391033 grady peterson final

ARCHITECTURE DESIGN STUDIO:

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RSE Architecture and the design processes

involved have long been set in their ways. This document will demonstrate how Architecture Design Studio AIR challenges this. Its a journey, a personal experiment on a new way of architectural thinking, a new way of creating and developing design ideas. Architecture as a discourse. It will challenge the possibilities of architecture as we move away from tradition and embrace a new age of technology. The case developed in this studio will help me to form an opinion on computer generated design and may even foster a new way of thinking. Until then though i must remain sceptical. Myself like many others struggle to adopt to this new discourse of architecture.

ARCHITECTURE DESIGN STUDIO:

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Tutors: Chris & Rosie

GRADY PETERSON

Hi I’m Grady a 22 Year old, Third Year Architecture Student. My interests outside of the course include heading to the beach, designing and building furniture and working on my car, a 1974 Volkswagen Kombi. I have always been interested in architecture, as a child I was constantly drawing houses, mainly in plan and elevation, however I did get to dabble in the world of digital modelling using the Sims build tools. My architectural Interests tend to lie with Earthy materials and a simple, clean almost industrial aesthetic, My favorite building materials are earth, timber, glass and concrete. Some of my favorite architects include Sean Godsel and Jackson Clements Burrows. In the future I’d like to see myself working in the residential sector working with both new builds and the retrofitting and renovating of old Terrace and Industrial buildings. My dream homes are a breezy beach-side escape and a Lofty Urban warehouse conversion. My experience and interest in Digital and Parametric design is limited so I feel this course will be a great, albeit challenging learning curve.

CONTENTS.

INTRODUCTION 6

A CASE FOR INNOVATION

A DISCOURSE IN ARCHITECTURE 10

COMPUTATION 18

PARAMETRICS 24

CONCLUSIONS 30

REFERENCES [A] 32

PART B

PART C

APPENDICES

A.0.1

Digital Architecture: An Experience

I have a very limited knowledge of digital architecture and the processes involved in designing and experimenting digitally. The last few years studying a Bachelor of environments has generally seen me using computers merely as a tool of representation. Programs such as AutoCad, Photoshop and InDesign have been priceless assets when it comes to presentations, the manipulation of photographs of models and the creation of plans, elevations, sections and Presentation layouts.

One First Year subject required a notably different approach. Virtual Environments was as close as I have gotten to digitally derived design. The project required us to develop an abstract Architectural, or Sculptural headpiece through a process of physical and digital modeling not unlike that of Frank Ghery. My headpiece (right) was inspired by the split second a water bomb explodes. The digitised models, once fully developed were able to be panelised, unfolded and printed. This process enabled me to easily create physical models

Rhino Grasshopper In Design Photoshop Illustrator

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A.0.1

Digital Architecture: An Experience

from card, that had a very complex, and non uniform appearance. Virtual environments was a basic introduction to digitalisation in design and Architecture. It used a program called Sketchup which has many limitations when it comes to digital modeling and I find it quite surprising that some architectural practices use it as a professional tool.

The second year studio Unearthing Project demonstrates a more conventional and much more familiar approach to design and representation within architecture. The project was to design an interactive learning and gallery space for Herring Island. Approach and the journey through different layers of the space were a main focus, with an emphasis placed on the outlook of windows and the manipulation of light to convey the focus of each space. Initially a series of sketches, in plan and elevation as well as massing models were used to discover the form of the building. Digitisation using programs such as Sketchup were only involved later on in collaboration with Photoshop to create renders and photomontages.

Clockwise from top left:A Graphical Representation; Unearthing: A Discovery Centre; Headspace Project

A Case For Innovation

A

A.1.0 LOOKING TO THE FUTURE

A DISCOURSE IN ARCHITECTURE

Architecture has to be described as a superbly complex Discipline. It Gains both its strength and its weaknesses from the fact it deals not only with objects, but the relationship between the subjects and the object as well as everything around it [1]. Architecture is a Discourse between form and function, It is more an Idea or set of ideologies than a physical outcome. One can even argue that some of the most influential architectural ideas have never been realised in built form. Archigram stated that:“A new generation of architecture must arise - with forms and spaces that seem to reject the precepts of “Modern”; REJECT - curtains - design - history - graphpaper” [2].This statement, Radical in the 60‘s is still relevant to todays Architectural context. While design, mainly in terms of the physical outcomes of Architecture has evolved along with the introduction of new materials and technologies the process of achieving this hasn’t fully rejected the graph paper of the past so to speak. Throughout history Architects have developed a way

Image [1]


A DISCOURSE IN ARCHITECTURE

to design and represent their work prior to construction. This hasn’t changed greatly with the increase in digital technology. Architects, after all, can design with pencils anyway which is why research money has gone into technical applications and productivity aids such as drafting software rather than digital design tools. The paradox is that for decades architectural software has striven to emulate the analogue working practice that architects have developed over the past two centuries and, as a group, architects have not been especially motivated to assist lifting themselves out of the analogue design methods rut [3]. This however is changing. We are on the cusp of a new Architectural discourse. The rise of parametric modeling software and the vast number of open source programs available mean anyone can design architecture with this new technology. It is us, the next generation of architects whom will truly adopt and develop this new discourse. We will look beyond the blob and random combinations of geometry, we will unlock

the key to a successful and more engaging discourse of computational design. We are at the forefront, the great change between computerisation and computation.

