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JOURNAL

ID: 583573

EDDY MA

001 PROFILE 01 - 04

002 THE CASE FOR INNOVATION 05 - 16

003 CUT CASE STUDIES 17 - 32

004 AN EXPRESSION OF INTEREST 33 - 48

005 FINAL PRESENTATION 49 - 60

01

PROFILE...

Born and raised in Sydney, Australia, I've always been interested in the world of art and creativity. Indulging in the joys of drawing from a young age, the simple, absent-minded doodles could not satisfy my goal-oriented nature, therefore it was inevitable that I would combine the two and delve into the realm of applied arts.

Straight out of high school, I enrolled into the Bachelor of Design program at the College of Fine Arts, University of New South Wales, but feeling the program lacked direction, transferred to the Bachelor of Interior Architecture program at the end of my first year. Realising the potential of architecture to incorporate all the various facets of design, 2D, 3D, visual, object, etc, i realised I was finally found my true calling. Feeling constrained by the educational styles of Sydney, and hoping to become recognised as an industry professional, I took a giant leap towards creative freedom by relocating to Melbourne in March 2012 and enrolling into the Bachelor of Environments program, majoring in Architecture.

Being exposed to a variety design methods meant exposing myself to a large variety of design development techniques, which included a large number of 3D modelling programs,

including Vectorworks, SketchUp, Revit Architecture, Autodesk Inventor Fusion, Rhino and Grasshopper, which provided me great insight into the potential, advantages and disadvantages of each in helping me realise my vision.

Being a strong advocate of organic forms and unconventional design approaches, I adopted 3D modelling into my design practice early on and have been experimenting with different program combinations when a single program fails to achieve the result I desire. For example, in my last project, I used Rhino and Grasshopper to achieve the overall architectural form and imported that form into Revit Architecture to flesh out the interior as well as aid in documentation.

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TOP LEFT: EDDIE MA

FAR LEFT: HERRING ISLAND CENTRE FOR CULTURAL EXCHANGEADS EARTH S1 2012

The two pieces of architecture that I admire most would be the RMIT Storey Hall Building by ARM Architecture and "Dancing House" by Vlado Milunic and Frank Gehry". The aesthetic is largely, if not purely, anti-modernist, I tend to diter from anything that is purely rectalinear (though that are "some"" modernist buildings that I do admire) that convey the "universal aesthetic of pure geometry" that Modernism promotes.

I believe that every building, and by extension every architect, should have its own identity, its own story, its own voice, and advocating a "universal" aesthetic that all must follow robs architects of their ability to explore new forms, new design and new methods.

These two buildings radiate innovation, in its strange irregular forms, clear divergence from the Modernist aesthetic, and innovative use of materiality inspires not only those educated in architectural history, but also the public that is bombarded with the mass production of aesthetically identical buildings.

INFLUENCES...

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Storey Hall stands within the bustling hub of Melbourne and exists as an iconic landmark within the Melbourne cityscape. Also, it stands as the gateway to RMIT university, an instituion that is internationally renowned for design education, and represents RMIT identity as a leader in design innovation and nurturing the future generation of designers.

"Dancing House" is situated within the densely populated downtown hub of Prague, where most buildings were designed in the Baroque and Art Nouveau styles. Dancing House starkly contrasts this aesthetic and bravely stands to represent how far we have evolved past the design philosophies of the past.

Just as the Eiffel Tower embodies the identity of Paris, both of these buildings, though small in scale, stand as landmarks in their respective cities and stand as an iconic symbol of their community.

FAR LEFT: STOREY HALL, MELBOURNE, AUSTRALIA

LEFT & ABOVE: DANCING HOUSE, PRAGUE,CZECH REPUBLIC

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1. http://www.thecollectormm.com.au/gallery/photography/City/slides/RMIT3.jpg, accessed 17/7/122. http://eliinbar.files.wordpress.com/2012/06/dancing _ house _ frank _ gehry1.jpg,accessed 17/7/123. http://architecturalprojects.infrawindow.com/wp-content/uploads/2012/08/dancing-house-prague-1.jpg

the case for

. . . innovation

COMPUTING...

Computer Aided Design, as the name suggests, is the incorporation of computers and computer software to assist all or parts of the design process. In architecture, this process includes all stages of the design and construction process, and computer aided drafting software encompasses the majority of CAD programs within the market.

Designed by Ivan Sutherland in 1963, SKETCHPAD was the earliest known program designed to assist in architectural drafting. The program was designed to increase speed and efficiency in the drafting process, simplify the process of correction and renewal and to allow

the publication of infinite duplicates with the use of a single master plan. These goals are similar if not the same as those of most present day 2D and 3D CAD programs such as AutoCAD, ArchiCAD and Revit. Architects do not use computers to aid in "design", but rather only aiding the drafting processes and the menial, manual aspects of the architectural profession. Very few, if not no, modern architects effectively utilise computer software in driving their design process but rather only to help them visualise the form that they have in their minds already. This may be due to the logical and rational nature of computers clashing with the illogical, spontaneous and irrational nature of design. One the greatest advantages of computers is its ability to assist in the computation of complex arithmetic problems. Given the right amount of input, computers can generate and solve almost any mathematical problem or generate any geometrical form, but architects are only utilising this at the most basic level, e.g calulating area, volume, length, width, etc, which involves only basic arithmetic. Some programs have advanced capabilities to be able to computer sun shading, efficiency, fire ratings, etc. But it is also possible to calculate and evaluate structural systems, external forces, even simulating earthquakes, which has already been widely adopted by engineers.

One the greatest advantages of computers is its ability to assist in the computation of complex arithmetic problems. Given the right amount of input, computers

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can generate and solve almost any mathematical problem or generate any geometrical form, but architects are only utilising this at the most basic level, e.g calulating area, volume, length, width, etc, which involves only basic arithmetic. Some programs have advanced capabilities to be able to computer sun shading, efficiency, fire ratings, etc. But it is also possible to calculate and evaluate structural

systems, external forces, even simulating earthquakes, which has been widely adopted by engineers.

FAR LEFT: SKETCH PAD SYSTEM

BELOW: 2D CAD SOFTWARE

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1. http://snebtor.chiguiro.org/blog/wp-content/uploads/2011/02/sketchpad.jpg, accessed 24/7/122. http://www.cadian.ro/images/produse/c-1.gif, accessed 24/7/12

One the greatest advantages of computers is its ability to assist in the computation of complex arithmetic problems. Given the right amount of input, computers can generate and solve almost any mathematical problem or generate any geometrical form, but architects are only utilising this at the most basic level, e.g calulating area, volume, length, width, etc, which involves only basic arithmetic. Some programs have advanced capabilities to be able to computer sun shading, efficiency, fire ratings, etc. But it is also possible to calculate and evaluate structural systems, external forces, even simulating earthquakes, which has been widely adopted by engineers.

