Finaljournal 542190 yifu jin

ARCHITECTURE STUDIO AIR

YI FU (FRANK) JIN

2013, SEMESTER 1

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ARCHITECTURE STUDIO AIR

Name : Yi Fu (Frank) Jin

Student No: 542190

Year: 2013, Semester 1

Studio Group: 10 & 11

Tutors: Daniel & Adam

TIMELINE

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TABLE OF CONTENTS

Introduction......................................................01

Architecture as Discourse......................................

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TIMELINE

...................................................................................................................................................................................................................................................................................INTRODUCTION

Hello, I’m Frank and like most of the other people in this course i’m majoring in Architecture. In

the past i’ve only used computational design tech-niques when it was absolutely required in subjects such as Virtual environments. Personally computer techniques, for me personally were never a design tool but more of a way of enhancing my designs in the final presentations phase. For example i would use Photoshop and Illustrator to layout presentation of hand-drawn plans and sketches. I’ve always found hand drawing and physical model making to be more intuitive and natural: i could brainstorm multiple ideas with thumbnail skecthes in quick succession and i liked to have models which i could interact with in tree dimensons. On the other hand, with com-putational techniques i find it to be a much slower process (mostly because of my lack of skills with the programs) and i often find that i need to know what i’m designing before hand which seems more restric-tve to me. However i’m looking froward to learning some new skills and techniques in this course.

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PART A. EOI I: CASE FOR INNOVATION

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...................................................................................................................................................................................................................................................................................A.1. ARCHIECTURE AS DISCOURSE

As Richard Williams argues in Architecture and Visual

Culture, ‘architecture is the most public of Arts’ and therefore an inextricable part of daily life for anyone living in an urban society. 1

Buildings quite literally frame our lives; define our movements through a city and is ‘the princi-pal means by which the public realm is materially represented’, making the practice of enormous social importance.2

At the same time, Architecture is a unique practice in that the buildings are often designed for the public (In the case of public buildings) and thus, in a way, the people have a partial ownership over those buildings. After all, they are ones who ultimately end up using those spaces. However as the critic Walter Ben-jamin argues, most people tend to look at architecture in a ‘state of distraction’, as something to be viewed from the corner of your eye but not looked at in detail, as something to pass through to where you need to go.3

As a result, architecture has ironically become a difficult and exclusive area of visual culture for the average person; the very people of which the buildings were designed for. I think this is especially relevant given that the purpose of the course is to de-

1 Williams, Richard, ‘Architecture and Visual Culture’, in Exploring Visual Culture : De� ni-tions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p. 102. 2 Williams, ‘Architecture and Visual Culture’, p. 102.3 Williams, ‘Architecture and Visual Culture’, p. 103.

sign the Wyndham City Western Gateway, not only because it’s a public space but also how to en-gage an audience that only views the structure ‘in a state of distrac-tion’.The aestheitc apsects of the structure (where we want people to appreciate the beauty of the structure) is in direct opposition to the function of the gateway (where we want people to pass through without obstruction). Would a visually striking gate-way ultimately distract the user? Or perhaps, in the worst case, even confuse them and congest the gateway, thereby compromis-ing the function for aesthetics? Or, on the other hand, if the de-sign of the gate is mut ed will the user even notice it? Or should the gateway be designed in a way to assume that the user is in constant motion? Will they get the symbolism? Do they care? Should they? In order to find the solutions to these problems we must first understand the role of Architecture in our society. In order to do this we must look at Architecture as a discourse.

ARCHITECTURE AS ART

One way of viewing architecture is as an art form. Thus an archi-tect can be seen as a special kind of artist, one who works in three dimensions in order to fill and enclose space.4 In addition, as art historian and critic Niklaus Pevsner argues in An Outline of European Architecture, there is a distinction between mere build-

4 Williams, ‘Architecture and Visual Culture’, p. 103.

ings and architecture. To Pevsner anything that ‘encloses space on a scale sufficient for a human be-ing to move in is a building’ such as a bicycle shed.5 The term Ar-chitecture, on the other hand, ‘applies to buildings designed with a view to aesthetic appeal’ such as Lincoln Cathedral. A good architect, Pevsner propos-es, is a combination of a sculp-tor and a painter thus making the profession not only a synthesis of art forms but the most superior. 6 My problem with Pevsner’s view is that it limits the scope of the profession as it seems to imply that Architecture is purely about, for lack of a better phrase, mak-ing things look good. However I would argue that just because a bicycle shed is not as aes-thetically pleasing as a cathe-dral does not mean there was no design intent. As far as I’m concerned as long as the archi-tect was conscious during the design process, any building no matter size, purpose or beauty is the result of design intent. After all, even the lack of an aesthetic could be considered as a type of aesthetic.

5 Williams, ‘Architecture and Visual Culture’, p. 103. 6 Williams, ‘Architecture and Visual Culture’, p. 103.

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The problem of the Architecture-as-art argument is that empha-sizing the visual aspect of archi-tecture above all else, the other components of the practice may be compromised. A painting is pro-duced for aesthetic appeal; its only purpose is to be viewed, analyzed and studied by people. A building, on the other hand must also serve a function: if it’s a bicycle shed it must be able to store bicycles. Fur-thermore as Williams argues that architecture as a practice ‘involves much more than the material pro-duction of an individual’. Therefore as architecture has a unique posi-tion in the public realm, it should be considered ‘compromised art, if it is art at all.’ Architects are beholden to the client ‘who determines the function of the project, its specifi-cation, its location and above all, its cost; the architect works within these parameters.’ 1 It is these limi-tations that ground architecture in the real world and compromises architecture as purely art. Thus, it is the aspects of architecture which


Pevsner would argue makes the profession the most superior art form of all that distin-guishes architecture from being merely art. Architecture in its final form must fulfill the needs set by the client, which could be, but is not always an aesthetic function. If a bicycle shed can’t store bicycles than it is a failure no matter how good it looks. If we try to apply the doctrine of ‘architecture as art’ onto the gateway project obvious prob-lems arise. Sure, the gate serves an aesthetic purpose as a first im-pression for Wyndham City but at the same time it must function as a gate. Neither aspect should be compromised in favor of the other.

ARCHITECTURE AS SIGN

Another way of viewing architec-ture is as a representation of sym-bols. This view was championed by the likes of Roland Barthes who argued that the meaning of any object of analysis including archi-tecture ‘was dependent on its rela-tion with other things around it at the time and on what the beholder

brought to it’ 2 Therefore the mean-ing of architecture was not static but ever changing and also open to interpretation not only by archi-tects but by anyone. Barthes gives the example of the Eiffel Tower as being able to mean a ‘rocket, stem, derrick, phallus, lightning rod or insect’ simultaneously. 3 This view of architecture certainly removes the veil of exclusivity surrounding architecture as a niche practice knowable only to the educated few. By making the meaning of architec-ture democratic it allows a far larger group people to be a part of the discourse. This approach, in a way, better suits the realities of the prac-tice. After all, when an architect de-signs a large public building such as a museum he is not designing it for other architects but the people that will end up visiting it. This also touches upon the nature of owner-ship in architecture, as ‘the most public of arts’ in the sense that when a building (especially a public building) is opened to the public, 2 Williams, ‘Architecture and Visual Culture’, p. 109. 3 Williams, ‘Architecture and Visual Culture’, p. 109.

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the public, ownership is in part transferred to them. In a sense, all buildings (all architecture) are owned by the public even the pri-vate buildings: not legal owner-ship but ownership in the sense that even the façade of a private

building is an inextricable part of the cityscape able to be interpret-ed and judged by anyone who looks. And why shouldn’t mean-ing in architecture be open to all? One of aforementioned barriers of architecture as a visual culture is the exclusivity, the democrati-zation of architecture solves that problem. As the designers of the Wyndham City Western Gateway (a public structure) wouldn’t we want as many people to engage with it as possible?