Through this Document I will endeavor to provide a case for innovation, on why this new digitally based method of architecture and design is the right tool to showcase to the world a progressive and modern Wyndham, able to embrace new technologies and be there at the forefront of what one day could be the successor of the Modern Movement. The Discourse I envisage will not be one of the Blob. Much like Herzog & de Meuron I am uninterested in arbitrary geometric possibilities[4]. I Envisage a Discourse where design, engineering and the construction process are closely linked. It will be a discourse of simplicity, structural and material minimalism, it will push the boundaries, and be thought evoking. An architecture that is truly adaptable to the local vernacular. It Is the future.

A.1.1 PRECEDENT PROJECTS

TECHNORAMA FACADE

The Technorama Facade, is the facade of a major science center in Switzerland. Designed by Ned Kahn in collaboration with the staff of the Technorama and the Architects Durig and Rami. It is composed of thousands of aluminium panels that move in the air currents and reveal the complex patterns of turbulence in the wind. This effect earths the building and gives it a constant and ever changing connection to the site, and to the function of the building. It’s part of this new Discourse in architecture where it is unnecessary and even counter intuitive for a building of a specific type to follow a set style dictated by its historical precursors. It gains recognition as a public institutional building by its sheer size and the overall composition as well as its placement in the expansive public fore court. Rather than be a familiar experience it is one of intrigue, evoking a sense of curiosity, perfect considering it is a science learning and research centre. The Facade is a part of a new interactive and user experience based approach to art, public space, education and architecture. Kahn sees

much of his work “as scientific instruments that reveal what nature is doing” [6] making it the ideal facade for a science centre, with each visitor experiencing a different effect of the vast facade which is constantly evolving as a direct response to the weather conditions. A Building or any structure with a facade system like this is a forever new experience for repeat visitors as the overall effect constantly sways between what see, and what you don’t see, between what catches your eye and what is hidden. It is this idea that would be ideal to emulate in the Wyndham City Gateway.

This Facade typology is one that embraces new design and fabrication technologies as well as the natural elements. It interacts with the user from a distance and evokes a sense of curiosity. It is this that we want the audience of the Wyndham Gateway to experience, a dynamic and ever changing monument rather than an obscurely placed static object reminiscent of both freeway art and city gateways of a time gone past.

The Swiss Centre, Winterthur, Switzerland. 2002Architects: Ned Khan in Collaboration with Durig and Rami

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MESSE BASEL NEW HALL

Herzog & de Meuron’s Messe Basel New Hall is an addition to an existing Exhibition and Convention Centre. As the Function of the building calls for vast and open exhibition spaces, the form invariably follows, with large rectangular forms and little much else. Hence the idea of Facade was quite important to this project as it is to the program-less gateway proposal for Wyndham. Herzog & de Muron skewed orientation of the different Exhibition Halls to break up these vast walls. This successful use of a computer generated and refined facade system envelopes the whole building, a great contrast to other similar buildings such as the Exhibition centre here in Melbourne, which from the wrong angle is indisputably just a huge shed.

The facade is made up of 2D CNC-Milled components that are assembled into this complex three dimensional structure. The Facade strategy has both double curvature and variably sized openings which open up to allow for what little glazing there is to

be revealed. The Success in this system is the simplicity of the structure yet the overall complexity of the texture and patterning produced. The use of computational design allowed Herzog & de Meuron to experiment with this system and easily create models both digitally and physically at various scales to compliment the design process[7] This is what we will be doing for the Wyndham Project, and as a result the final outcome will be just as refined. This building is an example of how the new architectural discourse will progress into the future, they haven’t exploited the geometric possibilities of all this new software and as a result have come up with an extremely refined facade system that perfectly compliments the vast size and lack of openings or any other details this building typology requires. Although looking at parametric software as a way of creating intricate and variable facade systems is extremely superficial, these practices translate nicely into the idea of the gateway project, which is purely an Aesthetic element with no internal program.

Herzog & de Meuron.


MESSE BASEL NEW HALLHerzog & de Meuron.

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Image [4] Fabrication Drawings for CNC Milling

Image [5] 1:1 Scale Fabrication Prototype

Image [6] Facade detail at window openings


COMPUTATIONAL ARCHITECTURE

We are on the cusp of a new Architectural Discourse. Computational Architecture is right at the centre, and already Architects and Firms who design using methods of computation are at the forefront of the industry. For the last two decades the economic returns of using computers have been increasingly undeniable and computers are here to stay. There is still tension between the computer as a practical aid, and the computer as a digital design agent [8]. This argument between computerisation and computation is the main thing holding the industry back. There is often a certain amount of fear associated with using a

Image [7]


COMPUTATIONAL ARCHITECTURE

computer to generate the design of a building however I’m willing to argue that there is no reason to be fearful, after all it is still the designer driving the computer, writing the scripts and essentially dictating what the outcome is. Using computational design techniques, Architects and designers are finally able to push the limits of design and representation without pushing the bounds of what can actually be realised in built form [9]. Geometries are able to be pushed, designs are able to be fully rationalised and many of the problems that usually arise during the construction process can be nutted out prior

to the design being approved as the way forward. If Archigram had these tools at their disposal who knows, perhaps architecture as we know it today would be vastly different under their influence. Computational Architecture almost steps us back to the times of Architects as master builders, every little decision, every joint and every bolt can be decided on and specified prior to construction, ultimately giving much more design control to the architect, resulting in successful and much more refined buildings [10].

the way it behaves structurally, with the entire lattice able to be erected and fully stabilised without the need for any initial braces or scaffolds. A stressed wooden skin was developed, which gradually forces the lattice into its structurally stable, double curved state by the local actuation of each skin element. This actuation was calculated on an individual skin cell basis, and entirely informed by the detailed computational studies.[11]By Integrating material properties and working on very specific and individual elements this beautiful and non uniform structure was possible. Designs like this are extremely resolved and simple, and are only possible with extensive use of computational techniques. Its an example of where Architecture and design is headed and sits nicely at the forefront of this new Discourse.

