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01 PERSONAL PROJECT-STUDLEY PARK BOATHOUSE

02 STATE Of THE ART PROJECTS-JEWISH MUSEUM-THE YAS HOTEL

04 INNOvATIvE dIgITAL PRECEdENTS-THE SPAnISH PAvILIOn-LInCOLn PARK nATURE BOARDWALK-THE AQUA TOWER

07 SCRIPTINg PRECEdENTS-PROJECT X-nEW HARMOnY GROTTO-GAnTEnBEIn WInERY

11 RESPONSE TO THE LECTURE-WEEK O4 LECTURE THOUGHTS

12 WERRIBEE SITE vISIT

14 CUT PROJECT-InITIAL PROCESS-MATRIX OF TRIALS

19 PROJECTS Of INTEREST-nOTABLE AnD InSPIRInG PROJECTS FROM THE CUT PORTFOLIO

20 CUT PROJECT-HERZOG AnD DEMEUROn RE-EnGInEERED-FABRICATED

22 dESIgN RESEARCH-DEvELOPMEnT OF POTEnTIAL IDEAS, THEMES AnD DESIGn DRIvERS

23 MINd MAPPINg-IDEAS FOR DESIGn

24 INSPIRINg PRECEdENT-M.C ESCHER - SELECTED WORKS

P A R T I

01 PERSONAL PROJECT-STUDLEY PARK BOATHOUSE

02 STATE Of THE ART PROJECTS-JEWISH MUSEUM-THE YAS HOTEL

04 INNOvATIvE dIgITAL PRECEdENTS-THE SPAnISH PAvILIOn-LInCOLn PARK nATURE BOARDWALK-THE AQUA TOWER

07 SCRIPTINg PRECEdENTS-PROJECT X-nEW HARMOnY GROTTO-GAnTEnBEIn WInERY


12 WERRIBEE SITE vISIT

14 CUT PROJECT-InITIAL PROCESS-MATRIX OF TRIALS

19 PROJECTS Of INTEREST-nOTABLE AnD InSPIRInG PROJECTS FROM THE CUT PORTFOLIO

20 CUT PROJECT-HERZOG AnD DEMEUROn RE-EnGInEERED-FABRICATED

22 dESIgN RESEARCH-DEvELOPMEnT OF POTEnTIAL IDEAS, THEMES AnD DESIGn DRIvERS

23 MINd MAPPINg-IDEAS FOR DESIGn

24 INSPIRINg PRECEdENT-M.C ESCHER - SELECTED WORKS

25 CUT PROJECT-HERZOG AnD DEMEUROn RE-EnGInEERED - InSPIRATIOn FOR REInTERPRETATIOn

26 fURTHER dEvELOPMENT

27 dESIgN PERfORMANCE

28 CONCEPT REfINEMENT

29 EXPRESSION Of INTEREST CONCLUSION-COMPETITIvE ADvAnTAGE

30 LEARNINg OBJECTIvES ANd OUTCOMES-InTERIM REFLECTIOn

P A R T I I

31 PROJECT PROPOSAL-PROJECT InTERPRETATIOn

33 PROJECT PROPOSAL-PROJECT DEvELOPMEnT

37 PROJECT PROPOSAL-PROJECT PRESEnTATIOn

39 PROJECT PROPOSAL-PROJECT COnCLUSIOn

P A R T I I I

40 PERSONAL BACKgROUNd-AnD LEARnInG OBJECTIvES

41 LEARNINg PROgRESS-FInAL OUTCOMES

42 fUTURE WORK-USInG vIRTUAL TECHnIQUES

43 REfERENCES

P A R T I

The development of this project was conceived with reference to the architects Alvar Aalto and Daniel Libeskind. These two very different architects inspired the creation of a building that could integrate well with its surrounding natural identity and enhance the clienteles experience of the surrounding environment. There can be many alternative ways in which to fulfil this aim and it depended most ardently on all manner of aspects associated with the site in which the building would eventually reside.