I believe the greatest potential of Computer Aided Design is real-time simulation. In every brief there can be any number of unforeseeable factors that may influence our designs, such as acoustics, circulation, passive design, weather, etc. In the past, all these factors could only be solved using estimation, precedents and intuition, and therefore embodied an enormous margin of error. Just like engineers run simulations of earthquakes and wind loads, it is possible to simulate all of these factors in real-time and with high degrees of accuracy. We could accurately simulate the effectiveness of circulation systems, measure the exact amount of cross-ventilation in a room or even calculate the safe usage life of a building.

LEFT: LILLI APARTMENTSELENBERG FRASER

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The Lilli Apartments, designed by Elenberg Fraser Architects, utilises windfoil designs to create an undulating facade that passive augmented building surface wind patters. Protrusions on the facade created high pressured areas while recessions formed low pressure systems. This manipulation of high and low pressure augments the air flow outside of the building, allowing the architects to passively directly airflow into the building and then redirect it back out, creating a continuously renewing passive ventilation system. This would not have been possible without the assistance of computers, not only in modelling the undulating exterior, but most importantly, the architects ran numerous computer simulations to mathematically

determine airflow patterns, ventilation paths, high and low pressure areas, etc, and design an functional and efficient system. The functionality of the system could be pre-determined and any errors in design can be instantly and accurately determined and corrected. Previously, the effectiveness of such a system could only be determined in hindsight after construction is completed and the system is in usage. Computer simulation allows us to determine the viability of a system, its functionality and problems during the design phase and can be amended accordingly.

BELOW:LILLI APARTMENTSELENBERG FRASER

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1. http://www.e-architect.co.uk/images/jpgs/melbourne/lilli _ apartments _ ef200509 _ 2.jpg, accessed 24/7/122. http://www.australiandesignreview.com/wp-content/uploads/2012/05/Elenberg-Fraser-Lilli-Apartments-1.jpg, accessed 24/7/12

KINETICS...

Kinetic Architecture involves the incorporation of moving elements within architecture, typically in the facade. These elements could move in a variety of ways, including mechanically, temporally, or due to environmental factors, such as weather. Kinetic Architecture responds to changes within the environment and, either passive or actively, augments its architectural

form or structure to adapt to these changes. These movements could be for aesthetic display, signalling and communication, structural stability, etc.

In a joint venture between Urban Art Projects, HASSELL architecture and the Brisbane Airport Corporation, a new facade was to be designed for the

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existing Brisbane Domestic Terminal short-term carpark. Formed by 250 000 loosely hung aluminium panels, the entire facade moves and ripples as the wind passes behind the curtain. Not only is it a stunning effect that captures the dynamic beauty of the wind, the dynamic facade provides consistant shading for the carpark while also allowing for ventilation and airflow.

ABOVE:BRISBANE DOMESTICTERMINAL SHORT-TERM CARPARK

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1. http://ad009cdnb.archdaily.net/wp-content/uploads/2010/07/1279345860-exterior-courtesy-of-urban-art-projects-528x330.jpg, accessed 24/7/12

Parametric Modelling is a systems based method of 3D computational modelling that is set to revolutionise contemporary design methodology. Though computational software have now become common toll for architects in their design process, it is still limited to the digitisation of analog processes, e.g drafting, non-associative modelling, rendering, etc, with computers only service a role of convenience rather than a tool to drive designs.

Parametric Modelling, or Associative Modelling, sets out to establish relationships, or parameters, between elements of the 3D model, and therefore, when one parameter is changed, the final model updates in adaptation to the change, For example, if a complex panelling system is to be applied to an organic form derived from a swept profile, if the architect decided to change the profile, the form would then change and there the panelling system

would have to be changed. In the past, the modeller would have to update the whole structure manually, applying the same processes to a different profile, to a different form, which is time consuming and inefficient. With Parametric software, the system has already been inputed into the computer and the computer updates automatically and instantly.

The convenience of associative modelling is easity the biggest perk of Parametric Modelling, but there is more. As parametrics is based on parameters, which is essentially based on mathematical formulas, there is the opportunity for designers to apply higher level mathematics to generate designs that would previously been impossible given the complexity of the mathematics. For example, in the image below, the form outputed by the computer was based on fractal geometry and evidently, the complexity and detail,

PARAMETRICS...IN ARCHITECTURE

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so beautifyl and so organic, would be near impossible to create manually. Unfortunately, this new leap in computational modelling does not come without trip ups. As with all modelling software, the level of sophistication of a design is relative the level of sophistication the designer has with the program. With infinite possibilities comes an infinite learning curve, the basics are not hard to learn but to be so familiar with the all the tools and understand how they all interact relative to each other can be a daunting task. For those that face difficulty with the program, their designs may become constrained by basic operations and not take advantage of higher level tools. Instead of the designer controlling the program, the program is controlling the designer and the design.Some may choose to forfeit adopting the program all together, opting to stick with more traditional methods, such as freehand sketching, which is not constrained by

geometrical manipulation or mathematics and is purely about design.

The public, or even some designers unfamiliar with parametric design, confuse complex architectural forms with parametric design, that complexity equals parametrics. This is not the case, as most designers still maintain a traditional design methodology but apply computation, or parametrics, further down the design process. The first one to come to mind must be Frank Gehry and the Guggenheim Museum in Bilbao. This architectural icon is famous for its undulating, curvaceous surfaces and complex, organic aesthetic that one assumes was created through complex, computational methodology using high level mathematics and geometry. This is true, but only in part.

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1. http://cdnimg.visualizeus.com/thumbs/c2/e2/3d,fractal,mandelbrot-c2e2f5c387e12a8077c6d1f85e668970 _ h.jpg, accessed 1/8/12

From initial drawings released by Gehry himself, one can see that the form of the museum was derived from a series of unintelligible squiggles. Unable to realise this in any analog way, designers of Gehry's firm sought the assistance of the Catea, a 3D parametric modelling program, to translate Gehry's "squiggles" into an intelligible form. By extension, this computer model was able to inform the construction process, allowing enginners and suppliers to reference the model and simplify the engineering and manufacturing of materials. This example clearly articulates that parametric modelling software's talent seem to apply better to the design development and construction stages of the design process, rather than the initial conceptual stage of design.

However, it is possible for a design response to evolve purely from the existing constraints placed upon it without the input of an abstract concept. A temporary puppet theatre installation within Le Corbusier's Carpenter Centre was presented with immense structural and functional requirements. The most essential of which was that the theatre was to leave no trace of its existence upon the building and could not rely on any of the existing structural elements (except the ground) for support. Therefore, the form was birthed from an inherent necessity to be self supporting and make use of the limited space as efficiently as possible.