Whilst making architecture open to all gives the practice a wider

audience, at the same, doesn’t it compromise or hinder the intent of the designer? If you design a building and the audience is un-able to interpret its meaning, in-stead choosing to ascribe their own interpretation, doesn’t that mean the designer has failed? Take for instance, the example of Federation Square: the main square is paved with ochre-co-loured sandstone blocks from Western Australia which is meant to invoke images of the Outback.

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...................................................................................................................................................................................................................................................................................meant to invoke images of the Outback. 1 Now how many peo-ple are going to get that? And if they don’t, is it a failure on the part of the architect to communi-cate their ideas clearly? Or does it even matter what the original design intent was? Now that the building is open to the public it could be argued that the users are free to interpret the paving on Federation Square however they like. My issue with this is that it almost devalues the role of the architect and of meanings in ar-chitecture. Now I am certainly not proposing that having meaning in architecture is a waste of time, as the symbolism was probably nec-essary to the process of arriving at the final design but it seems to me that role of symbols might be less important than I thought.

Furthermore, with the advent of the democratization of meanings architecture, there is the risk of pandering to the lowest common denominator. Take, for example Las Vegas filled with crude signs and symbols of pyramids and castles, the design of the city is meant to attract the largest pos-sible audience but by relying on clichés, the city has nothing inno-vative to add to the discourse of architecture, it is creatively stag-nant. 2I think that the idea of ex-clusivity is an inextricable part of architecture but at the same time there should be room for multiple readings of architecture. But in order for the practice to advance there needs to be new and chal-

1 MINISTER FOR MAJOR PROJECTS Media Release. www.legislation.vic.gov.au. 18

October 2002. Retrieved 16 March 2008. 2 Williams, ‘Architecture and Visual Culture’, p. 111.

lenging ideas which might alien-ate some but I guess that’s the cost of progress. Thus in order to create an architecture that is is bold and can contribute to the discourse of architecture through the Gateway project it is neces-sary to design something that might not to be easily interpreted by everyone.

ARCHITECTURE AS URBAN EXPERIENCE:

Yet another way to view architec-ture is as an urban experience. This view considers the psycho-logical effects that buildings have. As Henri Lefebvre argues in The Production of Space that ‘urban space is not so much an architec-tural production as a social one; architects, he writes, produce lit-tle more than facades, which can be inhabited in an infinity of ways according to their social context.’ 3 Thus a building is not finished at the end of the design process rather it is something that is con-stantly changing when it is re-leased to its real world context. This then raises the question of how much of a relationship does the architect have with his build-ing after it is ‘completed’, so to speak. Obviously after the build-ing is opened to the public there could be countless variables that could affect the building: you could assume how people might use the space but you can never be sure. It’s an aspect of archi-tecture which I’ve never really thought about: the fact that the existence of a building is not con-tained from drawing to construc-tion but also what happens after.


Once a building is completed it becomes less about the archi-tect and the building but the re-lationship between the users and architecture. And as the design-ers of Wyndham City Western Gateway Project how do we go about trying to predict what the users might experience? Atmo-sphere is such a nebulous and subjective concept, as everyone has their own preconceptions and experiences; you never know how someone will react. No mat-ter how much research you do on the users or the context, in the end you could only speculate, thus a certain aspect of the build-ing is not revealed to the architect until the building is ‘finished’ but by this time isn’t the architect’s job is also finished?

As Williams argues architecture can be evaluated by its contribu-tion to discourse: the depositry of knowledge for all architects. In order to evolve the discourse and the practice as a whole we must bring new and challenging ideas. Just as discourse surrounding architecture evolved from purely about aesthetics to more sophis-ticated ideas about architecture as symbols and an experience. By exploring the Gateway project through parametic design meth-ods as opposed to traditional methods so too are we contrib-uting to the advancement of dis-course in architecture.

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...................................................................................................................................................................................................................................................................................FAVOURITE PROJECTS:CHURCH ON WATER - TADAO ANDO

Tadao Ando’s Church on Water is representative of the ways in which he has contributed to the discourse of Architecture through his use of light, nature

and simplicity. As a student of the works of Masters like Le Corbusier, Mies Van der Rohe and Frank Lloyd Wright, the modernist influences in the Church on Water are clearly represented through the simplicity and clarity of form of the building: the form can be broken down into simple geometries such as squares and rectangles.1 Further modernist influences include the elimination of unnecessary ornamentation (In-deed, Ando does not even have blinds or any kind of shading on his windows) and the concept of ‘Truth to materials’ where the nature and appearance of materials (in this case concrete) are not hidden but visible. 2

Whilst Ando’s architecture embody many modernist elements ,at the same time his architecture can be seen as a reaction against modernist architecture. One of reasons why modernist architecture was such a radical departure from the archi-tecture of the 19th century was the attempt to create a ‘universal language’ for architecture through the use of simple geometries and the abandonment of tra-ditional (cultural) architectural elements. One of the consequences and criticisms of the modernist approach is a sense of placelessness and a lack of identity.3

Ando’s answer to these problems is to adapt his buildings to their context in order to establishing a sense of place and identity. In the case of the Church on Water, the structure is built into the slope of the hill rather than excavating the site.4 In addition, the building is positioned so that the surrounding vegetation is not dis-turbed. Thus in the discourse of the relationship between nature and architecture, Ando demonstrates the beauty of buildings conforming to the natural environment rather than the way around.

Driven by a deep sense of spirituality, Ando is set apart from his counterparts through his use of nature. To Ando, buidlings act as ‘containers’ for nature. 5Rather than using the building as a shield against the elements, Ando fully embraces na-ture with the large a window opening toward the lake framing breathtaking views. In addition, the glass box at the top of the sturcture functions as a ‘container of light’ which allows sunlight to flood into the church. 6

Furthermore, unlike other churches, the cross stands outside the chapel , so that it can be lit by the setting sun instilling a sense of spirituality. Yet another Ando theme embodied through the Church on Water is the idea of transience: the framed view of the lake ‘captures’ the landscape which is constantly changing from snow in winter to falling leaves in autumn. Thus visitors to the chapel can ‘sense the presence of nature and sacntiy’ and move closer towards ‘the realm of the sacred.’ 7

1 Ando, Tadao, ‘Chapel on the Water’, in � e Yale Studio and Current Works, 1989, p. 87.2 Ando, ‘Learning from the Modern Movement’, p. 13-15

3 Ando, ‘Learning from the Modern Movement’, p. 13-15 4 Ando, ‘Chapel on the Water’, p. 87

5 Ando, ‘Chapel on the Water’, p. 876 Ando, ‘Chapel on the Water’, p. 877 Ando, ‘Chapel on the Water’, p. 88

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...................................................................................................................................................................................................................................................................................FAVOURITE PROJECTS:CCTV HEADQUARTERS - REM KOOLHAAS AND OLE SCHEEREN

What makes the CCTV Headquarters designed by Rem Kool-haas and Ole Scheeren an important building is not really

in the way it looks but in the way it subverts your expectations of what skyscrapers can be.1 By joining two towers with a horizontal structure It directly challenges the established way of designing skyscrapers which has remained the same ever since they were first built. Skyscrapers were conceived with the notion that space is at a premium for highly urbanised and densely populated ar-eas therefore by building upwards valuable space is conserved. However, ever since the conception of skyscapers they have al-ways built up, the CCTV building advances the idea of conserving space by building sideways and snatching up as much space as possible. Built in the centre of Beijing, one of the most populated cities in the world, the Headquarters is well suited to its context.2

Its almost like something from science fiction but its not hard to imagine a city built upon another city using this technique. The idea seems outlandish but so were the ideas of a Domed Man-hattan by Richard Buckminister Fuller or the Walking City by Pe-ter Cook.3 Whilst those ideas were never realised in their original forms, concepts such as the ‘domed city’ came to inspire real proj-ects such as the Orbos Art and City Museum by MAD Architects .4 In order for architecture as a discourse to evolve there needs to be new and challenging ideas: the radical departure of the CCTV Headquarters from the traditional notions of what skyscrapers should be, is one such idea.