Understanding the brief for this project highlighted the requirement for the Gateway to connect with its natural surroundings, social surroundings and the built elements in the Wyndham municipality but with a inspiring thread involved as well. Studying the area has indicated that the

Gateway should contrast the surroundings rather than meld in, it will need to grab attention and spark an interest in the viewer, a curiosity that will encourage a visit.

With the Boathouse project the primary concern - the connection to the natural surrounds - drew inference from Aalto. To deal with the social connection and also inspiration on aesthetics inspiration was gained from Daniel Libeskind.

PERSONAL PROJECTSTUdLEY PARK BOATHOUSE

Libeskinds Jewish Museum in Berlin is an interesting example of a strong social construction that drives the design and has contributed to the architectural discourse by inspiring other architects to design and build with strong emotional input.

The museum is able to imbue the stark facts of the past, and also convey emotional and physical cues to enhance the experience for the visitor. Although not a Gateway or public artwork this building is undoubtedly informative. The built form is sincere and not overtly literal or didactic1, as was cited for the Gateway not to be. It juxtaposes yet integrates with the existing building the Baroque Kollegienhaus next door (top image on the right). The museum exemplifies how architecture can be used to create and icon for a social occurrence, a historical past through new innovative design techniques.

This talk (http://www.ted.com/talks/daniel_libeskind_s_17_words_of_architectural_inspiration.html)2 given by Daniel Libeskind, corny as it may seem, has reiterated some of the ingredients useful to employ. His talk is focussed on 17 words that he designs by they are clearly explained and concise in what they represent. There were quite a few concepts that could be applicable to this project include;

Libeskind broaches the topic of computers and their uses in practice in his talk, how can we make the computer respond to the hand rather than the hand responding to the computer? He reiterates the strength and inherent invention that the hand possesses and unlike some

practitioners believes in the importance of understanding from hand drawings on paper not just ones made on the screen. It is definitely a useful approach, to draw to understand and then translate and hopefully enhance via computational means.

Secondly Libeskind brought up the concept of wonder. This element of wonder is an interesting idea that is after a little consideration something needed in the development of a really effective proposal for this Gateway project. In his Museum the visitor is encapsulated in/on an emotional journey within the depths of a historical occurrence. It is highly important that the Gateway design somehow invokes an emotional response. It is this emotional reception that gives architecture a whole new richness. It needs to draw the people zooming past in their cars away from their direct route into the city and get them to wonder about what actually is in the Wyndham shire? Encourage them to explore. It has to really act as a billboard an advertisement that grabs the viewer and EnGAGES them (while of course being safe drivers).

It ties in quite strongly with this weeks reading particularly the exploration of architecture as sign. The article by Richard Williams, Architecture and visual Culture explores how architecture in some instances acts as sign, embodying a message about the cultural context it is associated with. He talks of how the Eiffel Tower is a symbol of Paris it has marked the engineering and science of the nineteenth century, not to forget the aesthetic as well, it now acts as an immediate icon one recognisable to all.

STATE Of THE ART PROJECTdANIEL LIBESKINd - JEWISH MUSEUM

STATE Of THE ART PROJECTASYMPTOTE ARCHITECTS - THE YAS HOTEL

The YAS Hotel by Asymptote Architects diverges from the work previously completed and the work of the Architect Daniel Libeskind. Asymptotes method of designing is rooted in experimentation with advanced and innovative approaches (computational and otherwise) to solve their architectural quandaries.

The hotel was conceived as a architectural landmark that would embody various key influences and inspirations ranging from the aesthetics and forms associated with speed, movement and spectacle to the artistry and geometries forming the basis of ancient Islamic art and craft traditions. It is an interesting precedent because it deals both with clients that will experience the building as hotel guests but works also as a iconic landmark that is experienced in a vehicle. These two links are similar in essence to the themes we must address in this proposal; high speed viewing and a design that is influenced by the culture that it resides within.