The theatre itself is made up of individual elongated diamond panels, all parametrically derived from the initial form, which is constantly manipulated and updated, creating an adaptive, self supporting form that maximised the usage of space. Each of these panels were manufactured off site and can be assembled quickly on-site with simple hand tools. The material usage is so efficient that all the panels were manufactured from a single flat piece of polycarbonate. In this scenario, parametric modelling was not only able to improve and streamline the design development and construction processes but also drive the initial form using parametrics. Yet it can also be argued that the shape of the panels and the mossed covered surface finish are an integral aesthetic generated by choice, not parameters.

I would consider the role of parametric software's similar to the role of drafting conventions, computer drafting software, and non-associative modelling software. All the above are tools at the architect's disposal and are interchangeable and replaceable, albeit at a cost. Drafting conventions opened up the avenue for architects to drive their designs in plans and sections, to apply concepts and

ABOVE: INITIAL SKETCHES OF THE GUGGENHEIM MUSEUMBY FRANK GEHRY

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aesthetics to planning methods, is reflected in their design. computer drafting software then allowed exploration through curves and splines, freeing architects from the orthogonal grid. And finally 3D modelling software (non-associative) allowed architects to better visualise their designs in three dimensions, increasing variety of forms from all angles and perspective.

But these are design methods, not design styles. Though the Modernist aesthetic was driven by the orthogonal plan, its origins were to make the most efficient

use of space and to minimise adornment. This aesthetic can be realised with any design tool. It is based on an idea, rather than a method. Design can not exist without an idea and it is the tools that we have at our disposal that decides how far the idea can go. It is not the tool that is the driver but has always been, and always will be, the idea. That is the place of parametrics in design.

LEFT & BELOW: CARPENTER CENTRE PUPPET THEATRE

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1. http://images.allmoviephoto.com/2006 _ Sketches _ of _ Frank _ Gehry/2006 _ sketches _ of _ frank _gehry _ 014.jpg, accessed 1/8/122. http://farm3.static.flickr.com/2239/2038411308 _ 3d0e428f55.jpg, accessed 1/8/123. http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/, accessed 1/8/124. http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/, accessed 1/8/125. http://cubeme.com/blog/2009/07/07/puppet-theater-at-harvards-carpender-center/, accessed 1/8/12

cut case

... studies

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... so far In my journey so far in parametric design, I can surely say my eyes are opening up. I began with a slight twinge of doubt, thinking that parametrics was only a tool that assisted in streamlining the fabrication process and not benefit the design process much. I thought that I would still be using the top down approach and after coming up with the design would then translate it into a parametric model, which is what I did for a large part of the journey. But now, after repeated use and educational exercises, I’ve begun to let go a little, allowing the design to unfold as I set out the system. With each step and each relationship I place, it seems new possibilities are born, possibilities that I never knew existed.

This experience is being to change my approach to design. Now, I begin with the vaguest of concepts, the simplest of ideas that I grasp only with a baby’s touch and, as I work with the idea, adding, subtracting, twisting and moulding it, it will mature and grow into something that surprises even me, something that isn’t linear, concrete and decided from the start, but evolutionary, dynamic and constantly changing, because isn’t that how nature creates?

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RIGHT:GRASSHOPPER TUTORIAL EXERCISESCREENGRABS

case study

1.0

McCormick Tribune Campus Center

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case study

1.0

McCormick Tribune Campus Center

Case Study 1.0 is based on using the parametric values pulled from the UV coordinates of a monochrome image, where the gradient from black to white at each of the points are converted to values between 0 and 1. This is applied to the McCormick Tribune Campus Centre windows through assigning particular symbols to each UV coordinate, depending on the range that the parametric value lies, between 0-0.33, 0.33-0.66, and 0.66-1. The dark space within each symbol combine to reform the image, which is discernable from a distance. Other than this method of using to the parametric values of graphics to drive design, there are many other ways to make use of these values that result in unique and unexpected results.

01. Displacement from Surface

A new surface can be created through the displacement of the point at each UV coordinate along the Z axis. The distance displaced is calculated by a maximum displacement distance multiplied by the parametric value retrieved from the graphic. Using these points to create a new surface, it results in crevices on the surface that resembles the image referenced.

02. Radius of Sphere at Point

A sphere is created at each UV coordinate, with the radius of the sphere relative to the parametric value retrieved from the image at the point. This results in a 3D pixel image of the reference image.

03. Displacement of Points from Centre

A vector is created from each UV coordinate to a point direct below the centre of the reference surface. Each point is then displaced along this vector, which the distance of displacement relative to the parametric value at that point. These displaced points at then used to create a surface that resembles an organic mass.

04. Rotation of Profiles of Loft

Straight lines along the Z axis are set up at equal distances in the shape of the circle. The lines are then rotated at an angle relative to the parametric values from a set of UV coordinates. The number of lines are equal to the number of points referenced. These values are then remapped to a new domain between 0 and 180 degrees and used to rotate each line. Lofting all of the lines, a twisted ribbon surface is created

05. Force variability in forming a Funicular Structure

This method utilises the Kangaroo physics engine to create a funicular structure. The amount of force applied to each point at each UV coordinate is relative to the values referenced from the image. If a 0 value is referenced (due to black point on the image), the point at that coordinate is then used as an anchor point for the structure. Running the engine results in a surface that rises and falls unevenly.

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LEFT:ORGINAL McCORMICK TRIBUNE CAMPUS CENTRE GRASSHOPPER DEFINITION AND ITERATIONS

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biomimicry... In our response to the Wyndam City Gateway Project, our group, Sarah, Rhian, Ju and I, have agreed to take a biomimetic approach to our proposal.Biomimicry involves drawing inspiration from nature. Through a careful, scientific study and analysis of organic structure and natural phenomena, designers incorporate elements of natural forms into designs to create structural and aesthetically innovative and challenging forms.Biomimetic architecture embodies numerous positive benefits, to the resulting design and the parties involved, specifically Wyndam City. Firstly, drawing inspiration in natures creates designs that resonate with nature and are harmonious with the environment in which that exist, while also tapping into the most primal relationship being humans and nature. As seen in the ICD/TKE Research Pavilion to the right, we can see a structure inspired by the natural form of the skeleton of a sea urchin. When situated within the structure, visitors feel a natural sense of safety, security and stability, though the actual structural dynamics cannot be seen, i.e no columns, beams, etc.