1 ArchDaily, ‘CCTV Headquarters/ OMA’, Last visited: 04/04/13http://www.archdaily.com/236175/cctv-headquarters-oma/ 2 ArchDaily, ‘CCTV Headquarters/ OMA’ 3 Roudavski, Stanislav, ‘Studio Air 2013 - Lecture 01 - Architec-ture as Discourse’, pp. 3,15.4 Roudavski, ‘Studio Air 2013 - Lecture 01 - Architecture as Dis-course’, p. 6.

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...................................................................................................................................................................................................................................................................................A.2. COMPUTATIONAL ARCHITECTURE

One of the most heated topics in architectural dis-course is the role of computers in the design

process. In architecture practice there are two ways of utilizing computers in design: computerization and computation. Computerization is the process of en-hancing a design that has already been established with digital programs. Computers were used to photo-copy and share drawings and three-dimensional pro-grams were only used to visualize pre-defined designs. 1

In contrast, computation is where digital programs are used as the method to generate the design from the very beginning of the process. 2Computerization is by far the dominant type of computer usage in the prac-tice as it relies on the generation of ideas through tra-ditional paper and model making techniques, which is then translated to a digital format. As John H. Frazer argues ‘‘design computation is still only seen by many as ‘just a tool’ and remote from the real business of creative design’’3

This perception is the result of computation being a relatively new method of design. However, there are many advantages of computation design which can make it far more efficient than traditional paper-based design techniques. Human have both the ability of ra-tional and creative thought, whilst computers excel with the rational processes but lack any creative intuition. 4Thus by combining the creative intuition of humans and the rational ability of computers through computa-tion at the inception of a project, we can have a much more efficient design process. Therefore, computation allows the architect to be much more precise without sacrificing creativity. Furthermore, a traditional paper based design process is constrained by the types of representation available in the meat space. Ergo, a paper-based design process has to work with orthogo-nal projections (Plans, elevations and sections) which are convenient when working with rectilinear designs but it is much more difficult to create designs based

1 Roudavski, Stanislav, ‘Studio Air 2013 - Lecture 02 - Introduction to

Computation’, p.7. 2 Roudavski, ‘Studio Air 2013 - Lecture 02 - Introduction to Computation’,

p.7 3 Frazer, John H. (2006). ‘� e Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: � e Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Epi-sode Publishers), pp. 208-2124 Kolarevic, Branko, Architecture in the Digital Age: Design and Manu-facturing (New York; London: Spon Press, 2003), pp

on natural elements such as water.5 Hence, it could be said that computation allows the architect to be more creative because it is capable of representing, not just rectilinear forms, but far more complex geometries with ease.

Furthermore, computation allows design to begin even before the brief is created. Briefs act as the blueprint for your design from the client. However, they can also limit your creativity, as the client is not an architect. Hence, the brief will be driven by something that al-ready exists, such as established building types and common materials.6 Computation allows the architect to work in conjunction with the client to create a brief that is more in tune what the context of the site might require or what contemporary methods of manufactur-ing can offer. This is almost a reversal of the traditional design process where designing usually begins after instructions are given by the client through the brief.

Frank Gehry’s Walt Disney Concert Hall, is demonstra-tive of how unconventional and complex forms can still be achieved through computerization. Built in 2003, and capable of seating 2,265 people, the form of the Los Angeles based concert hall is based on the sails boats. 7This building is an exemplar of the computer-ization method of design as Gehry generated the de-sign through hand-drawn sketches and physical mod-els which were then digitized.8 The complex form of the building consisting of warped curves would probably have been impossible without the aid of computers but at the same time Gehry used traditional paper-based methods to generate his ideas, and it certainly doesn’t seem like his creativity was somehow limited because of it. That being said, Gehry is after all a master so he might be the exception rather than the rule. I think that for most architects it would be easier to create complex forms like that of Gehry’s work through computation.

5 Roudavski, ‘Studio Air 2013 - Lecture 02 - Introduction to Computation’, p.2 6 Roudavski, ‘Studio Air 2013 - Lecture 02 - Introduction to Computation’, p.27 Wikiaquitectura, ‘Walt Disney Concert Hall’, http://en.wikiarquitectura.com/index.php/Walt_Disney_Concert_Hallm, Last visited: 04/04/13.

8 Arcspace, ‘Walt Disney Concert Hall’, http://www.arcspace.com/features/gehry-partners-llp/walt-disney-concert-hall/, Last visited

04/04/13

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...................................................................................................................................................................................................................................................................................PRECENDENTS: WALT DISNEY CONCERT HALL - FRANK GEHRY

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...................................................................................................................................................................................................................................................................................A.2. COMPUTATIONAL ARCHITECTURE

There is, however one major barrier to using computation as a design

method and that is the knowledge re-quired to use the programs. In that case then it could be argued ‘that a designer’s creativity is limited by the very programs that are supposed to free their imagina-tion.’ 1But I think the benefits of having a more efficient design process is worth the effort of learning the software.

There is also what could be considered as ethical quandaries posed by com-putation as a method of design. For ex-ample, Bryan Lawson argues that ‘CAD might conspire against creative thought […]’ by encouraging ‘fake’ creativity. 2

Consider Greg Lynn’s installation Blob-wall where a pre-packaged computa-tional technique was used to establish a particular geometry (metaball) which was then replicated and assembled into

1 Terzidis, Kostas (2009). ‘Algorithmns for Visual Design Using the Porcessing Language (Indianapolis, IN: Wiley), p. xx2 Lawson, Bryan (1999). ‘‘Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conferenceon Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy 9New York: ACM Press), pp. 174-179

an architecture structure. 3The compu-tational technique that was employed is fully pre-defined; and Greg Lynn had no participation in the computational definition of the metaball. Opponents of computation such as Lawson would ar-gue that the computer did all the work, and therefore the Blobwall is the result of ‘fake’ creativity. However, whilst Lynn did not define the form of the metaballs, he employed the technique, produced the geometry, decided on the colour scheme, established the materiality, the assembly sequence and finally as-sembled the components into a the final form of the structure. Hence, placed in this context, the metaballs are no differ-ent than a clay brick used by another architect. And wouldn’t it be obscene to accuse an architect of ‘fake’ creativity because he did not define the form of the clay bricks he used to build a wall?

Furthermore, Greg Lynn’s Blob Wall demonstrates how the mode of produc-tion is changing in the industry as all the metaballs are manufactured using robotics. Therefore, as robotic manufac-

3 Arcspace, ‘Blobwall Pavilion’

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...................................................................................................................................................................................................................................................................................PRECENDENTS: BLOBWALL - GREG LYNN

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...................................................................................................................................................................................................................................................................................A.3. PARAMETRIC MODELLING

As with any method of design, para-metric modelling has some great ad-

vantages but also disadvantages. Firstly, as a new method of creative exploration, Parametric design allows for new ways of thinking and designing that are not constrained by the limitation of paper-based (orthogonal) representation tech-niques. Thus parametric design allows for more complex geometries that goes beyond mere rectilinear forms. Secondly, designs can easily be manipulated by changing the parameters of algorithmns. 1In contrast to sketching, parameters can to set so that only geometries that are viable in the real world are produced.2 Furthermore, parametric design allows the designer to create multiple three di-mensional models in quick succession with the click of a mouse, thus making the design process much more efficient. 3Finally, with a visual interface, programs such as Grasshopper removes some of the layers of abstraction in learning how to program.