A.2.2 PRECEDENT PROJECTS: COMPUTATION

DIFFERENTIATED WOOD LATTICE SHELL

The Differentiated Wood Lattice Shell Project is a prime example of how computation, and computerised production techniques work hand in had as a tool for creating simple, yet beautiful designs where the structure and the Aesthetics are intrinsically linked.

By experimenting with the properties of wooden elements the project architects were able to extend the range of lattice geometries based on the bending behavior of wooden elements with varying cross sectional dimensions along its length. This research data was able to be translated into a computer design tool for the form finding of the lattice shape in relation to the properties of its members, which in turn provided fabrication data to construct the initially planar grid of the lattice. The really innovative aspect of the project is

Jian Huang and Minhwan Park,Harvard University Graduate School of Design, Cambridge, Massachusetts, 2009

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A.2.2 PRECEDENT PROJECTS: COMPUTATION

DIFFERENTIATED WOOD LATTICE SHELLJian Huang and Minhwan Park,Harvard University Graduate School of Design, Cambridge, Massachusetts, 2009

Image [8]

Image [9] An example of how Computational inputs can inform the shape of the structure.

Image [10] Interior Quality of the space. Showing the double nature of the skin.


PARAMETRIC ARCHITECTURE

Parametric Architecture fits perfectly into the world of computation. The idea of Parametrics however, is one of much debate. Is Parametric a style? Is it even a new way of coming up with Architecture? I’m tempted to say it isn’t. Parameters as set by the client for the brief or parameters set by the spanning abilities of a piece of wood for instance are something an Architect has always had to deal with. Parametric Architecture by itself isn’t that innovative. This new discourse of Computation goes hand in hand with Parametric Architecture and enables limitless possibilities. Parametric modeling enables different inputs to be specified, enabling things to be changed, with those changes been transferred throughout the model. This

Image [11] Zaha Hadid, Flinders Street Station Proposal, Melourne. 2013


PARAMETRIC ARCHITECTURE

has great advantages when compared to standard CAD drawings, where changing one thing will result in everything else needing to be changed manually. With Parametric Architecture the lines between structure and design can be blurred simultaneously, with a specific view towards fabrication.

For the Wyndham Gateway Project Parametric Design tools will enable us to create an up to date and well informed design idea that is able to be adapted and adjusted right up until the time of construction. Computer software such as Grasshopper easily lets input relevant data, and using plug in software such as Firefly and Kangaroo and electronic hardware

such as the Arduino board we will be able to make our structure responsive, interactive and undisputedly cool. This is just one of the many features of parametric architecture. This is an area of Architecture that is yet to be fully adopted. That’s what makes it so fascinating. There is no parametric, or computational style, there is not an expansive list of precedents. [12] This lack of rules and guidelines, teamed up with the infinite possibilities of the computer and scripting tools is what makes the world of Parametric Architecture one of free and unrestrained creativity.

Image [11] Zaha Hadid, Flinders Street Station Proposal, Melourne. 2013

A.3.1 DESIGNING PARAMETRICALLY

PARAMETRIC SPACE ZAHA HADID

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PARAMETRIC SPACE

Zaha Hadid’s Parametric space is a fascinating example of the powers of parametricism. While it isn’t Architecture so to speak it is a pure example of design that is able to find its form in relation to the viewers proximity. As its function is purely artistic it has allowed Zaha Hadid to think outside the rules and responsibilities required when designing real architecture. At first glance, Parametric Space is a dark rectangular volume – four walls, floor and ceiling. However, in the presence of a visitor, what appears to be a normal flat ceiling reveals itself as a glowing and flexible membrane that physically moves down into a funnel that protrudes out towards the floor. The closer a visitor gets to the funnel, the further it moves down; by stepping back the membrane will retract back into the ceiling. In addition to changing its shape, the membrane is also brought to life by thousands of dynamic light

particles that inhabit the surface and react to the membrane’s movements[13]. This type of experiential space is an abstract example of Parametrics in architecture and is relevant to the Wyndham Gateway project as it interacts with its audience. It is an experiential installation with a unique meaning for each visitor creating a sense of intrigue and memorability. The ability of parametric architecture driven my motion and proximity sensors to interact with its inhabitants and its environment is limitless. This area of the Architectural discourse is only starting to find a practical use, especially with environmental applications such as adjusting eaves and louvres according to light conditions, or tracking the sun in solar panels. Hadid is one of the Lead architects of the parametric movement, already one of the greats such as LeCorbusier was to the Modernist Movement.

ZAHA HADID

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FLINDERS STREET COMPETITION ENTRYZAHA HADID ARCHITECTURE AND BVN ARCHITECTURE

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FLINDERS STREET COMPETITION ENTRY

Zaha Hadid is at the forefront of Parametrically Designed Architecture. In terms of this competition proposal Zaha Hadid Architecture and BVN Architecture pulled out all stops and pushed the boundaries of design within a fairly historical setting. Their vision for the Flinders Street Station is to create a new civic and commercial centre that is fully integrated with the mixed mode transport hub. The idea endeavors to knit the site into the city grid and creates a strong interface with the river. While the concept didn’t win the competition, it is an example of how Parametricism can be applied to current developments within a local context.

Data inputs that helped to develop this project were informed by the need for a quick construction turnaround as to not

interrupt the flow of this major transport hub for any long amount of time. Other inputs such as the curve of the Yarra and the rigidity oh the Hoddle grid also helped to influence the form, and essentially establish how the building interacts with its surroundings. In the image on the left you can see that the size of the void is calculated on the requirements for ramps and adequate ceiling heights and all would have been adjusted parametrically. [14] The lack of rules and guidelines and the temptation to take parametric design too far were perhaps the reason Zaha and BVN were unsuccessful with the competition. It’s an example of parametric architecture allowing free and unrestrained creativity that perhaps has pushed the boundaries of context too far. This isn’t an issue for the Wyndham Gateway site as it sits freely with no existing constraints on style and design.