As can been seen, natural structures also inspire innovative and new structural and building systems. Natural structures have evolved over the course of millenia, evolving and streamlining to create the most efficient and structurally stable forms. By tapping into these designs and taking the elements that make these structures so efficiency, we can achieve the most materially and structurally sustainable buildings in history. Finally, to be within the shell of a sea urbin would be a truly surreal experience, warping our sense of scale, and throwing us into a new realm of fantasy unseen through conventional methods of design. By tapping into natural forms and structures, we are also tapping into the symbols and associations embodied within them. For example, the sea urchin skeletal structures brings to mind connotations of the sea, swimming, tropics, mystery, etc, etc. The chest of meanings are endless and they add another dimension of depth to the experience of the space. If we are able to utilise the correct imagery, we can provide Wyndam City with a gateway that projects a particular image of the city, as innovative, as green, as eco-friendly, as sustainable. As a new city, this is fundamental to the its future development and direction

LEFT:ICD/ITKE RESEARCH PAVILIONSTUTTGART2011

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1. http://www.lightingdesigninternational.com/blog/wp-content/uploads/2011/11/Dezeen-ICD-ITKE-Research-Pavilion-61-300x300.jpg, accessed 8/8/12

case study

2.0

Reverse Engineering of the Yorkshire Diamond by Various Architects

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LEFT:REVERSE ENGINEEREDYORKSHIRE DIAMOND

case study

2.0

Reverse Engineering of the Yorkshire Diamond by Various Architects

Stage 01

Parametrically modelled line from point, vector and length will form the basis of a repeated module that forms the diamond structure

Stage 05

Attempts to copy module onto a divided surface using bounding box to make multiple copies. Result did not copy module correctly, top and bottom halves combined. Revision needed

Stage 06

Second attempt to copy using bounding box, but only bottom half. Planned to repeat with top half and combine but realised that modules would not align. Revision needed

Stage 06

Module copied using series along x, y and z axises. Attempt very successful, but soon realised that result was not a diamond structure as layers did not align

Stage 08

Module was revised to a version that can be infinitely repeated without the need form realignment. Copies were created again with series component and reverse engineering was achieved

Stage 02

First line is mirrored to create copy along opposite vector. The two lines form the top half of module

Stage 03

Top half of module mirrored to form bottom and rotated 90 degrees. Basic module is formed

Stage 03

Module is copied across from one point to form the diamond structure. Dilemma arises on how to make multiple copies in multiple directions

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growth

and resonance A matrix of transformations

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This week our group decided to head out on a tangent from the Yorkshire Diamond and begin working on our proposal for the Wyndam City Gateway. Beginning with our concept, GROWTH & RESONANCE, we aimed to use a biomimetic approach to create a design that embodies constant growth and change that also resonates on a symbolic level with the visitors to the gateway. In our exploration of beauty and geometry within nature, we honed into the form of the coral polyp. The polyp is the fundamental building block of coral reefs that forms the crad diversity for the earth. Coral reefs also conjure up images of ocean beauty, tropical island atolls, cruises, adventures, danger and mystery, a journey into the unknown. We believe this to be a perfect analogy, as visitors enter through this gateway, they are entering a realm of fantasy that is Wyndam City. The coral polyp is the fundamental module that provides structure and form to coral reefs. Each polyp is an individual organism, independent of each other, but together they form a larger ecosystem teeming with life and beauty. We drew upon this and decided to create a structure built up from a repeated module inspired by coral polyps. Also, like the polyp, each module can move independently but, when synchronised, generates movement across the surface, creating a structure that seems to live and breathe.

The form of the polyp is to be governed by a regular tessellating geometric pattern across a surface. Each polygon will then be extruded, with an open at both ends. The sides of the “polyp” will also be able to open and close. This set of basic criteria also sets out a number of design questions to answer. What shape or polygon would suit best? Will it extrude internally or externally? How much? How big will the opening be?

The following matrix exploration will hopefully give us more insight into the potential of this idea, the various solutions available and assist in deciding the next step of the design. From our research, we have found 6 different geometric forms that, when repeated, can tessellate across a surface. With this, a transformation matrix will be applied to each form.

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ABOVE:CLOSE UP OF CORAL

POLYPS

LEFT:INITIAL APPLICATION OF

POLYP CONCEPT ON SURFACE

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1. http://oceanworld.tamu.edu/students/coral/images/coral _ polyp _ 1.jpg, accessed 15/8/12

DIAMOND

HEXAGON

QUAD R

QUAD S

TRI A

TRI B

IN OUTPROJECTION

LONG LONGSHORT SHORTLENGTH OF

BIGBIG BIGSMALLSMALL SMALLOPENING SIZE

C C C CO O O OOPEN/CLOSE

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SHORT

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short extrusion does not seem to have enough impact. Hexagonal structure quite interesting

rectangular profile doesn’t seem to be dynamic enough

internal extrusion doesn’t allow enough room for opening

long hexagonal external extrusion with small opening creates the most organic and interesting form

A triangular profile seems to produce just as interesting a result as hexagons

BEST RESULT

LEFT:MATRIX OF TRANSFORMATIONS

RIGHT:RENDERED SELECTIONOF TRANSFORMATIONS

Having decided on a modular system, where a single module’s replication results in a complex final form, we began contemplating how an organism grows in reality and what would the final form look like? As our module seeks to replicate the open and closing action of coral polyps, we imagined it would act as a filter of sun rays and reduce the amount of glare experienced by drivers as they approach the Gateway. In building upon this premise, our form should naturally be driven by the sunlight, as all life on earth is fundamentally driven by the sun’s energy. With research, we came across a particular property of plant growth, “hydrotropism”, the tendency of plants to grow in a particular direction in reaction to a particular stimulus, such as the sun. This property can be found in many plant forms, such as vines, moss and algae, forests, and in particular, the sun flower, which physically rotates and orients itself towards the sun throughout the day. We found this to be an extremely interesting property and would be a logical foundation to base our form upon. To replicate this effect, we began by creating curves that represented the sun paths of an imaginary site at the summer and winter solstice and the equinox, which would act as the stimulus for growth.

After create a rectangular grid of points upon the flat plane, we calculated the distance between each point and the sun path. Using this length of displacement, we applied a mathematical algorithm to this number to replicate hydrotropism, where points closer to the sun path would be displaced towards the sun path more than points further from the path. Using this set of displaced points and the different sun paths, we were able to create three prototype forms driven by the three different sun paths. We noticed that the surface created by the summer sun seemed to provide the greatest area of coverage from the sun throughout the year and would be the ideal surface to use. As the summer sun would also be the most intense, it makes sense that the filtering effect be designed to be most effective at that time. After applying our module system onto the surface, we began imagining how the sun might cause the modules to react, to open and close. Using Grasshopper, we were able to emulate this effect and cause the modules to open and close depending on how directly the sun is shining upon it at a particular time of day.

HYDROTROPISM... and form

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TOP:SUMMER, WINTER AND EQUINOX SUN DRIVEN SURFACES

BOTTOM:MODULED SUMMER SUN SURFACE WITH VARIED MODULE OPENINGS BASED ON SUN DIRECTNESS

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AN EXPRESSION OF

... INTEREST

wyndham = growth

1991

2001

2012

2020

184,191

245,000+

84,861

60,563

population growth

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EXPRESSION OF INTEREST


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“the examination of Nature, its models, systems, processes, and elements to emulate or take inspiration from in order to solve

human problems”

“The gateway should be a celebration of wyndam’s growth...”