On the other hand, some layers of abstrac-tion still remain thus making parametric not accessible to everyone without the proper training. As Robert Woodbury argues with parametric design ‘one must work in a do-

1 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) 2 Davis, Daniel, ‘Studio Air 2013 - Lecture 03 - Parametric Modeling’, 3 Davis, Daniel, ‘Studio Air 2013 - Lecture 03 - Parametric Modeling’,

main of textual instructions’ and as ‘algo-rithmic thinking differs from almost all other forms of thought’, the ‘sheer distance be-tween representations familiar to designers and those needed for algorithms exacer-bates the gap’4

Finally, as the algorithmns employed dur-ing the design process becomes increasing complex it can be difficult percieve changes or mistakes. Furthermore, it can be hard to communicate with others about your design due to the knowledge required in program-ming.

4 Woodbury, Robert (2010). Elements of Para-metric Design (London: Routledge) p.29

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With the advent of rapid prototyping through 3D printers and robotics which produce objects with complex geometries, architects have to oppurtunity to rapidly realise

their prototypes directly from CAD three-dimensional models.1 One such project that was realised through the concept of rapid prototyping was the Aura installation designed by Zaha Hadid.2 The structure was constructed of successive layers of hard polyurethane alternated with fibreglass but due to the transportation restrictions it was neccessary to construct of the object in several parts. 3Thus the object had to be reduced to simple parts through a three-dimensional CAD software by subdivision, splitting up, develop-ment and flattening of surfaces and volumns, something that would be impossible with traditional techniques.4

1 Tedeschi, Arturo, ‘Chapter 10: Fabrication’, in Parametric Architecture with Grasshopper. p.188-92 Tedeschi, Arturo, ‘Chapter 10: Fabrication’, in Parametric Architecture with Grasshopper. p.189 3 Tedeschi, Arturo, ‘Chapter 10: Fabrication’, in Parametric Architecture with Grasshopper. p.190 4 Tedeschi, Arturo, ‘Chapter 10: Fabrication’, in Parametric Architecture with Grasshopper. p.190

PRECENDENTS: AURA - ZAHA HADID

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...................................................................................................................................................................................................................................................................................A.5. ALGORITHMIC EXPLORATION

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CONCLUSION:

In a way, this subject encapsulates the current discourse on Archi-tecture in a microcosm. Just as we as students of architecture are

departing from traditional methods of design we have been used to in favor of exploring new design avenues through parametric model-ing so too are the old pedagogy and methods of the profession being challenged by new digital technologies. Therefore, in order to hope-fully contribute to the current discourse in architecture and add some-thing to the pool of knowlegde i have decided that parametric design is the best approach for the Wyndham City Western Gateway Project.

A.6. LEARNING OUTCOMES:

Before this course, i have always thought that digital techniques of de-signing architecture was not as intuitive as the traditional methods.

To me, using pen and paper have always felt faster, easier and more natural. The computer was only something that i used to enhance my established designs. However, over the past few weeks, i have come to appreciate parametric design. Whilst i can’t claim that parametric design has grown to be more intuitive than traditional techniques , i can admit that i was surprised by how fast you can create multiple models in Grasshopper and how i could create complex geometries which i would have never thought of through pen and paper techniques alone.

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...................................................................................................................................................................................................................................................................................ArchDaily, ‘CCTV Headquarters/ OMA’, Last visited: 04/04/13http://www.archdaily.com/236175/cctv-headquarters-oma/

Arcspace, ‘Blobwall Pavilion’

Arcspace, ‘Walt Disney Concert Hall’, http://www.arcspace.com/features/gehry-partners-llp/walt-disney-concert-hall/, Last visited 04/04/13

Ando, Tadao, ‘Chapel on the Water’, in The Yale Studio and Current Works, 1989, p. 87.

Ando, Tadao, ‘Learning from the Modern Movement’, in The Yale Studio and Current Works, 1989 p. 13-15

Davis, Daniel, ‘Studio Air 2013 - Lecture 03 - Parametric Modeling’,

Frazer, John H. (2006). ‘The Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Episode Publish-ers), pp. 208-212

MINISTER FOR MAJOR PROJECTS Media Release. www.legislation.vic.gov.au. 18 October 2002. Retrieved 16 March 2008.

Lawson, Bryan (1999). ‘‘Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conferenceon Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy 9New York: ACM Press), pp. 174-179

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp

Richard Williams, 'Architecture and Visual Culture', in Exploring Visual Culture : Definitions, Con-cepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116.

Roudavski, Stanislav, ‘Studio Air 2013 - Lecture 01 - Architecture as Discourse’, pp. 3,6,15.

Roudavski, ‘Studio Air 2013 - Lecture 02 - Introduction to Computation’, p.2, 7

Tedeschi, Arturo, ‘Chapter 10: Fabrication’, in Parametric Architecture with Grasshopper. p.188-190

Terzidis, Kostas (2009). ‘Algorithmns for Visual Design Using the Porcessing Language (Indianapo-lis, IN: Wiley), p. xx

Williams, Richard, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Con-cepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p. 102-7.

Wikiaquitectura, ‘Walt Disney Concert Hall’, http://en.wikiarquitectura.com/index.php/Walt_Disney_Concert_Hallm, Last visited: 04/04/13.

CASE FOR INNOVATION: REFERENCES:

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PART B. EOI II: DESIGN APPROACH Group 4: Dimitri Blazos, Yi fu (Frank) Jin and Timothy Lamb

Parametric Technique: Sectioning

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...................................................................................................................................................................................................................................................................................B.1. DESIGN FOCUS - SECTIONING

Sectioning is a form of parametric design in which a whole form is divided into smaller components called sections. Some examples of common section techniques include

waffling and contouring. We were initailly drawn to the technique as we found the irreg-ular and free-flowing forms found in some the precdent projects to be alluring. At closer inspection we realized that the flowing forms that can be created through sectioning were well-suited for our ideas for the Gateway Project, which was to create a sense of motion.

In this section (pun not intended), we chose sectioning as our parametric approach and began researching the tech-nique by looking at some precedents.

PRECEDENTS: WEBB BRIDGE

The Webb Bridge was a project that was commisioned to create a new

walkway connecting the docklands and new residential developments.1

The form is that of a “curved and sin-uous” overhang covering the walkway made from steel sections and beams that are pre-fabricated.There are also several hoops that compose the walkway; they have been sequenced in such a way that there is a graduation of pattern.2

As one walks towards south the inten-sity of the rings is heavier and a co-coon as told is formed, in contrast to the entry where the ring intensity is less, it created an almost moving sec-tion while walking through. This experience is meant to impart the

1Australian Institute of Architects, ‘Webb Bridge’, Last Visited: 9/5/13,http://www.architecture.com.au/awards_search?option=showaward&entryno=20053006 2Australian Institute of Architects, ‘Webb Bridge’

Fig.1: The site

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...................................................................................................................................................................................................................................................................................PRECEDENTS: WEBB BRIDGE

The Webb Bridge was a project that was commisioned to create a new

walkway connecting the docklands and new residential developments.1

The form is that of a “curved and sin-uous” overhang covering the walkway made from steel sections and beams that are pre-fabricated.There are also several hoops that compose the walkway; they have been sequenced in such a way that there is a graduation of pattern.2

As one walks towards south the inten-sity of the rings is heavier and a co-coon as told is formed, in contrast to the entry where the ring intensity is less, it created an almost moving sec-tion while walking through. This experience is meant to impart the

1Australian Institute of Architects, ‘Webb Bridge’, Last Visited: 9/5/13,http://www.architecture.com.au/awards_search?option=showaward&entryno=20053006 2Australian Institute of Architects, ‘Webb Bridge’

idea of connecting the old to the new , as the old bridge is connected to the new bridge and there is a transition from these two areas and a shift to a new area.3

This design was mostly likely created using Design softwares to format the size and shapes that are made in the steel structure. This can relate back to the gateway project towards this idea of a moving transition, in the sense that there is an experience to be had within the gate-way or constant sense of movement. Therefore the Webb brides demon-strates some construction ideas but more importantly another form of sec-tioning with a different material and a different contention.

