GATEWAY PROJECTExpression of Interest

Wyndham City is already home to a number of public artworks, including the notable “Seeds of Change” (2003) at the Eastern Interchange of the Princes Freeway. The city is hoping for a successful addition to their repertoire, with a new artwork planned for the Western Interchange. This artwork is to indicate arrival into metropolitan Melbourne and should cater to all audiences. In this EOI we hope to put forward a strong

Introduction ContentsIntroduction ...PAGE 2

Architecture as discourse i. Seed Cathedral ...PAGE 3

Computation in architecture i. Watercube – Beijing Aquatics Centre ...PAGE 7

Parametric modelling: scripting & programming cultures i. ICD/ITKE Research Pavilion 2011 ...PAGE 11 ii. The verymany Architects ...PAGE 15

Public art & motorways i. Nanning Gateway ...PAGE 19

Performance-driven Design i. Bubble - BMW Pavilion ...PAGE 23

Design Brief ...PAGE 25

Cut Definitions ...PAGE 27

Conceptual models ...PAGE 29

References ...PAGE 31

1 2GROUP MEMBERS: Amanda Rowe 356542, Michael Stephenson 329784, Jamie Kim 390150, Yumie Le 387551

The main objective of the UK Pavilion design was to create a structure whose architecture was directly related to the content it exhibited, through a simple idea that was strong enough to attract attention and stand out amongst the other competing pavilions at the Shanghai Expo. The Seed Cathedral showcased the Millenium Seedbank work as undertaken by the Royal Botanical Gardens at Kew, by means of 60000 transparent optical fibre strands, with each tip embedded with a seed.

Architecture as discourse

PROJECT NAME Seed Cathedral: UK Pavilion, Shanghai Expo

ARCHITECT/S Thomas Heatherwick (Heatherwick Studios)YEAR 2010

AWARDS / RECOGNITION 2010 RIBA Lubetkin Prize

Schumacher stated that “the built architectural works that architecture releases into the wider social world... circulate within the architectural discourse as examples and evidence.” (1) In such a way was the Seed Cathedral released into the world, generating discourse and being pinpointed as an example of innovation and creative use of technology and structure. This project is relevant to architecture as a discourse as it generated much public and academic interest, just by being completed (2). It was consistently ranked by visitors at the Expo as one of the most popular pavilions and was visited by more than 50000 people each day (according to Heatherwick Studios official website) (3). In architectural circles, the project shot to credibility when it received the prestigious Lubetkin Prizei 2010, awarded annually by the Royal institute of British Architects (RIBA). 3 4

“The strong visual and formal juxtaposition created between ‘blobs’ and ‘boxes’ in

traditional urban contexts, as is often the case, add to their ‘iconic’ status, and their perception of being exceptional and

marvellous”.

Described by the RIBA president as “an outstanding emblem for Britain” (4), the project was a representation of Britain that was openly portrayed to the rest of the world. “The strong visual and formal juxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and their perception of being exceptional and marvellous”. (5) If this is the case, then the exterior structure was truly innovative and thus it is a prime example of a project that generated discourse.An underlying purpose of the cathedral was to create an architecture that was a direct manifestation of the content it exhibited. This was achieved, and relevance to the Gateway Project can be drawn from this success. If the Gateway is to be a success it could be worth drawing on the ideas of successful projects and applying a similar school of thought and innovation to the design of the Gateway Project.

“An outstanding emblem for Britain”. -RIBA president

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The ability of computational design to recreate natural forms was put in the world spotlight shortly before the Beijing Olympic Games in 2008, when Australian firm PTW architects used computational techniques to create the Water Cube, the National Aquatics Centre at Beijing. The form of the building was based on the formation of soap bubbles. The use of computation allowed a strict geometric pattern to be created underneath a seemingly random arrangement of “bubbles”. The concept combines the symbolism of the square in Chinese culture, with the natural structure of soap bubbles as translated into an architectural form (6) to create the atmospheric aquatics centre.