“as growth is a fundamental process of nature, we should employ models, system, processes and elements to solve the problems

faced by the Gateway...”

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2

1. Australian Bureau of Statistics, accessed 22/7/122. “Collins English Dictionary - Complete & Unabridged 10th Edition”, 2009

precedents...

ICD / ITKE Research PavilionICD / ITKE University of stuttgart

This project explores the potential of biomimetic design strategies for performative morphology in architecture using computer-based design methods. The sea urchin’s plate skeleton morphology was achieved using a modular system of polygonal plates and a particular joining system, which allowed the pavilion to have high load bearing capacity.

structure

response

al bahar towers responsive facadeaedas architects

For this responsive facade, which takes cultural cues from the “mashrabiya” (a traditional Islamic lattice shading device), a parametric description for the geometry of the actuated facade panels was used in order to simulate its operation in response to sun exposure and changing incidence angles during the different days of the year.

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1. http://www.archiable.com/image/design/120519 _ ICD _ ITKE _ Research _ Pavillion/Archiable _ ICD _ ITKE _Research _ Pavillion _ 01.jpg, accessed 25/8/122. http://www.pleatfarm.com/wp-content/uploads/2012/09/aedas-al-bahar-tower-04.jpg, accessed 25/8/12

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hygroscope: meteorosensitive morphologyachim menges & steffen reichert

This wooden model, suspended within a glass case, explores the principles of responsive architecture. When the humidity level within the case rises, the system reacts by ventialting the air without any equipment or electricity.

react

acoustics

resonant chamberrvtr

This is an interior envelope system that deploys the principles of rigid origami to transform the acoustic environment through dynamic spatial, material and electro-acoustic technologies

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3. http://api.ning.com/files/ogE19DGjM8dJG27AtGzqLPDF*-EyibN1PmfPo*iiDOeY-qGXwxZ2Muy5ecaXbzdOmZXVD44-lV-lA4Z1NLmV5FKCKKdLxVOX/HygroScope _ 04 _ DSC7766.jpg, accessed 25/8/124. http://25.media.tumblr.com/tumblr _ m3t5y02VSj1qd02zeo1 _ 500.jpg, accessed 25/8/12

3

4

development ...

“the coral polyp GROWTH cycle”

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1. CELL

2. GROWTH

3. MODULE

40



“The undulating surface generated by a sun path will actively react to the position of the sun throughout the day and open and close accordingly. By closing in areas that blocks out direct sunlight from the travellers on the highway, the modules will act as a light filter and anti-glare mechanism, providing commuters with a more comfortable drive through the Gateway.”

“By applying the same undulating, pyramidal, waffle pattern to the individual panels of the modules, we can create a sound absorbing surface across each panel. Combined with the undulation of the entire surface, the constant reflection and refraction of sound waves travelling through the Gateway will lower the background noise that is a nuisance in many highway tunnels.”

“As our design is built from an independent modular system that can be applied to almost any surface, the possibilities are endless and can be combined with different geometries to create numerous, interesting light filtering effects.”

APPLICATION...

sun response

acoustics

adaptability

41



references

http://ad009cdnb.archdaily.net/wp-content/uploads/2012/04/1334693879-rc-12-1000x800.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2012/04/1334693855-rc-06.jpg

http://api.ning.com/files/ogE19DGjM8dJG27AtGzqLPDF*-EyibN1PmfPo*iiDOeY-qGXwxZ2Muy5ecaXbzdOmZXVD44-lV-lA4Z1NLmV5FKCKKdLxVOX/HygroScope_04_DSC7766.jpg

http://designsandprojects.com/wp-content/uploads/2012/06/New-Headquarters-Al-Bahr-Towers-Abu-Dhabi-UAE.jpg

http://neptunesweb.com/wp-content/uploads/2011/07/Leather-Coral-Polyps-GBR-2005.jpg

http://stockarch.com/files/10/11/coral_polpys.jpg

http://vimeo.com/38996182

http://vimeo.com/41075549

http://www.aedas.com/Content/images/pageimages/Al-Bahar-Towers-wins-Innovation-Award-NewsAl-Bahar-Towers-wins-Innovation-Award-1264.jpg

http://www.archiable.com/image/design/120519_ICD_ITKE_Research_Pavillion/Archiable_ICD_ITKE_Research_Pavillion_01.jpg

http://www.digitalfutures.info/wp-content/uploads/2011/02/parametricskin.jpg

http://www.hiren.info/desktop-wallpapers/other-mix-pictures/hard-coral-polyps_taveuni_fiji

http://www.icriforum.org/sites/default/files/images/reef-repro.gif

http://www.itke.uni-stuttgart.de/img/background/default/index.jpg

http://www.messersmith.name/wordpress/wp-content/uploads/2010/04/coral_polyps_IMG_2829.jpg

http://www.youtube.com/watch?v=11KV00yDnbY

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After analysing our presentation feedback, and a post presentation feedback session with Alison, we found several areas that needs to be attended to leading up to the final presentation.

Focusing first on the positive, we were congratulated for our daring, for pushing the envelope and the goals we hoped to achieve. Our presentation was also of a high standard and our design, if successful, would be a truly fantastic experience.

Some areas of our presentation also need to improvement, such as our presentation style and referencing, which are important when presentation to an academic audience. Unfortunately, we were imagining that we were presenting to a public audience, the presentation panel would consist of council members and members of the Wyndam community, and therefore we tailored our presentation to that type of audience. Our arguments should also focus less on the practicality and functional aspects as our arguments of functionality were weak, as the acoustic properties, if any, would be short lived and would not serve much of a purpose. The sun glare factor would also be negligible as it would only last a few minutes. Our arguments need to focus on the experience, not functionality In terms of practicality, our design of open and closing modules was commented on being too expensive and energy exhaustive to run. It was later confirmed that cost and budget is not an assessable component of the design but we have still decided to devise a system

where the modules would be able to open and close passively, without the need for mechanics and electrical energy. Our model making techniques also need improvement. As our design is based on movement, our models should be able to reflect that and be able, to some degree, to open and close to reflect our goal. If we are able to devise a passive system of movement, this system may be applied to our models so that during our presentation we could demonstrate how the system works. Our structure was also a point of concern as the model making technique used for our larger scale model was too “clunky”. As our larger scale model would be too detailed to be modelled by hand, we have decided that it would be best to 3D print our site model so it would best demonstrate our design in a dynamic state with open and closed modules.

A final comment on our presentation was our timing, the limit was 5 minutes but our presentation lasted for 10. For the finaly presentation, we must diligently rehearse and control the length of our presentation.

FEEDBACK...