3Australian Institute of Architects, ‘Webb Bridge’

Fig.2: The Webb Bridge

Fig.3 Fig.4

Fig.2: The Webb Bridge

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The Banq restaurant project was a refurbishment to an office build-

ing space, but in using CAD, CAM processes this design was made. The project is a collection of pre made forested spruce ribs that are placed next to each other in order to create as it was said a “curvilinear continuity”.1

In order to create this fluid shape care was taken in creating a unity within the materials in the fabrication process so that when the finished product was made the form was con-sistent. 2

In terms of creating the design it was done using parametric influence in the computer software. The different curves and dips are made by defor-mation of original structures by using parametric values that are adapted to the base of the surface and then forms are automatically generated from this.3

In order to finalise the design the architects had to work closely with millers in order to make sure that the sections are made so there was min-imal material wastage but also preci-sion in the execution.4

This mechanical process is contin-uous because the numeric position 1Archidaily, ‘BanQ’, Last Visited: 9/5/13,http://www.archdaily.com/42581/banq-o� ce-da/ 2 Archidaily, ‘BanQ’,3 Archidaily, ‘BanQ’, 4 Archidaily, ‘BanQ’,

determines where cuts are to be made, and when this is done prop-erly the structure is able to put up without issue. Therefore this design relates closely to parametric design in the way the fluid shape has been created through testing in CAD and in particular software like rhino, in or-der to determine whether something works or not.5

In relation to the gateway project this sort of fluid construction could be shown to show a fluidity or motion in a gate.

5 Archidaily, ‘BanQ’,

PRECEDENTS:BANQ RESTAURANT- DECOI ARCHITECTS

B.1. DESIGN FOCUS - SECTIONING

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Fig.5 The flowing form of the BanQ Restaurant.

Fig.6

Fig.7 Connection between ribs. Fig.8 Design diagram.

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A B C1

2

3

MATRIX - BANQ RESTAURANTWe took a closer look at the BanQ restaurant through Grasshopper.

B.2. CASE STUDY 1.0 - SECTIONING

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DThrough our exploration we looked at changing parameters of the “OfficeDA Banq restaurant. 1A-right through to 1D looked at ways to adjust the surface divi-sion planes in order to create a paramet-ric surface that could have potential for movement through.

In adjusting this parameter the aim was to see whether two extremes of the same parameter adjustment can still give similar effect. A1 expresses a more simplified version of 1D, yet

its basic idea is still present.

In adjusting this parameter the aim was to see whether two extremes of the same parameter adjustment can still give similar effect. A1 expresses a more simplified version of 1D, yet its basic idea is still present.

Row 3 adjusts the base thickness giving the sectioned surface added height.

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We then looked at how we might use this technique to create something that could

work as a real structure.Instead of using a flat surface we created our own using a curve to define the direction of the ribs. We came up with a arched form which as a gateway could have a road or freeway running beneath it. We then divided the surface in two directions to create an interlocking structure as another des-ing alternative.

B.2. CASE STUDY 1.0 - SECTIONINGWe explored a further with the BanQ Grasshopper Definition

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...................................................................................................................................................................................................................................................................................2005 SERPENTINE GALLERY PAVILION - ALVARO SIZO

A cafe by day and a venue for talks and events at night, the 2005 Serpentine Gallery Pa-

vilion by Alvaro Sizo is a great example of how sectioning can be used to produce a structure. In this case the pavilion is basically a waffle grid made from short planks of timber, folded down at the edges to form the walls. Panes of polycar-bonate fill in the squares of the grid until it meets the ground on extended “legs”. 1

The Pavilion is a good example of how archi-tecture adapting to the context of a site as the original form of the pavilion was meant to be a rectangle however due to the position of nearby trees, the form was changed to a more asymetri-cal design.2

This demonstrates the flexibility of the sectioning technique, in adapting to an environment which would have been much more difficult with, for ex-ample a solid wall. Hence in our Gateway project we hope to adapt our sectioning structure to the enviormnet of the site.

1Alvaro Siza Vierira, ‘2005 Serpentine Gallery’, Last Vis-ited: 9/5/13,http://alvarosizavieira.com/2005-serpentine-gal-lery 2 Alvaro Siza Vierira, ‘2005 Serpentine Gallery’


Fig.9 The Serpentine Pavilion

Fig.10 Fig.11

Fig.12 Fig.13

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B.3. CASE STUDY 2.0 - SECTIONING2005 SERPENTINE GALLERY PAVILION - ALVARO SIZO

We went about recreating the 2005 Seroentine Gallery Pa-vilion through Rhino and Grasshopper as one of the possi-ble candidates for Case study 2.0

Fig.14

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Fig.15

Fig.16

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The sectioned coffee table named “Sectionimal” was created by a digitial design team from Chili gt_2P. The de-sign utilised digital design software in order to generate the sectioned volumetric surfaces.1 The design team

looked at fabrication, manufacturing and construction from these media.2 It is clear from the photos that this form of design sugguests that sections join using a slotting method which reduces the requirement for joinary or no joinary.

1De Zeen, ‘Sectionimal’, Last Visited: 9/5/13,http://www.dezeen.com/2009/12/16/the-sectionimal-by-gt_2p/2De Zeen, ‘Sectionimal’

SECTIONIMAL - GT2P


Another candidate for Case Study 2.0 was the Sectionimal which is a table and not a building but we quite liked the flowing form.

Fig.17

Fig.18 Fig.19 Fig.20

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The sectioned coffee table named “Sectionimal” was created by a digitial design team from Chili gt_2P. The de-sign utilised digital design software in order to generate the sectioned volumetric surfaces.1 The design team

looked at fabrication, manufacturing and construction from these media.2 It is clear from the photos that this form of design sugguests that sections join using a slotting method which reduces the requirement for joinary or no joinary.

1De Zeen, ‘Sectionimal’, Last Visited: 9/5/13,http://www.dezeen.com/2009/12/16/the-sectionimal-by-gt_2p/2De Zeen, ‘Sectionimal’

Through our exploration of the sec-tionimal project we began our

research by generating algorithms through Rhino. It involved generating a basic surface which was then exploded and simplified in order to create multiple frames along the surface.This was the basis for the more com-plicated model shown here. The algo-rithm which we ran in order to generate a very similar sectioned surface to the Sectionimal project involved applying what was learnt in the above example and then duplicating the commands and changing the item node in order to alter the direction in which the planes are created. This change was made by changing the slider from 5 to 4 which if you imagine a square from plan it chooses the east line after having been allocated initially the north line an addition of these cre-ates the grid system. Through further research we will devel-op ways of joining the pieces through minimal connections.

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B.5. TECHNIQUE: PROTOTYPES...................................................................................................................................................................................................................................................................................FABRICATION EXPLORATION We started looking at methods of fabrication.

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Though our exploration into grasshopper we looked at two different examples of creat-

ing a very similar outcome. Our first attempt on the left looked at creating curves, dividing and utilising the pframes command to create a poly surface which resembles something which could be laser cut. Though this exploration we came across many difficulties which we still face. The images above shows how we am try-ing to go about creating the notches.

The example on the left is a more suitable ap-proach we took but with a much more compli-cated algorithm. The algorithm below cuts the geometry into sections which then allowed me to copy, move and position where we wanted the notches. The text tag 3D command then al-lowed us to number these in order to fabricate clearly, knowing where to place objects.

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...................................................................................................................................................................................................................................................................................B.5. TECHNIQUE: PROTOTYPESFABRICATION EXPLORATION We put our fabrication research to the test.

Using the fabrication methods we have researched we made a basic waffle as a test.