Computation in Architecture PROJECT NAME Watercube - Beijing Aquatics CentreARCHITECT/S PTW Architects

YEAR 2008AWARDS / RECOGNITION

2004 Venice Biennale – Award for most accomplished work Atmosphere section2004 BE Award Winner for BIM Building Information Model in Architecture and Engineering

“The structure appears random and playful like a natural system, yet it is

mathematically very rigorous.”-Andrew Frost (Director, PTW)

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As a winner of the Atmosphere category of the Venice Biennale, it is obvious that the space within the Watercube has succeeded in creating a suitable atmosphere for its context. The jury of the award stated that “the project demonstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenology can create an airy and misty atmosphere for a personal experience of water leisure.” (9) In relation to the Gateway Project, creating an appropriate atmosphere for the viewers of the Gateway is tantamount to conveying the project’s message. The success of the Watercube’s atmospheric creation, due to its unqiue engineered structure, is proof of the extent to which computation can be manipulated to control a space and portray a certain feeling. The Gateway Project should take advantage of this function of computation by applying it to the design process.

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Digitalization gives us the ability to reproduce forms with forgotten geometries lost to us because of the difficulties of representation (7). For the Watercube project, it was possible for this structure be created thanks to the use of computation. The intricacies of the project were described by PTW Architect’s director, Andrew Frost as “appearing random and playful like a natural system, yet it is mathematically very rigorous” (8). The accuracy of each detail that was pinpointed using technological means to translate nature into design is outstanding, and an excellent reason as to why computation has a significant future in the field of architecture. The use of computation allowed the project to combine design with engineering seamlessly, a technique which will no doubt be called upon numerous times in the future in order to push the limits of architecture and create designs that are structurally sound.

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PROJECT NAME ICD/ITKE Research Pavilion 2011ARCHITECT/S Faculty and students at Stuttgart University

YEAR 2011AWARDS / RECOGNITION

2nd Prize, Architectural Category, International Design Awards 2011Leichtbaupreis 2011 (Lightweight Structures Award 2011)

The 2011 Research Pavilion by faculty members and students at Stuttgart University used programming methods to accurately recreate the structure of a sea urchin. Both the design of the pavilion and the manufacturing methods were controlled by computation techniques. The computational process allowed the designers to extend recognised bionic principles to a range of different geometries, resulting in the exclusive use of 6.5mm sheets of plywood to construct the pavilion. This is not the first time the architects of this design have managed to produce a structure with such a detailed representation and high structural qualities. In 2010 the University of Stuttgart’s ICD/ITKE Research Pavilion was built using similar technological methods that also allowed for the use of 6.5mm plywood sheets. In 2011 they took the concept one step further, using scripting to recreate a biological structure.

Parametric modelling: scripting & programming cultures

Biomimcry is not an overly new concept to the architectural world. The focus recently however is creating forms that imitate nature by means of computation. Scripting is the capability offered by almost all design software packages that allows the user to adapt, customise or completely reconfigure software around their own modes of working (10). Taking advantage of this is crucial to being able to create such complex yet accurate forms. While architecturally it is simple enough to imitate natural forms, programming allows the process to take a further step towards reconstructing the structure of these forms as well. Using scripting to create the highly detailed and repetitive forms can save time, as the highly specific instructions that are given to the computer by the user can automate routines and repetitive activities, which would otherwise take up an unsatisfactory block of time (11). The accuracy that can be pinpointed by computation has allowed for a highly detailed representation of the natural form that is not only aesthetically accurate, but is also structurally accurate and thus stable.

The exciting range of possibilities that arise from the project are significant to the EOI in terms of extending the parameter of the Gateway project. Advances in recent years in computer-aided design and manufacturing have opened up new opportunities for architecture, allowing the production and construction of very complex forms that were previously expensive to produce and difficult to design using traditional construction technologies (12). This is evident in the exclusive use of thin plywood sheets that the pavilion was built from. The EOI calls for representation of something; of drawing awareness to a certain situation. We believe computation is the way to achieve this representation to the best quality. The use of computation to design this project will enable the design to be structurally sound, and the level of detail achieved in terms of design will be exquisite. If computation can imitate nature so perfectly, as demonstrated by both the Watercube project and now the 2011 Research Pavilion, there is nothing else it cannot represent without accuracy.

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This is a winning design for a bus shelter in 2011. The prominent location of the bus shelter provides a public artwork that is also functional. Like the Gateway project it will attract attention alongside a road, and the opportunity could be used to convey a message like the Gateway will aim to.