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POSITIVE

“good presentation of story of biomimicry, exciting” - Stanislav

“would be wonderful to drive through every morning and wonder what it will look like today” - Alison

“beautiful lace”- Paul

“close to standard of final presentation”- Alison

OPPORTUNITIES

“need reference for biomimicry” - Stanislav

“present less like marketing campaign... more as architectural concept” - Stanislav

“important in an educational setting to be more open about shortcomings, drawbacks and unresolved issues” - Stanislav

“practicality of technique e.g energy consumption, maintenance, cost, etc” - Stanislav

“most references are unbuilt, proof of concepts with no realistic expectations. why doesn’t everybody design like this?”

- Stanislav

“should focus on conceptual aspects of biomimicry and not technical... just conceptual and aesthetics is enough” - Stanislav

“acoustic argument is a bit weak” - Alison

“could generate sound inside the structure...could be examples of this found in nature...people could bear it for 5 seconds...cultural performance” - Stanislav

“issues with model... should be able to move...just beautiful lace” - Paul

“loosen this [module flaps] up, don’t glue it” - Paul

“you should look into fractals”- Alison

“keep length of presentation to 5 minutes, was 10 minutes” - Alison

“need to sort out the structure, currently too clunky”- Alison

- “need to sort out the structure, currently too clunky” - Alison

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UsingtheGrasshopperdefinitionwecreatedforourEOIpresentation,wesoughttoapplyitontotheactualsiteand,usingthesamelogic,developaformthatisuniquetotheWyndamsite. WedecidedthatthemostappropriatelocationforawelcomingGatewaywouldbeoverthePrincesHighwayinboundtoWyndamandMelbourne.ThisroadleadsdirectlyintoWyndamCityandconnectsWyndamtoMelbourneCity.

UsingthecurvatureofthesiteboundariesofSiteAandB,welocatedthecurverunningthroughthecentreofbothsitesandusedthatastheboundsforthegridofpointswewouldusetogenerateourform. Nextwecalculatedthesummersolsticesunpathoverthesiteandscaledthecurvesothatitrunsfromone

sideofthegridtothenext. Usingourinitialmathematicalalgorithm,Grasshoppergeneratedaformthatwassquashedagainstonendofthesite.Thisformdidnotprovideenoughsurfaceareatoappropriatelyapplyourmodules.Toaddressthis,weranthroughavarietyofdifferentmathematicalmanipulationsthatgeneratedamoreappropriateformbutstillemulatehydrotropism. Therewereseveralissuesofscaleandheightandrequiredredrawingtheinitialsiteboundsandscalingtheheightofthefinalform

Aftergeneratingaformthatwewerehappywith,itwasasimplematterofapplyingourmoduledefintionontothesurfacetogenerateourfinalform.

form...

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1.INITIAL GRASSHOPPER OUTPUT

2.OUTPUT AFTER ALGORITHM CHANGE

3.OUTPUT AFTER SCALING

4.RENDERING OF FINAL FORM

44

Aftercomingupwithaformonsite,wenowneededtoconsiderwhatkindofstructurewouldbemostappropriatetocreatesuchacomplexform.Asourdesignisbasedonmodules,itwasonlylogicalthatthestructurebemadeupofmodularcomponents. Ourstructuremustbeabletoallowlighttopenetratethroughtocommuterstravellingonthehighwaybelowsoasteelpipelatticewouldgiveupthespacetoachieveaswellaskeepalightanddelicatestructure.Eachmodulewouldbemadeupof3pipesofvaryinglengths,whichwouldbeconnectedto5othersurroundingpipes,forminga6wayjoin.Butwhatisthemostefficientwaytoconnect6differentpipestogetheratvaryinganglesanddirections? Struckbyamomentofnostalgia,wethoughtbacktoourchildhoodplayingandourfirstexperiencesofbuildingstructures,usingtheLegoK’Nexplayset.K’Nexallowedchildrentocreatecomplexstructuresbyconnectsticksofvaryinglengthsusingprefabricatedjoinsthatcouldconnectdifferentnumbersofstickstogetherfromvaryingangles.

Thisinspiredustocreateourown6wayjointthatwouldbeabletoconnectthepipesfromanydirectionin3Dspacebyalteringtheverticalandhorizontalangles.Together,thisgaveusthefreedomtocreateanysurface,morematterhowcurved,usingthismodularstructure.

Unfortunately,undercloserconsideration,werealisedthatbecauseofthenature,thereareseveralareasofstructuralweaknessifthestructurewasleftasonlyasinglelayerofsteelpipestructure.Toresolvethis,wecoulduseaspaceframemethod,whichinvolvesaddingasecondlayerofstructuretoreinforcetheprimarystructure,butthiswouldmakeourstructuretoo“clunky”,unattractiveanddetractfromthefilteredlightcomingthroughthemodules. Wedevisedanalternatemethodofsolutionthatwouldallowustokeepourstructurethinandlightbutstillbraceandreinforcetheareasofweakness.InspiredbySantiagoCalatravaandhisbridgedesigns,wenoticed

STRUCTURE...

LEFT:AIRPLANE CONSTRUCTED FROM K’NEX SYSTEM

RIGHT:RENDERING OF TWO CONNECTED MODULES

45

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1. http://www.knexusergroup.org.uk/acatalog/K79012m.jpg, accessed 5/10/12

that he was able to create extremely long bridge spans using the tensile strength of steel cables. This allowed the bridge structure to be secondary and therefore could be kept thin, light and delicate. This seemed like the perfect solution to our dilemma.

To apply this technique, it would involve adding a structural arch, which would redirect the load into the ground, and steel cables that attach the structure to the arch and hold it up like a marionette. As our form was created by pulling points on the site along vectors towards the sun path, by creating the arch using the summer sun path, the vectors as cables and connecting the cables to the points on the surface, we are able to physically realise the logic behind our design and demonstrate the relationship between our design and the sun.

But by applying this technique, we had to make one minor adjustment to our design. As the cable run close to the exterior of our form, the cables would be obstructed by the polyps pointing outwards. To correct this problem, we decided to change our modules from pointing up towards the sky to pointing down towards the highway. In doing this, we found that this created a much more interesting experience as the feature of the Gateway, the modules, would be directed towards the audience and create an even more intimate experience.