Form making wasn’t neccessarily our priority as we wanted to see how long the fabrication process would take: preparing a file for the Fablab, waiting for Fablab and eventually assembling the model. In the end we learned a great deal about sectioning through the fabrication pro-cess. For example, overall the process was much faster through Fablab rather than making the model by hand, even with the waiting time and queue.Furthermore, the cutting done by the fablab is fatr more accurate than anything done by hand, although the process of preparing a file for the Fablab: nesting the ribs, scaling, and colour-coding the components to be scored or cut took much longer than we estimated. The assembly of the model itself was fairly straight as the ribs do not require any joinary which is one of the advantages of the waffleing technique. Furthermore, because of the interlocking structure, the relatively weak paper is able to form quite a stable model that is self supporting.Eventhough, we learned a great deal, this is the most basic form of sectioning and we hope develop our fabrication techniques further in the following weeks.

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DESIGN DIAGRAM - WHAT IS SECTIONING?

Sectioning is Architecture through implication, it is about dissect-ing a form and then referencing it with less than the sum of its parts.

Because sectioning is about cutting up an origi-nal form, what we can do is defined by the orig-inal geometry or surface. So the origin form is just as important as what we choose to do with that form.

Input Curve, Surface or Geometry

REFINING THE ARGUMENTA CHANGE OF APPRAOCH:

Through our explorations of the 2005 Serpen-tine Gallery Pavilion, the Sectimonial Table and the Waffle model we realised some of the limita-tions of the technique. Indeed, we realised that what was really new and exciting to us, such as a waffle, was some-thing that was considered trite and had been done to death. It was difficult to type the words ‘sectioning’ into a search engine without being overwhelmed with images of waffles and pre-made algorithmns that could fabricate a waffle with a single click.Therefore, we realised that a waffle, at least an orthogonal one was somewaht creatively stag-nant. Furthermore, there is also the issue of pix-elization as sectioning is cutting something into pieces, you could potentially cut something into as many pieces as you want, which can become arbitrary. This also leads to the issue of wastage, as you could cut out a small piece out of a large chunk of material and throw the rest away. Hence in order to create something innovative for the gateway project, we decided that we needed to find something different for our Case Study 2.0 precedents.This also proved to be an oppurtunity to rethinkour arguement as viewing sectioning as merely cutting something into a hundred pieces was somewhat limiting. Through the creation of the concept diagram to the right we tried to strip the technique to its bare bones, and we realised that sectioning is really about impling form. Thus, it is with this new perspective that we continued our explora-tion with sectioning

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...................................................................................................................................................................................................................................................................................DESIGN DIAGRAM - WHAT IS SECTIONING?

DIRECTION (ORTHOGONAL)

DIRECTION (NON-ORTHOGONAL)

NUMBER

ANGLE HEIGHT

SHAPE

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WHY CHOOSE SECTIONING?We examined the reasoning behind choosing our parametric technique and how it could benefit the Wyndham City Gateway Project, in the hopes of strengthening our argument.

As the critic Walter Benjamin argues, most people tend to look at architec-

ture in a ‘state of distraction’, as something to be viewed from the corner of your eye, but not looked at in detail, as something to pass through to where you need to go.1 This idea is relevant because for the Wyn-dham City Gateway Project as the site is located on a freeway, travelling in cars and in a constant state of motion. Therefore, the user will be more distracted than ever. A freeway is about speed and getting to where you need to go as fast as possible. Therefore, to be in-tune with the user we have chosen MOTION as our design theme. Why may you ask is sectioning suitable for


such a task? The answer lies just as much as in what the sectioning is not. And what sectioning is not is solid. The Solid is: The very definition of stillness, static, heavy, rigid, immobile, such as a ziggurat or any other monolithic structure. And it is ultimately at odds with the idea of speed and motion. On the other hand, the Sectioned object is: Flexible, lightweight, ephemeral, organic and dynamic and in-tune with the user experience. Therefore sectioning, in our opinion is the technique that is best suited to the Wyndam City Gateway Project.

The Wyndham City Gateway Project - The Site

REFINING THE ARGUMENT

Fig.21

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THE SOLID OBJECT:

THE SECTIONED OBJECT:Fig.22

Fig.23

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PRECEDENT PROJECTS - CONTEMPLAY PAVILIONWith a renewed emphasis on motion we began looking at sectioning projects which are in-line with that idea.

The Contemplay pavilion designed by McGill university students for a project is

a adequate demonstration of fluid movement through material use.1

Built using timber that has been formed and paired with steel beams for construction pur-poses the pavilion shows MOVEMENT as an idea.2

The timber sections have been curved and placed in sequence to create a wave of mo-tion.Although the pieces are stationary the effect of walking past or through the structure cre-ates a sense of flowing movement as the ribs can distort views and senses.3

We want to take advantage of the fact that the user is in motion, therefore like this project we want our design to be different depending on which angle it is viewed from.

1Archidaily, ‘Contemplay Pavilion’, Last Visited: 9/5/13,http://www.archdaily.com/258929/the-contemplay-pavilion-drs-farmm/2 Archidaily, ‘Contemplay Pavilion’3Archidaily, ‘Contemplay Pavilion’

B.3. CASE STUDY 2.0 - REVISITED

Fig.25

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...................................................................................................................................................................................................................................................................................PRECEDENT PROJECTS - CONTEMPLAY PAVILIONWith a renewed emphasis on motion we began looking at sectioning projects which are in-line with that idea.

Fig.24

Fig.26 Fig.27

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...................................................................................................................................................................................................................................................................................PRECEDENT PROJECTS - PORTAL OF AWARENESS

The ‘portal of Awareness’ by Rojkind Arquitectos is a public installation that is designed to be a space that experienced in motion. 1

One of the eight projects commissioned by coffee maker Nescafe, the installation consists of 1500 metal cups attached to the inside of a diagonal mesh of steel rods which casts dynamic shadows on the sidewalk, which change throughout the day, which contributes to the idea of change or transience. 2

The curved asymmetrical structure creates a sense of motion and allows the form to be different from various angles. It also show how colour can be used to create a sense of change.3

1Design Boom, ‘Portal of Awareness’, Last Visited: 9/5/13,http://www.designboom.com/architecture/rojkind-arquitectos-portal-of-awareness/2 Design Boom, ‘Portal of Awareness’ 3 Design Boom, ‘Portal of Awareness’


Fig.28

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Fig.29

Fig.30 Fig.31 Fig.32

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...................................................................................................................................................................................................................................................................................PRECEDENT PROJECTS - PORTAL OF AWARENESS


Fig.33

As the Portal of Awareness was created to be experienced in mo-tion, we thought it would be suitable as our Case Study 2.0. Thus we began reverse-engineering the structure through Grasshopper. This was done through the Isotrim and listItem commands.

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...................................................................................................................................................................................................................................................................................B.3. CASE STUDY 2.0 - REVISITEDPORTAL OF AWARENESS - MATRIX

We further explored the reverse engineered Portal of Awareness

definition, through a matrix. Our aim was to create a sense of motion through a Bit Sampler: set to monochromatic, the black areas would create dips in the geometry and the white areas of the bit smapler would create rises in the form. As a result, we were able to create complex undu-lating forms

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Sectioning Surface into Pipes or Extrusions(Isotrim and List Item)

B.4. TECHNIQUE DEVELOPMENT - SECTIONING

FUTHER EDXPLORATION OF SECTIONING TECHNIQUES

At this point we wanted to explore as many different types of sectioning as possible in the hopes of eventually combining them into something that we could use for the Gateway Project.

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...................................................................................................................................................................................................................................................................................B.4. TECHNIQUE DEVELOPMENT - SECTIONING

Turning Torso (Move and Rotate)

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Fig.34

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Paneling as an extension of Sectioning?(Surface Box and Morph)

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...................................................................................................................................................................................................................................................................................EXPLORATIONS SECTIONING - POINT ATTRACTOR

An extrusion of the point attracted polygonal

surface with changing radi-us. We used the sphere in order to represent how the surface changes dynami-cally as the point travels along the reperamatised curve.


59


This distribution is another extrusion of what is generated when we moved the attractor point along the curve. For this

example the radius of the circle increases as the attractor point travels further away. The closest items to the point remain the smallest.