Not only is the structure physically strong and stable, but the exploration of form and light through computation is a strong factor in creating a gateway that will convey a message and catch attention. A gateway in the manner of the VeryMany architects will of course advance architectural discourse in the way that this small firm is slowly attracting interest due to its daringly different approach to installations. The thrust of this firm’s popularity, and indeed its livelihood, lies in its embracement of parametric design. Thus it seems that Marc Fornes would agree that scripting is vital in design, and that computer programming is an activity without which nothing would happen (13).

Irene Neuwirth installation, 2011

The Irene Neuwirth installation was a collaboration with jewellery designer Irene Neuwirth in New York, 2011. The design was intended to emphasise the luxurious nature of the jewellery, and served the functional purpose of providing display cabinets amongst the installation.

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FIRM The verymany Architects ARCHITECT/S Director: Marc Fornes

AWARDS / RECOGNITION 2010 New Practices New York award (AIA)

The verymany Architects are renowned for their use of parametric design. Specifically they develop their designs in Python / Rhinocommon SDK. Their designs feature mostly as public artwork installations, but some have practical uses as well. The wide variety of projects that this firm has produced is testament to the strength of parametric design as a design tool. The firm uses parametric modelling as a means of creating beautiful and intriguing spaces within a structure, with plays on light and colour. The function of many of their installations is simply to be a feature, however the use of computation technologies has also allowed for the installations to be structurally

Bus stop at St-Louis / C-Coeur, 2011

LA Redondo Beach “Gate Wave”, 2011

Art Basel Miami installation, 2011

In a similar design brief to our very own Gateway project, Marc Fornes collaborated on a winning entry in 2011 for a beach gateway installation. The aim of the Gate Wave was to dramatically announce that visitors had arrived at Redondo Beach, similar to the way in which our Gateway project will need to announce arrival into metropolitan Melbourne.

This installation acts aesthetic only, however the quality and attention to detail that was embraced through the use of parametric design has allowed the project to also be structurally stable. Although our Gateway project does not need to have a practical purpose, it will be structurally sound and thus more durable if the use of computation for its design is implemented.

Using the definition of “flutter”, the firm has created an installation based on the movement of heart shaped flowers that are hesitant to open, a metaphor for opening up one’s heart to another on Valentine’s Day. Designed for the Valentine’s Day installation in Times Square, the architectural form has been dictated by the meaning that is meant to be conveyed by the installation. This is a possible path to explore for the Gateway project.

Times Square – Fluttering hearts competition entry, 2012

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PROJECT NAME Nanning GatewayARCHITECT/S Denton Corker Marshall

YEAR 2002

This project by Melbourne firm Denton Corker Marshall is located in Nanning, China, at the gateway to the city of Nanning via the freeway. As visitors emerge from the toll gates of the freeway, one of the scattered flowers delaminates into separate petals along the course of the road.

Like the Gateway project, the Nanning Gateway has a purpose: to create a strong “green” statement for visitorsW (14). The Nanning Gateway has managed to convey this message through its dynamic, rather than static, design. The deconstruction of the flower petals along the road as visitors travel along creates a space/time feeling as though they are caught up in a motion of sorts. This feature draws in viewers and entices them for longer than the usual few seconds than a roadside artwork would usually. This extra time is vital in being able to communicate a stronger message to the audience than would otherwise happen. In order for the Gateway to equally successful, the design must be able to capture attention in the same way as Denton Corker Marshall has managed.

2019 Public art & motorways

The Nanning Gateway has a purpose: to create a strong “green” statement for visitors.

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In order to do so, the use of parametric design would be useful in order to create an unusual and eye-catching design. Conventional sign posting such as banners will not be engaging and thus not effective. On the other hand, an experiential space may not be effective either if it requires close interaction. Parametric design would be ideal to create an interesting artwork that can also provide an experiential quality, but from afar. As shown in previous precedents, the forms and intricacies that can be achieved using computation, and particularly scripting, are not aesthetically unpleasing, and extraordinary forms can be created which will give the Gateway’s design a greater chance of standing out and drawing attention, whilst still adhering to tiny details that will set it apart from other road signage.