LEFT:BRIDGE BY SANTIAGO CALATRAVA

RIGHT:RENDERING OF STRUCTURE AND WIRES

BIMETAL PANEL STEEL

SURFACE

WITH CORTEN FINISHBIMETAL PANEL POLISHED

COPPER SURFACE

CIRCULAR HOLLOW SECTION

STEEL PIPE STRUCTURE

BOLT FIXED 6 WAY STEEL JOINT

BIMETAL PANELS RIVET FIXED TO

STEEL PANEL. STEEL PANEL

WELDED TO STRUCTURE

FLUORESCENT STRIP LIGHT

EMBEDDED IN PIPE STRUCTURE

BIMETAL PANEL IN CLOSED

POSITION

PRODUCED BY AN AUTODESK STUDENT PRODUCT

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2. http://benjaminwey2000.files.wordpress.com/2008/01/calatravas-alamillo-bridge-valencia.jpg, accessed 5/10/123. http://3.bp.blogspot.com/-iB2PmUlQjuw/TzAFbjrIBzI/AAAAAAAAALg/Bp8x9TBigB8/s1600/Reggio+Emilia+Ponti.jpg, accessed 5/10/124. http://www.dbetoday.com/wp-content/uploads/2010/07/DIA-Bridge.jpg, accessed 5/10/12

The final problem involved, and the most fundamental hurdle in realising our design, is how exactly would the modules open and close? Initially, we imagined that our modules could be opened and closed with a simple neumatic system and we would be able to customise the opening and closing pattern in anyway, whether it be to the sun, or the wind, or to cars along the motorway, etc, as this would be controlled by a computer. Unfortunately, the practicality of a neumatic system was pointed out to us in our EOI presentation so we sought to devised a non-neumatic system of activating our modules. After much research and study, we found that there were very few systems of opening and closing components without some form of mechanic system. That there were a few very technologically advanced methods of creating moving parts. One particular method was the use of nitinol “muscle wires”. Nitinol is a metallic allow of nickel and titanium that has a memory property. Wires made of nitinol will contract and reshaping itself to a preset form if heated past 70 degrees Celsius. Videos showed researchers using nitinol wires to cause panels of metal to curve and bend when heated, and flatten itself once it cooled.

After procuring a sample of nitinol and experimenting with it properties, we realised that nitinol wire was able to easily contract into a defined shape once activated but it does not automatically return to its original shape. To return the module into its unactivated state, it would require the panels of the module to apply an opposing force to force the wire to straighten. This would be too unreliable and straining to be practical. Also, nitinol wire creates only sudden snapping motion, rather than slow gradual change. Further research led us to another type of advanced material, thermal bimetal. Thermal bimetal is essential two sheets of different metals, usually copper and steel, laminated on top of each other. As the metals has a large difference in metal points, one metal will expand more than the other and therefore cause the overall sheet to bend. This material is traditionally applied to the coils used in thermostats as the contraction rate at different temperation can be easily calculated. This bending effect occurs at temperatures under 100 degrees Celsius and therefore even natural sunlight can cause bending in the metal.

MECHANICS...

NITINOL WIRE CONTRACTS AND STRAIGHTENS WHEN HEATED

THERMAL BIMETAL STRIP STRUCTURE

47

1

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1. http://www.profbunsen.com.au/auto/thumbnail/persistent/catalogue _ images/products/H14L.jpg?maxwidth=800;maxheight=800;pcolor=ffffff;type=jpeg;style=padded, accessed 5/10/122. http://4.bp.blogspot.com/-ApUat5 _ r _ Hs/T8a0Bqv9JjI/AAAAAAAAAVE/9g28EUwwiXg/s1600/bimetal.gif, accessed 5/10/12

Some material researchers have begun researching the architectural applications of such a remarkeable, including Doris Kim Sung, an Assistant Professor of Architecture at the Univerisity of Southern California. Her research focuses on passive shading systems using the properties of thermal bimetal. In her outdoor installation piece, “Bloom”, she demonstrates how thermal bimetal automatically curls when exposed to sunlight and unfurls itself when its moves into shade later in the day.

Another piece that utilised the reactive properties of thermal bimetal is the Lotus Dome by Studio Roosegaarde. An giant orb of small bimetal “petals” arranged as flowers is installed in the centre of a dark church with a light in the centre. As a visitor approaches

the orb, the light reorients itself towards the viewer and the heat from the light causes the bimetal to curl and the flowers to open. The bimetal petals are so sensitive, it has also been demonstrated to react to the heat from human breath.

This was the exactly system we have been searching for. As the sun moves across our structure, the bimetal panels would heat up and curl, but in our case curl inwards to obstruct the light, and as the sun moved across the day and the sun path changes across the year, the structure would be able to automatically reshape itself to these changes and provide commuters with a different patterns of filtered light hour of every day throughout the year.

DORIS KIM SUNG AND HER INSTALLATION “BLOOM”

“LOTUS DOME”BY STUDIO ROOSEGAARDE

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3. http://iamkoream.com/wp-content/uploads/2012/06/Cul-Intro-0612-Impact2.jpg, accessed 5/10/124. http://www.architizer.com/blog/wp-content/uploads/2012/10/Lotus-Dome-by-Roosegaarde-web3.jpg, accessed 5/10/12

FINAL

PRESENTATION

wyndham = growth

1991

2001

2012

2020

184,191

245,000+

84,861

60,563

population growth

final presentation

final presentation

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1

“the examination of Nature, its models, systems, processes, and elements to emulate or take inspiration from in order to solve

human problems”

“The gateway should be a celebration of wyndam’s growth...”

“as growth is a fundamental process of nature, we should employ models, system, processes and elements to solve the problems

faced by the Gateway...”

final presentation

final presentation

1. CELL

2. GROWTH

3. SKIN

4. MODULE

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2

1. Australian Bureau of Statistics, accessed 22/7/122. “Collins English Dictionary - Complete & Unabridged 10th Edition”, 2009

N

UsingtheGrasshopperdefinitionwecreatedforourEOIpresentation,wesoughttoapplyitontotheactualsiteand,usingthesamelogic,developaformthatisuniquetotheWyndam site. We decided that the most appropriate locationforawelcomingGatewaywouldbeoverthePrincesHighwayinboundtoWyndamandMelbourne.ThisroadleadsdirectlyintoWyndamCityandconnectsWyndamtoMelbourneCity.

UsingthecurvatureofthesiteboundariesofSiteAandB,welocatedthecurverunningthroughthecentreofbothsitesandusedthatastheboundsforthegridofpointswewoulduse to generate our form. Nextwecalculatedthesummersolsticesunpathoverthesiteandscaledthecurvesothatitrunsfromonesideofthegridtothe next.

Usingourinitialmathematicalalgorithm,Grasshoppergeneratedaformthatwassquashedagainstonendofthesite.Thisformdidnotprovideenoughsurfaceareatoappropriatelyapplyourmodules.Toaddressthis,weranthroughavarietyofdifferentmathematicalmanipulationsthatgeneratedamoreappropriateformbutstillemulatehydrotropism. Therewereseveralissuesofscaleandheightandrequiredredrawingtheinitialsiteboundsandscalingtheheightofthefinalform

Aftergeneratingaformthatwewerehappywith,itwasasimplematterofapplyingourmoduledefintionontothesurfacetogenerateourfinalform.

site placement

LEFT: DEVELOPMENT DIAGRAM

RIGHT: SITE PLAN

final presentation

final presentation

53

precedentssantiago calatrava

experiment + application

To keep our structure thin and light but still brace and reinforce the areas of weakness. Inspired by Santiago Calatrava and his bridge designs, we noticed that he was able to create extremely long bridge spans using the tensile strength of steel cables. This allowed the bridge structure to be secondary and therefore could be kept thin, light and delicate. This seemed like the perfect solution to our dilemma.