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P a n e l s

N o n O r t h o g o o n a l G r i d

A n g u l a r i t y

EXPLORATIONS SECTIONING - POINT ATTRACTOR

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AS this matrix shows, by mov-ing the attractors we can

alter the angularity and twist of the ribs which can be useful in creating a sense of change and motion. We wouldn’t want to apply this to just a basic waffle but maybe apply this technique on a more complex geometry.

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...................................................................................................................................................................................................................................................................................B.5. TECHNIQUE: PROTOTYPESFABRICATION EXPLORATION We explored fabricating the non-orthogonal waffle with different materials.

With the paper model, we found that the material was too weak

to be stable. However, the bending effect that we were looking for was easily achieved with the soft paper.We also found that the shadows cast from the model were also ap-pealing and worth exploring in the future.

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We remade the model using cardboard and the result was drastically different which demonstrated how im-

portant materials can be in the fabrication process. With the stronger cardboard material the structure could stand on its own. In addition we liked that becauswe of the angularity of the ribs, the structure looked differnt deped-niong on the angle, which is something we have wanted to achieve since looking at the Portal of Awareness and the Contemplay Pavilion (See pages 44-47).However, as with any fabrication attempt we also discov-ered the limitations of the materials. Indeed due to the rig-idness of the cardboard it was quite difficult to bend it into place (We ended up needing alot of glue) and as a conse-quence we didn’t achieve the same level bending as the earlier paper version which was more flexible.

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EXPLORATIONS SECTIONING - SHARP SECTIONING

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...................................................................................................................................................................................................................................................................................B.5. TECHNIQUE: PROTOTYPESFABRICATION EXPLORATION

With this model we explored alternate methods of joinary. In this case, a metal wire was used to join

the disparate ribs and by moving the wire it allowed the structure to twist and move which is in line with our theme of motion. However, stability might prove to be a problem as the model tends to jiggle when it is moved, so the ability of a structure like this to resist lateral forces such as wind might be in question but the idea of a sturcture that can move is an interesting one if the aforementioned problems can be resolved.

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...................................................................................................................................................................................................................................................................................B.6. TECHNIQUE PROPOSAL - SECTIONING

SECTIONING IN MOTIONNow that we have explored various methods of sectioning we began trying to contense, combine and refine our ideas into a proof of concept 3D model for the Wyndham City Gateway Project.

FORM FINDING:

As the site is located on a long stretch of road, we decided that a cylindrical tunnel form was a good starting point. By making the opening

wider and the exit smaller, a sense of transition is ex-pressed.

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The idea behind this concept is a sectioned tun-nel that conveys the idea of motion. The form

is that of a set of of ribs that would run across the road and one single rib that runs the other way wrapped around the structure and connecting all other ribs. The single rib (red) that runs along the structure serves two purposes. Firstly, as it is wrapped around the structure it provides stability as it will allow the gateway to resist lateral forces. Secondly, by having the red rib contrasted against the other ribs by ‘cutting’ through them, that one rib is accentuated. Therefore this rib serves almost as the mechanical rabbit on the racetrack for the driv-er, guiding them and making them go faster. This contrast is further empahsized through the colour scheme with the single rib being red and the rest being black.

The sectioned form was created by dividing a surface with the sDivide command.

In order to empha-size the Red rib dips in the form were cre-ated through a bit-sampler.

Stability is achieved by interlocking ribs.

Whilst we were unable to incorporate a point attractor into Grasshopper, we were able to achieve the same effect of twisting ribs with the Vec Command. The goal is to create a sense of change by varying the angles of the ribs.

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...................................................................................................................................................................................................................................................................................B.8. LEARNING OBJECTIVES AND OUTCOMES

I think overall we have been able to interrogate the brief effectively and come up with a strong argument such as architecture as implication (See page 40-41) and the idea of

motion (See page 42-43). However, i think realising that argument through grasshopper and rhino has been the most difficult part which i think is partly due to our limited knowledge of grasshopper. Through our argument we know what we want to do, but we might not neccessarily know how. In addition there are just some inherent problems with the technique of sectioning such as pixelisation, wastage of material and forcing materials to act against their nature( See page 40) which adds to the challenges we need to overcome. At the same time, i think we have been able to generate a variety of design possibilities by exploring various techniques related to sectioning (See Page 48-67) and ultimately condense those ideas into a design proposal (See Pages 68-71). As a result we have acquired a personalised repertoire of computational techniques, which in the scheme of things is only a drop in the ocean as there is always more to learn. In addition, through our explorations of fabrication, we have developed an un-derstanding of the relationship between architecture and air, from the the digital to the physical: such as how various material can affect the realisation of a design in the meat-space.(See Pages 38-39 and 64-67) Furthermore, through our engagement with precedent projects we have been able to keep up with the discourse on our parametric technique and as a result strengthen our argument. And finally, i think over the last few weeks we have been able to develop various skills in three-dimensional media whether its creating a concept diagram, a design matrix, ex-porting vector linework or rendering a 3D model in Rhino.

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...................................................................................................................................................................................................................................................................................REFERENCES: TEXT

Archidaily, ‘BanQ’, Last Visited: 9/5/13,http://www.archdaily.com/42581/banq-office-da/

Australian Institute of Architects, ‘Webb Bridge’, Last Visited: 9/5/13,http://www.architecture.com.au/awards_search?option=showaward&entryno=20053006

Design Boom, ‘Portal of Awareness’, Last Visited: 9/5/13,http://www.designboom.com/architecture/rojkind-arquitectos-portal-of-awareness/

De Zeen, ‘Sectionimal’, Last Visited: 9/5/13,http://www.dezeen.com/2009/12/16/the-sectionimal-by-gt_2p/

Williams, ‘Architecture and Visual Culture’, p. 103.

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...................................................................................................................................................................................................................................................................................REFERENCES: IMAGES

Fig.1: http://app.lms.unimelb.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_262336_1&content_id=_3815736_1&mode=reset&courseTocLabel=Gateway+Design+Project

Fig.2-4https://www.google.com.au/search?q=webb+bridge&safe=off&rls=com.microsoft:en-US:IE-Address&rlz=1I7GGHP_enAU519&tbm=isch&tbo=u&source=univ&sa=X&ei=JxKNUfzbM46eiQe0w4GoCg&ved=0CDsQsAQ&biw=1185&bih=547

Fig.5-8https://www.google.com.au/search?q=Banq+restaurant&safe=off&rls=com.microsoft:en-US:IE-Address&rlz=1I7GGHP_enAU519&tbm=isch&tbo=u&source=univ&sa=X&ei=bRWNUYGFBe6NiAebzYGgBg&ved=0CEIQsAQ&biw=1185&bih=547

Fig.9-16http://alvarosizavieira.com/2005-serpentine-gallery

Fig.17-20http://www.dezeen.com/2009/12/16/the-sectionimal-by-gt_2p/

Fig.21http://app.lms.unimelb.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_262336_1&content_id=_3815736_1&mode=reset&courseTocLabel=Gateway+Design+Project

Fig.22

https://www.google.com.au/search?q=ziggurat&safe=off&hl=en&rls=com.microsoft:en-US:IE-Address&rlz=1I7GGHP_enAU519&tbm=isch&tbo=u&source=univ&sa=X&ei=eiSNUZWDNYeziQeEmoDgDw&sqi=2&ved=0CEgQsAQ&biw=1185&bih=547

Fig.23-27

http://www.archdaily.com/258929/the-contemplay-pavilion-drs-farmm/

Fig.28-33http://www.designboom.com/architecture/rojkind-arquitectos-portal-of-awareness/ http://www.designboom.com/weblog/im-ages/images_2/lauren/nescafe/nescafe05.jpg