ZAHA HADID ARCHITECTURE AND BVN ARCHITECTURE

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A.3.3 CONCLUSIONS

OUTCOMES

Throughout Part A: A Case For Innovation I have developed a new understanding of Computerisation and Computation and the relevance of both to the current architectural discourse. My opinions on computer generated design have changed greatly and I believe I am able to embrace it more freely now. I have experienced arguments both for and against computation and Parametric design and see that it is the way forward. I feel perhaps it wont be my generation of Architects who will fully embrace this design methodology but I do realise we are on the cusp of what could be the next big movement in architecture. I feel the lack of a distinct style or a set of design rules is both allowing this new way of thinking to grow and develop, yet holding it back at the same time as people are often uneasy with the outcomes of computer generated designs.

Towards the rest of this semester and for the remainder of the project I am extremely excited at the concept of developing my Parametric Design Toolkit. I feel that even in the last three weeks experimenting with Rhino and Grasshopper I have learnt so much and am beginning to gain and understanding of how this software is able to be applied to building real life and full scale designs. Our Group has been given the task of developing a Responsive outcome for the Wyndham Gateway which scares me a lot. I’m keen to get Experimenting with Firefly and the Arduino software and feel that this extra complexity will only help me more with understanding the vast possibilities of designing with this software. Its still a bit odd designing minus the pencil but I feel it does have benefits when looking to the future. Model Making and Construction are real passions of mine so that portion of the semesters tasks cant come sooner. I’m super excited to see the design outcome my group and I will be able to come up with and at this early stages I can only imagine what it could be like, but that is the nature of this fast paced studio. We are doing something totally foreign to us. The language of Computational Architecture.

A.3.3 CONCLUSIONS

TOWARDS THE WYNDHAM GATEWAY

A_a case for innovation

REFERENCES

[1] Mark Cousins, ‘Building an Architect’, in Occupying Architecture: Between the Architect and the User, ed.Jonathan Hill (London: Routledge, 1998), pp. 13–22.

[2] Sadler, Simon. (2005) Archigram: architecture without architecture, MIT Press, Accessed 06-08-13 <http://issuu.com/filipesilva/docs/0262693224>

[3] Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.

[4] Peters, B. (2013), Realising the Architectural Idea: Computational Design at Herzog & De Meuron. Archit Design, 83: 56–61. doi: 10.1002/ad.1554

[5] http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article# Accessed 15 Aug 2013

[6] FORM Magazine, “The Art of Observance, Ned Kahn”, June 2007. Accessed 15 Aug 2013 <www.narrativela.com/files/formkahn07.pdf>


[8] Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.


[10] Mark Cousins, ‘Building an Architect’, in Occupying Architecture: Between the Architect and the User, ed.Jonathan Hill (London: Routledge, 1998), pp. 13–22.

[11]Performative Wood Studio (Visiting Prof. A. Menges)Jian Huang and Minhwan Park, Harvard University Graduate School of Design, 2009Accessed 18 Aug 2013 http://www.achimmenges.net/?p=4339

[12] Schumacher, P. 2010 Patrik Schumacher on parametricism - ‘Let the style wars begin’6 May, 2010. Accessed 15 August 2013 <http://www.architectsjournal.co.uk/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article>

[13]Rosenfield, Karissa “Parametric Space/Zaha Hadid Architects, Kollision, CAVI, Wahlberg” 02 July 2013. ArchDaily. Accessed 18 Aug 2013. <http://www.archdaily.com/396923>

[14] Zaha Hadid Architects. Flunders Street Station proposal. Accessed 16 Aug 2013 <http://vote.majorprojects.vic.gov.au/entrant/zaha-hadid-architecture-bvn-architecture>

Text

A_a case for innovation

REFERENCES

Images

[1]Archigram, Walking city Accessed 12 Aug 2013 <http://www.archigram.net/projects_pages/walking_city_5.html>

[2]Kahn, Ned. Technorama Facade 2002Accessed 17 August 2013 <http://nedkahn.com/portfolio/technorama-facade/>

[3]Furuto, Alison. “Messe Basel New Hall / Herzog & de Meuron, by Hufton + Crow” 27 May 2013. ArchDaily. Accessed 18 Aug 2013. <http://www.archdaily.com/377609>

[4]+[5]+[6]Peters, B. (2013), Realising the Architectural Idea: Computational Design at Herzog & De Meuron. Archit Design, 83: 56–61. doi: 10.1002/ad.1554

[7]Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.

[8]+[9]+[10]Performative Wood Studio (Visiting Prof. A. Menges)Jian Huang and Minhwan Park, Harvard University Graduate School of Design, 2009Accessed 18 Aug 2013 http://www.achimmenges.net/?p=4339

[11]Zaha Hadid Architects. Flunders Street Station proposal.Image from supporting files. Accessed 16 Aug 2013 <w>

[12]+[13]Rosenfield, Karissa. “Parametric Space/Zaha Hadid Architects, Kollision, CAVI, Wahlberg” 02 July 2013. ArchDaily. Accessed 18 Aug 2013. <http://www.archdaily.com/396923>

[14]+[15]Zaha Hadid Architects. Flunders Street Station proposal.Image from supporting files. Accessed 16 Aug 2013 <http://vote.majorprojects.vic.gov.au/entrant/zaha-hadid-architecture-bvn-architecture>

This section will outline precedent projects, and explore our groups approach to responsive design. Drawing on examples of techniques we have researched and developed we will prove how our approach is the best when it comes to the design of a gateway in Wyndham.

