph in shape from an arbitrary but organic curve to the rectilinear and literal symbol of the home. It is also important to invert the place-ment in phase two of the literal clue at the beginning of the experience as the speed of travel may require some interlude for the spectator to be prepared for the emotional climatic moment. As a consequence the literal moment has been moved to the middle and the form now comes together to make apparent the idea and then slowly dissolve away in the linear movement of experience.

Surface decoration will also be integrated within the units themselves and will also relate to this over arching morph sequence. A boolean intersected organic sliver will gradu-ally regain the solidity of its original geometry before con-tinuing on to become increasingly perforated to allow more light into the node with a higher concentration of forms. This application applies the camouflage principle of counter-shade, compensating for the mass of concentration with a more transient form.

Refinement II