Fig.34https://www.google.com.au/search?q=turning+tower&safe=off&rls=com.microsoft:en-US:IE-Address&rlz=1I7GGHP_enAU519&tbm=isch&tbo=u&source=univ&sa=X&ei=GzONUYaHLeediAeXmoDgBg&ved=0CD8QsAQ&biw=1185&bih=547#imgrc=8rAtJ4IHCkJW0M%3A%3BsGa0uwff2wLZAM%3Bhttp%253A%252F%252Fupload.wikimedia.org%252Fwikipedia%252Fcommons%252Fthumb%252F5%252F5f%252FTurningtorso2011.jpg%252F220px-Turningtorso2011.jpg%3Bhttp%253A%252F%252Fen.wikipedia.org%252Fwiki%252FTurning_Torso%3B220%3B303

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PART C. DESIGN CONCEPTGroup 4: Dimitri Blazos, Yi fu (Frank) Jin and Timothy Lamb

Parametric Technique: Sectioning

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...................................................................................................................................................................................................................................................................................DESIGN CONCEPT

SECTIONING:

To us sectioning can be defined as Architecture through impli-cation: where a whole form can be implied with less than the

sum of its parts.The wyndham site is a place of speed as it is located on a freeway, Therefore the users are in a constant state of motion – hence motion is what drives our design, and through the tech-nique of sectioning we want to imply the form of motion.The question is how can something ethereal such as motion be

conveyed through a static structure?Afterall one cannot see motion as it is just a force, and by the very nature of structures they are static and immobile , the very antithesis, of motion

However, you cannot see wind either, but you know it is there, you can feel it on your skin, you can hear it wailing, and see the trees rustling, that way you know it’s there even though you can’t see it because of the influence it has on it’s surroundings.

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...................................................................................................................................................................................................................................................................................conveyed through a static structure?Afterall one cannot see motion as it is just a force, and by the very nature of structures they are static and immobile , the very antithesis, of motion

However, you cannot see wind either, but you know it is there, you can feel it on your skin, you can hear it wailing, and see the trees rustling, that way you know it’s there even though you can’t see it because of the influence it has on it’s surroundings.

Similarly in our project you cannot see motion, but you can see it’s effects on the form of our project.

Said form is that of a simple tunnel, which has been warped, distorted, SECTIONED, in the wake of the locomotion of a force, represented by a red rib, travelling through it.

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...................................................................................................................................................................................................................................................................................SITE PLACEMENT

In terms of site placement we chose the curved road

between Site A and Site B as we thought this would en-hance the experience of mo-tion through our project. As the start of the road is curved it will take longer to drive through therefore the percep-tion of speed is slower, as the raod straighthens out the driv-er will travel faster cvreating a sense of acceleration. (Refer to drivethrough animation on DVD)

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At first we tried to place the project as it was on the site by simply curving the form to less than desirable effects. The appeal of our project was

the specific form created by the placement of the ribs next to each other at a certain distance. This form was a bit lost when we attempted to transplant our model wholesale onto the site. Firstly it there were too few ribs, so the drive would be too short and the ribs were far apart so the effect of the form was lost somewhat. There was also a problem of clearance as some aspects of the model blocked the road.

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SITE PLAN

We tweaked the form by adding more ribs and by making the tunnel longer

to lengthen the driver experience. Overall height was also raised to avoid clearance problems for vehicles.

The new larger entrance gives the driver a sense

of accleration as the tunnel becomes more enclosed and smaller towards the exit

SITE PLACEMENT

For us the user needs to be engaged with the project, rather than it being a curiosity

seen from afar.Because the form is a tunnel, it allows the user to engage with the project by driving through it.As we aware of the determined path of the user in the form of the road, we were able to design an experience specifically from the viewing angle of the driver.

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SITE PLAN

By adding more ribs we were able to maintain the

effect of our original form in adapting the gateway to the site context.

The red rib serves three purposes: • structurally, by connecting all the ribs,

it allows the structure to resist lateral forces.

• The red rib guides the driver’s eye through the gateway

• Finally, the red rib is also a physical rep-resentation of the ‘Force’ of motion that we are trying to convey.

For us the user needs to be engaged with the project, rather than it being a curiosity

seen from afar.Because the form is a tunnel, it allows the user to engage with the project by driving through it.As we aware of the determined path of the user in the form of the road, we were able to design an experience specifically from the viewing angle of the driver.

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EASTERN ELEVATION WESTERN ELEVATION

SOUTHERN ELEVATION

NORTHERN ELEVATION

FINAL FORM

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WESTERN ELEVATION

SOUTHERN ELEVATION

NORTHERN ELEVATION

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1 2 3

6 7 8

11 12 13

16 17 18

21 22 23

THE DRIVER EXPERIENCE

It is the speed of the driver of the car that activates the true nature of this project. Thus the project is not considered complete without the active participation of the user.

As you drive through it the sectioned form become whole again, as it blurs into one form that appears to move along with the driver. The red strip creates a focal point of contrast, where the red guides the users eye which contrasts against the white ribs.

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4 5

9 10

14 15

19 20

24 25

It is the speed of the driver of the car that activates the true nature of this project. Thus the project is not considered complete without the active participation of the user.

As you drive through it the sectioned form become whole again, as it blurs into one form that appears to move along with the driver. The red strip creates a focal point of contrast, where the red guides the users eye which contrasts against the white ribs.

REFER TO DVD FOR DRIVETHROUGH ANIMATION

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It was difficult to find a jmaterial and fabrication method suitable for our project as our gateway’s form is reliant on a series of curved and bent

ribs. Thus finding a material that is both bendable and stable was a chal-lenge. We trialed a number oif materials such as box-board , which was too stiff and required additional etching, Polyethelene was was stable and bendable to a certain extent. In the end we decided that the most suitable for material for the 1:500 model was paper through lamination. Whilst pa-per is quite weak when it is falt when it is bent it can be quite strong , plus it would allow us to achieve the smooth look we we desired.

BOXBOARD

FABRICATION PROTOTYPES

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BLACK CARDPAPER

POLYETELENE

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FABRICATION 1:500 MODEL

Making the contour model

Gateway unrolled and prepared for fabrication through Rhino, which was then sent to the Fablab

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4 5 6

10 11 12

16 17 18

Because the placement of where the ribs touched the ground were etched from the Rhino model, simply had to place the two ends of the ribs into the etching and it would bend the rib into the correct shape.

After all the ribs have been place, the Red rib is put through the model

REFER TO DVD FOR MODEL MAKING VIDEO

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...................................................................................................................................................................................................................................................................................FABRICATION 1:500 MODEL

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We also thought about how the project would be constructed in real life and we thought that steel frame structure with clad-ding could be a viable option as it would allow the bendable shape of the gateway.

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...................................................................................................................................................................................................................................................................................LEARNING OBJECTIVES AND OUTCOMES

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LEARNING OBJECTIVES AND OUTCOMES:When we had four weeks left for the project someone men-tioned that because there were three people in a group, we technically had Twelve weeks left. Well, looking back at the project, if i had be to completely honest, it is nowhere close to twelve weeks of work and at certain times in the process it definitely felt like we had less than three people in a group. The result of which, was certain members of the group doing more work than the others and by the end of the project, those members were left burnt out and frankly a little sick of the subject. Was the soul sucking anxiety and sleep deprivation ultimately worth it? Who knows, i’m on the precipice of not caring and i really just want this subject to be over. But if i were to rein this back a little, i would would say that there were still invaluable things i took away from this studio such as working parametrically with programs such as Rhino and Grasshopper. And in the end, i do still like the project we ended up with, eventhough at this point i can only see the glaring flaws such the half-assed materiality and structure research and the lack of development of of the form. Another thing i learned would be the advantages of disadvantages (probably more of this) of working in a group which i could probably fill a few pages about but i’ll sae you the pettiness. In the end i’m pretty disappointted in myself this semester. But I definitely do not regret doing this subject...i just wish i had cared less as it probably would have been better for my health.

Documents

Finaljournal 542190 yifu jin