DESIGN APPROACH

B

B1.0

DESIGN FOCUS

The process of design requires us to draw on various sources of inspiration and technical knowledge to solve the problems relevant to the design brief. Throughout history designers have taken inspiration from the natural world both for structural ideas and decoration. Until recently, The ability of the designer to enable their work to be directly affected by its environment has been limited to slow and drawn out processes such as weathering. Modern technological innovations mean that this is a thing of the past. Computerisation and the use of parametric systems have enabled us to create responsive designs, that are linked to and affected by the world around them. The scope of responsive design is unlimited, wether it is a building management system tracking weather conditions to enable high levels of energy efficiency, or an aesthetic system allowing the facade to change and adapt to the conditions around it, this area of design is still at the forefront of exploration. A Responsive system applied to the design of the Wyndham gateway would put it at the forefront of innovative design technology and become a talking point among commuters and designers alike. Wyndham Gateway will be a dynamic piece of highway sculpture that challenges the traditional, static typology of highway art that people have come to expect. This section will outline precedent projects, and explore our groups approach to responsive design. Drawing on examples of techniques we have researched and developed we will prove how our approach is the best when it comes to the design of a gateway in Wyndham.

B.1.0 DESIGN FOCUS

RESPONSIVE DESIGN + TESSELATED SURFACE

Image [1] Ned Kahn: Turbulent Line

B.1.0 DESIGN FOCUS

RESPONSIVE DESIGN + TESSELATED SURFACE

As outlined in part A, Case for Innovation; a responsive installation, designed using computational techniques would put Wyndham at the forefront of design innovation. Many of the Facade applications that are of a responsive nature use Tessellated surfaces made up of small parts moving slightly, adding up to a vast and impressive overall effect. Tessellated surfaces are also extremely suited to creating complex forms out of relatively simple, connected components.

As the gateway project has no internal program we are able to abstract and interpret the idea of using tessellated surfaces to create a unique project for Wyndham. The

work of Ned Kahn is particularly interesting to us as his facade systems interact with the local wind conditions with a dramatic effect. Kahn’s Facade systems are passive, moving only according to the wind conditions on the site [1], an avenue that would be practical for exploration as the Gateway site is in a high wind area. The External stimuli that makes our project responsive is of utmost importance, wether it be site conditions such as the wind or intruding stimuli such as a vehicle passing by the Gateway will have a totally different purpose. Arguably the intruding stimuli would make for a much more interesting design, despite its inherent difficulties.

B1.1 DESIGN FOCUS: TESSELATED SURFACE

VOUSSOIR CLOUD

Tessellated surfaces can be extremely interesting to a designer, not only can extremely complex patterns be made out of very few elements, but these elements can also form part of the structure.

In Case study one we develop and experiment with an algorithm similar to the one used to create the voussoir cloud, seen on the left. By adjusting parameters and the input data we are drastically able to change the form, patterning and over all makeup of the surface components. The interesting thing about tessellated surfaces is their ability to become responsive, or be incorporated into a responsive design system. This section of study will hopefully help us to develop the use of tesselation in order to begin forming our own responsive project.

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B1.2 DESIGN FOCUS: RESPONSIVE SYSTEMS

ARTICULATED CLOUD

For Case study two we look at reverse engineering Ned Kahn’s Articulated cloud building.

This reverse engineering study helped us to develop our grasshopper skills and forced us to learn Kangaroo physics. The reverse engineering study I found to be a better learning too than the matrix study, as we had to develop a definition from scratch.

NED KAHN.

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B1.3 Design Focus Responsive Systems

One Hundred and Eight

One Project we stumbled upon that we found particularly interesting was Nils Volker’s interactive art piece called One Hundred and Eight. It is an interactive wall-mounted Installation mainly made out of ordinary garbage bags. The wall is controlled by a micro-controller that causes each of the bags to selectively be inflated and deflated in turn by two cooling fans.

Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoal. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes

itself after a while and gently restarts wobbling around. [2]

This Project is really cool and something similar would work well on the Wyndham gateway site. The main issue with this project is it requires a still, artificial environment. While id love to reconstruct this project for the case study, we wont but its there in the back of our groups minds as a monument that inflates and deflates could be an interesting direction for future exploration.

Nis Volker

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B2.1 CASE STUDY 1.0

VOUSSOIR CLOUD (Experimentation Matrix)

B3.1 CASE STUDY 2.0

ARTICULATED FACADE. (REVERSE ENGINEERED.

Point of Rotation

Hinged Components

Create a Grid

Adjusting rotation with a point charge

B3.1 CASE STUDY 2.0

ARTICULATED FACADE. (REVERSE ENGINEERED. The Reverse engineering project taught us how to model and generate random patterns using wind vector generators, and gravity simulators. This has limitations when it comes to the gateway project we began exploration with web cams and found this to be much more interesting. however the swinging panels limited our exploration of this so We began to branch out. Using webcams to create and manipilate meshes and vector charges

B4.1 TECHNIQUE DEVELOPMENT

FURTHER PRECEDENTS MOCKUS’ MIME INSTALLATION, FLAILING ARM MEN

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B4.1 TECHNIQUE DEVELOPMENT

FURTHER PRECEDENTS

Some further research and thought into our gateway project has resulted in us finding a few more sources of inspiration.

The First, a social experiment where mimes were hired to mock civilians breaking laws and been dangerous around roads was an interesting concept. Responding to negative stimuli to promote a positive message is an extremely valid and amazingly interesting

concept to pursue when designing a responsive system for our gateway.