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PROJECT NAME Bubble - BMW PavilionARCHITECT/S Bernhard Franken

YEAR 1999

AWARDS / RECOGNITION iF Exhibition Design Award 1999

Feidad Award 2000, 20012011DDC Award 2001

Automotive Brand Contest Award

Performance-driven design

A very early example of computation in architecture, the pavilion at the first BMW trade fair was representative of sustainability. Its structure was based on the shape a drop of water, created by means of a drop simulation computer program. This technology was highly advanced for its time, and the Bubble was one of the first structures in the world to be created entirely by digital means, including its construction.The forms were generated by algorithms which allowed the skin to appear as a giant water drop, by finding the balance between internal pressure and surface tension (15). This defines the project as perfomance-driven as the structure was dependent on the inspiration behind the design. Fortunately computation was able to make the skin a structural physical reality.

The Bubble was created as such to achieve a specific purpose; that is, to create a form to convey a specific message. The form aimed to promote sustainability and more specifically hydrogen as a source of renewable energy and thus a potential fuel for the future. This early drive towards representation of architecture in biological forms was a key influence for biomimcry to follow (see ICD/ITKE Research Pavilions and Watercube) and also provided implications for the future of computation. If, at such an early developmental stage (in terms of software and technology), computation was able to accurately recreate a performance-driven design, then the future of computation holds many exciting possibilities which future designs,

What:An “innovative and prominent indicator to provide a focus to the Western Interchange entry to the city”. The installation will enhance the physical environment through the introduction of a visual arts component. It will have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further reflection about the installation beyond a first glance. The installation should aim to be accessible to a wide public and should explore place-making aspects and qualities.

Requirements: • Materials • Dimensions • A description of the design approach and theory (maximum 100 words)

Why: • To make a significant impact on visitors upon arrival into metropolitan Melbourne • To provide an entry statement and arrival experience – to become a new identifier for the municipality. • To capture a literal intent, or a more abstract, aspirational feeling. • To encourage a sense of pride within the community

Key considerations & issues:

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• Prominent location of the site at the entry to metropolitan Melbourne; • Back dropped by a large scale service centre; • Consideration of how the installation integrates with and/or sits in the immediate surrounding landscape; • Iconic feature; • Appropriately scaled; • Dialogue between sculpture and landscape to compose the Gateway; • Original and engaging in form; • Object-centred individual sculpture or a more experiential approach; • Literal or abstract; • Adherence to the regulations imposed by VicRoads in relation to siting, view lines, setbacks, • materials, colours etc; • Daytime and night time viewing; and • Safety, ease of maintenance, materials and longevity.

Design brief

GATEWAY PROJECTWho:Wyndham City Council

Where:Princes Freeway Western Interchange entry to the city. Thus is will be primarily be viewed by motorists travelling at high speed and provide the first indication of arrival into metropolitan Melbourne.

Site infomation_Site restrictions: • Site A- 50 000m2 • Site B- 22 000m2 • Site C- 4 000m2_Site Context & Surroundings: • Werribee Open Range Zoo • Werribee Park Mansion • National Equestrian Centre • Melbourne Water Western Treatment Plant (significant world wetlands)_Available services: • Water: NO • Electricity: available at a cost starting at $50 000

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CUT definitions

ASSOCIATION Maths Driven

ASSOCIATION Curve Attractor

ASSOCIATION Attractor Point

ASSOCIATION Using Sets

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Concept models

Based on our explorations with the CUT definitions, we were able to develop a few concept models from the more successful combinations. The sketch models (left) demonstrate the concept of density in different ways. The plywood model (right & bottom) furthers this concept by making it more realistic as a gateway concept.

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References

(1) Patrik Schumacher, 'Introduction : Architecture as Autopoietic System', in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28.(Page 3)(2) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 4)(3) http://www.heatherwick.com/uk-pavilion/(4) http://www.bbc.co.uk/news/10447868(5) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62.(Page 7)(6) http://www.ptw.com.au/ptw.php (7) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 4)(8) http://www.arcspace.com/architects/ptw/(9) http://www.dpr-barcelona.com/index.php?/projects/watercube-the-book/(10) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 – 71(Page 8)(11) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 – 71(pages 8 & 9)(12) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62.(Page 3)(13) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 (page 16)(14) http://www.dentoncorkermarshall.com/projects.aspx?p=0&projectID=932&catID=2&f1=location&f2=asia&pg=1(15) http://www.archcairo.org/Department/ABT/ARCN106/LECTURES/4%20-Digital%20Design.pdf