To apply this technique, it would involve adding a structural arch, which would redirect the load into the ground, and steel cables that attach the structure to the arch and hold it up like a marionette. As our form was created by pulling points on the site along vectors towards the sun path, by creating the arch using the summer sun path, the vectors as cables and connecting the cables to the points on the surface, we are able to physically realise the logic behind our design and demonstrate the relationship between our design and the sun.

BELOW: SECTION VIEW

final presentation

final presentation

54

“BLOOM”DORIS KIM SUNG

“LOTUS DOME”STUDIO ROOSEGAARDE

Some material researchers have begun researching the architectural applications of such a remarkeable, including Doris Kim Sung, an Assistant Professor of Architecture at the Univerisity of Southern California. Her research focuses on passive shading systems using the properties of thermal bimetal. In her outdoor installation

piece, “Bloom”, she demonstrates how thermal bimetal automatically curls when exposed to sunlight and unfurls itself when its moves into shade later in the day.

Another piece that utilised the reactive properties of thermal bimetal is the Lotus Dome by Studio Roosegaarde. An giant orb of small bimetal “petals” arranged as flowers is installed in the centre of a dark church with a light in the centre. As a visitor approaches the orb, the light reorients itself towards the viewer and the heat from the light causes the bimetal to curl and the flowers to open. The bimetal petals are so sensitive, it has also been demonstrated to react to the heat from human breath.

This was the exactly system we have been searching for. As the sun moves across our structure, the bimetal panels would heat up and curl, but in our case curl inwards to obstruct the light, and as the sun moved across the day and the sun path changes across the year, the structure would be able to automatically reshape itself to these changes and provide commuters with a different patterns of filtered light hour of every day throughout the year.

final presentation

final presentation

55

As our design is based on modules, it was only logical that the structure be made up of modular components. Our structure must be able to allow light to penetrate through to commuters travelling on the highway below so a steel pipe lattice would give up the space to achieve as well as keep a light and delicate structure. Each module would be made up of 3 pipes of varying lengths, which would be connected to 5 other surrounding pipes, forming a 6 way join. But what is the most efficient way to connect 6 different pipes together at varying angles and directions? Struck by a moment of nostalgia, we thought back to our childhood playing and our first experiences of building structures,

using the Lego K’Nex playset. K’Nex allowed children to create complex structures by connect sticks of varying lengths using prefabricated joins that could connect different numbers of sticks together from varying angles. This inspired us to create our own 6 way joint that would be able to connect the pipes from any direction in 3D space by altering the vertical and horizontal angles. Together, this gave us the freedom to create any surface, more matter how curved, using this modular structure.

BIMETAL PANEL STEEL

SURFACE

WITH CORTEN FINISHBIMETAL PANEL POLISHED

COPPER SURFACE

CIRCULAR HOLLOW SECTION

STEEL PIPE STRUCTURE

BOLT FIXED 6 WAY STEEL JOINT

BIMETAL PANELS RIVET FIXED TO

STEEL PANEL. STEEL PANEL

WELDED TO STRUCTURE

FLUORESCENT STRIP LIGHT

EMBEDDED IN PIPE STRUCTURE

BIMETAL PANEL IN CLOSED

POSITION


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LEGO K’NEX SYSTEM

CONSTRUCTION DETAIL

final presentation

final presentation

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THE EXPERIENCE...

final presentation

final presentation

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final presentation

final presentation

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From our presentation feedback, there are still many areas in our project that could be improved, specifically in the form and structure of the design and some areas of the presentation.

In deriving the form, we followed a specific rule set based on the site sun path. It was brought to our attention that this approach may have been a bit constraining and has limited our options in developing a suitable form to apply our modular system. We should allowed for more freedom in our form development process or experimented with different methods of form derivation using the sun and to be more self critical of our design decisions. This may have led us to more interesting and functional solutions for our design.

Although alot of research and experimentation was put into our structural design, on presentation, we were not able to convince the panel of its structural viability. Though the site model was able to stand up in the current configuration, the panel’s thoughts were that as both the arch and the form lent towards the same direction, it reality, they would pull each other down. Possibly a better use of the arch may be to have it lean in the opposite direction to counteract the lean of the form. During our development, however, we were able to create a stable surface created by a piece of fabric held up by thin thread attached to a cardboard arch. Unfortunately, we did not present this model to the panel and therefore may have lost an opportunity to convince them of the possibilities of this method. It may be possible that the panel’s negative reaction to our structural solution may not be due to its inherent structural problems, but rather we failed to present our solution in a manner that expressed that it was a stable and viable solution. This may be a manner of presentation. Moving forward, we should development more accurate methods of testing structural solutions to ensure that it is

applicable in reality before presentation, and to ensure our presentation is able to adequately communicate the qualities of the structure that make it a viable solution.

Finally, in our presentation, we allocated a large amount of time to videos and animations. As this presentation was within an academic context, the priority should have been to present our communication skils and development our presentation techniques, rather than rely on the communication skills of those in our videos to make our case. It would been a lot more rewarding for us if we had paraphrased the points presented and made our own case for our design choices. Also, we failed to communicate the essence of our design, which is our moving panels, how its moves, when it moves, and where it moves. This may have been better communicated if we had allocated more time to speech and explanation.

All in all, this semester has definitely been a exciting and rewarding experience. From having no idea of the potential of Grasshopper to becoming excited and intrigued by the avenues of design opened up by using parametrics, I am definitely a convert. Learning to utilise parametrics, I feel constrained by the boundaries of traditional design development strategies and free to explore new directions of design and form making and bring forth designs I never thought possible. Not only is it an effective design tool, I believe that by using parametrics in my project this semester, I was able to work faster and more efficiently than before and therefore explore many more options in a shorter time frame. I will definitely be relying on parametrics in the future not only drive my designs but to increase efficiency in my design process.

FEEDBACK...

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POSITIVE

“idea is interesting... like the shapes that were being created”

“i love these materials... chose a good material and used that material in a good way”

“detail models great”

“techniques shown are good”

“drawings and everything area really nice. had a really cool and really nice diagrammatic presentation”

“very ambitious project on multiple levels... to be applauded”

“love it! sold!”

“amazing consistancy of work through the semester. well done”

OPPORTUNITIES

“can’t give credit for materials explanation as it was not your own words... wanted YOU to convince me of the materials choice”

“videos took up a disproportionate amount of time”

“too prescriptive using a rule following process in getting forms... maybe use a less prescriptive method... maybe more time spent putting some other options forwards and making the right choices about which ones you choose”“need to be more self critical”

“animations and diagrams weren’t selling me as clearly how and where these changes occuring”

“even with the arch, the structure would fall over”

“cable thing is scary”

“not all “gel-ing”, triangulations in areas getting squished just wouldn’t work”

“we keep coming back to the form... the form might need tweeking”

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