The second point of interest came from flailing arm men, a comical and nonsensical creation that uses inflatables to generate its ever changing geometry, and idea that could be refined and adapted when making our gateway design.

MOCKUS’ MIME INSTALLATION, FLAILING ARM MEN

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B.5.1 TECHNIQUE DEVELOPMENT

PHYSICAL EXPERIMENTATION AND PROTOTYPES

Experimenting with plastic bag inflatables, for our project there was too much bad and not enough air in this system.

B.5.1 TECHNIQUE DEVELOPMENT

PHYSICAL EXPERIMENTATION AND PROTOTYPES

We Developed a tube, a plastic inflatable that would stand tall under pressure and topple over when the pressure is released. this was the exact effect we were after and after some experimentation found that a spring could add some necessary structure.

B.4.1 TECHNIQUE PROPOSAL

CONCEPTUAL DIAGRAMMING

Image [12] SYSTEM DIAGRAM

FLOWER TOPWeighs down the structure and helps to distinguish its movement

STEMComposed of a spring skeleton surrounding an inflatable tube. This is the element that allows the structure to move, according to the pressure in the air tube.

BaseSolid and sturdy base, earthing the flowers into the ground and allowing the height we are after.

Pneumatic system controlling air pressure in the tube. Pumping air in makes it rise, letting air out lets it fall.Pump

BENDING MOVEMENTThe flower actively grows and

wilts according to the cars that are present giving the effect of

a living forest

B.4.1 TECHNIQUE PROPOSAL

CONCEPTUAL DIAGRAMMING

These techniques are the physical output of a complicated system of physical sensors and Pneumatic devices controlled by a set of algorithms that bend a curve according to the proximity and strength of different attraction points. As seen above the installation responds differently depending on the type of vehicle traveling through it.

Image [13] LINE DRAWING ELEVATIONS

B.5. CONCLUSIONS

OUTCOMES

Part B saw a huge step in my ability to design parametrically. Via the process of case studies and the video tutorial exercises I found that as my knowledge grew so did my confidence to try new and more exciting things.

We got caught up in the concept and the programming of our system and in a way let the quality of design lapse. The result of the mid semester critique was that we ad a well articulated and solidly formed concept but needed to further develop the design aspect, as we hadn’t realty begun to resolve it yet.

B_Design Approach

REFERENCES

[1] FORM Magazine, “The Art of Observance, Ned Kahn”, June 2007. Accessed Sep 2013 <www.narrativela.com/files/formkahn07.pdf>

[2] Nils Volker One Hundred and Eight http://www.nilsvoelker.com/content/onehundredandeight/

Text

B_Design Approach

REFERENCES

Images

[2]Kahn, Ned. Turbulent Line 2012Accessed 19 Sep 2013 <http://nedkahn.com/portfolio/turbulent-line/>

[3]Voussoir Cloudhttp://dolcevitaopium.files.wordpress.com/2008/08/isar_install2.jpg

[4]Kahn, Ned Articulated Cloud http://balianarchitects.com/shimmer.php

[5]Nils Volker One Hundred and Eight http://www.nilsvoelker.com/content/onehundredandeight/

[12]http://www.news.harvard.edu/gazette/2004/03.11/01-mockus.html

PROJECT PROPOSAL

C

C1.1 Gateway Project: Design Concept

A Conscious Monument

The Gateway Project proposed in this document will form more than just a piece of public artwork. The system will track vehicles according to their speed and location and will respond accordingly, with higher polluting vehicles having a more drastic effect on the structures than their more environmentally friendly counterparts. Each person passing through this artificial forest will have a unique experience, one that will evoke a sense of curiosity, encouraging the viewer to read into the gateway and why it acts as it does. This project is new and innovative and will put Wyndham at the forefront of both design technology and environmental campaigns. Unlike a static piece of abstract form this proposal is not just a gateway, but a conscious monument, a catalyst for change, one that will be talked about for years to come. The concept fully embraces the vast possibilities of parametric design moving beyond the finding of abstract forms and into the development of entire systems forever changing in response to their environment. The Gateway will have a life of its own, speaking to the passing traffic, and forever implanting its memory into the minds of the viewer.


DEVELOPMENT OF IDEAS INCORPORATING NEW PRECEDENTS.

Image [2]


DEVELOPMENT OF IDEAS

The Gateway project developed throughout Part B of this document was severely lacking. Not in the theory behind it, or in the development of the system, but in the design. The Flower structures were too flowerlike, the movement to fluid. Following advice from the mid semester critique panel we decided to continue on with our concept as it was quite strong, but change the way we were thinking about the design. The monument was clumsy, lacking in the elegance and beauty required to evoke such an emotional response as we were after. We decided to incorporate some new and inspiring precedent projects into our design approach. The work of Japanese artist and

jeweller, Mari Funaki had this simplicity, an overwhelming sense of beauty in abstract forms that we were keen to develop for our own project. While our forms weren’t abstract enough, the flower on the other hand was too disjointed from the site to have any real meaning. We undertook some new research and, inspired by Picasso’s Abstraction process decided to develop our forms from threatened species found in the Wyndham area, striving for a result as simple and as beautiful as the work of Mari Funaki. By incorporating threatened flora and fauna native to the Wyndham area we further enhance the environmental message of the Gateway, adding depth to the experience. These forms can also be scaled easily and marketed as a Wyndham tourism souvenir.

INCORPORATING NEW PRECEDENTS.

Image [3]


EVOLUTION OF TECHNIQUEPARAMETRIC DESIGN VS. PARAMETRICALLY DRIVEN RESPONSIVE SYSTEMS.

Our gateway project is unique as it balances parametric design and form finding with parametrically driven responsive systems. The predominant feature of our project is the system and the algorithms developed to make it all work. The forms themselves were developed with our simulation algorithms in mind and needed to be abstracted in a way that they could be divided by four points along their vertical section, in order to ensure that they would be operable when applied to the real world installation, or digital simulation prototypes alike. Our approach varies on that of other project groups as we took a functional approach to our use of parametric design rather than an aesthetic one.

Throughout the next section the refinement of the concept will be discussed separate from the refinement of the forms however we have to keep in mind that one, cant truly be established without the other. The way the algorithm, and digital simulation modeling has been set up, our 5 figures bend and twist, adjusting their forms and the nets used to build them, meaning that given enough time 1000s of physical models with tiny variations can be built to represent how the form is changed by a vehicle at any given point within the project.

While screen shots and renders have been made out of the digital simulation models and are presented in this expression of interest document, in the submitted files are movies, and the actual simulation algorithms to help further explore the concept.

Image [4] Card Model


EVOLUTION OF TECHNIQUEPARAMETRIC DESIGN VS. PARAMETRICALLY DRIVEN RESPONSIVE SYSTEMS.

Image [4] Card Model


EVOLUTION OF TECHNIQUE SIMULATION MODELLING.

The system proposed for our Conscious Monument project tracks the cars movements and warps the structures according to an attraction charge, decided upon by the carbon emitted by that particular vehicle. In the simulation modeling we can see how a car represented by the cube affects the structures when it is dragged along the line representing the road. These simulations and the system behind the movement go hand in hand with the form of the gateway and were an integral part in deciding on how we were going to develop the forms of each species of monument and how to best arrange them on


EVOLUTION OF TECHNIQUE SIMULATION MODELLING.

site in order to get the feeling of driving through an artificial forest of judgement. Initially this modelling took the form of a smooth curve that bent gracefully, yet we developed the concept to move more artificially, by breaking the curve up between four points. These four points, or thee sections, became vital to informing the abstraction process and computational modeling of out five different species of structure. Real life experimentation guided the digital simulation, as well as the form of the structures themselves, giving us an idea of the shapes and weights required to make the system work.


EVOLUTION OF TECHNIQUE ABSTRACTION PROCESS.

Taking inspiration from Pablo Picassio and his process of abstraction five endangered species of flora and fauna were able to be abstracted for use with our parametric simulation algorithms. These figures were developed by simplifying the forms gradually with the end result required to be consisting of three main sections, in order to fit with our digital system and the physical system we had developed during Part C of this document. It was important to keep final 5 species as simple and abstract as possible in order to achieve the required design effect, and ensure the elegant movement of our structure. While parametrically informed, this process wasn’t done using the full scope of the digital tools available to us, however the result of that arguably has a nicer aesthetic.

Image [9] abstraction drawings


EVOLUTION OF TECHNIQUE ABSTRACTION PROCESS.

Image [10]


EVOLUTION OF TECHNIQUE REPRESENTING THE DIGITAL SYSTEM IN THE PHYSICAL REALM

In order to represent our five species of geometry we were able to develop a fabrication algorithm to create a simple mesh and unfold the structure into a flat net that was then able to be cut and folded back together. An example of the Kangaroo Species is shown in net form (far left) and in paper form (left). With this process we can adjust the geometry using parametric simulation tools, easily resulting in a different net, that will fold back together into that new altered shape. With this we are able to create an infinite amount of shapes, perfect to be used as a Wyndham souvenir and environmental gateway educational tools later on.

By Creating draft paper models we were able to experiment with, and push the boundaries of our shapes ensuring they were all structurally sound, buildable and, to the right scale in relation to one another. Often the Unfolded nets needed re-arranging, to enable a neat finish when folded back together. These paper models enabled us to edit and refine the simulation geometries, ensuring we end up with the best possible result. w

Image [11] paper experimentation model

Image [12+13] prototype and movement variations

C2.1 Gateway Project: Tectonic Elements

Modelling a Prototype 1:10 Scale Model

This 1:10 scale prototype model was developed to demonstrate the system, and prove that air pressure was in fact able to control the shape of the structure. Rather than developing a small component we decided to develop one of our five species. We chose to develop one of the most top heavy as its a good indicator that if the hardest one works the others can only be better.

In Part B we developed a system of controlling the shape of a structure using an inflatable plastic tube and a pump that expanded and contracted it. This system had a smooth moving motion to it, in order to get a more clunky and rigid movement we have split the tube with solid sections allowing it to bend at three strategic positions. These sections are kept separate by a spring and the air tube runs up the center.

The shape and wight of the top component, as well as the angle of the section cuts are designed so the structures fall in the same direction each time, minimising the random effect overall and helping to overcome the impact of external forces such as the wind.

While this model proves that our system is feasible this particular prototype didnt quite live up to expectations. The 3D printed medium ended up having an error that resulted in a greater wall thickness, thus rendering the components a bit too heavy. On site this wont be an issue as the scaled up version will be constructed of extremely light weight composite material, clad in a thin copper veneer. This copper surface will decay and tarnish over time, a process accelerated by the acid in car pollution, so we expect to see the structures closer to the roads tarnishing before those that are further away.

As seen in the images below the movement begins at the bottom section, making its way up the joints. This results in the desired effect of lurching down in stages, more like a robotic arm than our previous experimentation models that had an overly smooth bending effect that was almost comical. All 5 species operate around the same air tube system making it easy to manufacture, and to control using a complex systems of air compressors and release valves.

C3.1 Gateway Project: Tectonic Elements

DIGITAL SIMULATION MODELLING As a vast amount of our project is the digital system used to control and manipulate our gateway, Its best represented by showing the output results, namely the change and deformation of the species. To the left we see how the forest reacts according to its proximity to the car and below we see the stages of deformation each species can undertake. In order to do this the algorithm needs to incorporate a complex system of sensors, tracking the speed and location of the vehicle as well as recognising the vehicle type and therefor establishing the extent of the reaction according to its carbon emissions.

C.3.1 GATEWAY PROJECT: MODEL

SITE MODEL1:1000

Image [14]

C.3.1 GATEWAY PROJECT: MODEL

SITE MODEL

Our site model is to demonstrate the spatial arrangement of the array of species. In order to gain the desired effect of driving through an artificial forest our project incorporates both Site A and Site B. Both sites will be leveled as part of the installation of this project. This has the added advantage of being highly visible not only to all lanes of traffic but also to the service station. We envisage an exploration path across Site B enabling children and their parents to explore this great artificial forest adding to the educational experience increasing

environmental awareness. From a process modeling both digitally and physically we realised we couldn’t safely have the amount of structures we originally had hoped for without risk of them colliding, however by carefully placing and patterning the different species the random looming and dominating aspects of a forest are still evident within the design. The System of control and response in our design is the true parametric genius, outputting reactions independently allowing multiple cars to have a different experience at the same time.

1:1000

Image [15]

C3.2 Gateway Project: Model

The Species Realised. 1:50 Scale Model

The Final modeling process sees the five species of structure realised in a simplified and abstract form, for the sake of clarity the movement system had been eliminated and the full scale material surface of copper not used in order to show the forms for their true beauty.

The species themselves have been designed in a way that even without the parametrically driven mechanical system, and separate from their mass arrangement they are each an item of design that can operate independently. They are not unlike, and wouldn’t be ill suited to becoming a piece of freeway art alone, and thus is the true genius of this project. Not only does it have an environmental conscience it has

a sense of elegance and beauty that rivals the best static sculpture. The models are created from nets made by unfolding models directly from our digital simulations. This has the advantage of automating the modeling process, enabling these forms to be used in more than just their forest setting.

To compliment our gateway we envisage an education station at the service centre, where 1:100 scale souvenirs can be sold. For children, 1:50 construction nets printed according to the effect their family car would have on the shape would be available allowing even more interaction with this monument.

Image [16]

C3.2 Gateway Project: Model

The Species Realised. 1:50 Scale Model

Image [16] Image [17]

C.4.1 GATEWAY PROJECT: LEARNING OBJECTIVES AND OUTCOMES

CONCLUSIONS

We are on the cusp of a new Architectural Discourse. Computational Architecture is right at the centre, and already Architects and Firms who design using methods of computation are at the forefront of the industry. For Wyndham a gateway project incorporating the latest in design and systems technology is the logical solution. Our project incorporates both resulting in an elegant design with an elaborate underlying digital system. Our project has a conscience and thats what sets it apart from the others. I feel, that although our design is parametrically informed, its the programs

Image [19]

C.4.1 GATEWAY PROJECT: LEARNING OBJECTIVES AND OUTCOMES

CONCLUSIONS

and systems we have developed behind it is the true programming breakthrough. From the beginning of semester my knowledge of digitally derived design and programming systems have increased dramatically. In the Crit the Jurors failed to see the extent to which parametrics had informed our design, and I feel that our slightly different approach to using parametric tools let us down a bit. Especially in the way we presented the project. Nevertheless this subject has equipped me with tools to design and model using Grasshopper and Rhinoceros, as well as with tools to build and construct digital

simulations of real life events. This deep behind the scenes knowledge learnt from developing a responsive project has helped me to really appreciate the digital modelling tools and the endless possibilities. Given this toolkit I feel Ill be able to fully incorporate parametric modelling into all aspects of my future design endeavours and that’s an exciting prospect. Given more time it would have been excellent to further develop our gateway project, our concept is strong, the design is strong, the systems however still need polishing.

C.5.1 GATEWAY PROJECT: ALGORITHMIC SKETCHES

REPRESENTING THE ALGORITHM

Image [20]

C.5.1 GATEWAY PROJECT: ALGORITHMIC SKETCHES

REPRESENTING THE ALGORITHM This diagram simplifies the algorithms that go into forming our structures. It is driven by a series of inputs, the location and movement of the vehicle and the strength multiplier dependant on pollution. This relationship moves the 4 points on each structure that manipulate and bend it. This form of the structure, and the meshes used in the make up of its surface are therefore able to change dependant on this relationship, enabling us to model each iteration of movement as a physical still, or simulate the whole installation as a whole in the digital realm. With a bit of further development the air pressure required to result in the desired movement of the structure can be established, enabling us to build the algorithms to run the model in the physical realm.

C_PROJECT PROPOSAL

REFERENCES

Images[1]Site Images: LMS[2]Mari Funaki. <http://artblart.com/2010/09/26/review-mari-funaki-objects-at-the-national-gallery-of-victoria-melbourne/>[3]Pablo Picasso, Bull. 1945 < http://thesearethedaysfamilyofsix.blogspot.com.au/2011/11/is-for-abstract-art.html>

C_PROJECT PROPOSAL

REFERENCES A+B+C_EOI REPORT

CREDITS HUGE THANKS to Alex and Chris, an awesome group, able to work in well with each other and really drive the project along. I feel that we were all able to comfort and encourage one another along our shared journy into the world of parametric design. Its one of the first collaborative projects I have actually enjoyed and this is all on Alex and Cris.

Again Thanks Heaps Guys.

Also a big thankyou to Chris and Rosie our super tutors, always happy to help out and give us advice to help us continue our journey into the deep end.

Cheers to Dave for lecturing and subject coordinating and not getting too annoyed when we pester him for help fixing our definitions.

:)

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