This very different designing method is very interesting their design can be seen parallel to the requirements we are required to fulfil in the designs for the Gateway. It is also extremely interesting to see how they are using new computational technologies to develop their designs, blurring the lines between the virtual and the real world.

The images are examples of the interesting skin that envelopes the structure and is both arresting at night with the installation of coloured lights that change and by day shadows are thrown by the triangular members you can see in the picture above. This duality of being both an interesting design by day and night, is another aspect that must be considered when designing for the Wyndham Gateway.

I N N O v A T I v E d I g I T A L P R E C E d E N T SE M B T A R C H I T E C T S - S P A N I S H P A v I L I O N

The role of innovation in design is an element that is pushing designing forward. Innovation is a characteristically vague term, that often implies some form of novelty and a positive change. Its is the establishment of a new technical or organisational idea, not just the invention of such. 1 It is at times considered a shift in meaning, an alteration from an old process or development into the present time or the entire creation of a new process or development to fit its place.

Technology plays a big part in this shift and cause for innovation. Whether it be the discovery of a new product, process or the unprecedented application of an old one that is very intriguing. Parametric modelling and the use of softwares within the designing process has opened these possibilities up to a range of fields.

Materials also play a large role in the development of innovation. This Pavilion by EMBT Architects is a prime example of how the use of computer modelling and modular units can come together to create a unique and innovative built form.

The elaborate form is reminiscent of a giant wave poised at the point of crashing down on the road bellow. The materials used are hand woven wicker panels and a warped steel frame. The innovation inherent in this exercise is a derivative of the use of materials. The panels are each carefully hand crafted by Spanish and Chinese artisans as a homage to both the Chinese and Spanish tradition of weaving wicker baskets.

The interplay between the two very different materials; the structural steel and the woven wicker have thus created a envelope that is constantly intriguing , highly textured and a new way of imbuing a building with meaning and an element of place.

Studio Gang Architects are a stimulating architectural group that are based in America, with work all over the world. Mark Burry explains in Scripting Cultures the importance of scripting in present day architectural endeavours -

Scripting liberates designing by automating many routine aspects and repetitive activities of the design process.

Studio Gang employ computational techniques for the liberation from said routine aspects and repetitive activities and have found that it has become a tool vital in their designing practice. Their use of the computer has developed from its use as merely a drafting tool to a utensil that can develop and drive designs what with their utilisation of scripting techniques to create innovative works.

Computers can allow for repetition, consistency and precision, they can speed up processes and extend others. SGs projects showed that they had capitalised on these

criteria and utilised computation to push these mechanisms further to develop interesting designs.

The Lincoln Park nature Boardwalk project in Chicago, 2010 included this pavilion that provided shelter and a sculptural addition to the park, it struck me because I was immediately wondering could this be a gateway? on a larger scale?

The pavilion was designed on the computer with carefully scripted inputs and then fabricated with bent plywood and fiberglass resin to build the dome inserts that adorn the top of the arch way.

The pavilion has neatly framed little views through each segment, is dynamic by day with the interesting and ever altering shadows thrown and by night lit up again transforming as a result of where the light hits the surfaces.

I N N O v A T I v E d I g I T A L P R E C E d E N T SSTUdIO gANg ARCHITECTS - LINCOLN PARK NATURE BOARdWALK

I N N O vAT I v E d I g I TA L P R E C E d E N T S STUdIO gANg ARCHITECTS - THE AQUA TOWER

Another project by the Studio Gang group that I found interesting was their Aqua Tower, again in Chicago. Here they have used a natural phenomenon very pertinent to the site. This struck a chord for me because it reminded me how important place can be for the validity of a metaphorical idea. Just a reminder for the Gateway project that the use of metaphors grounded in the site and its surrounds will be most convincing.

Here the building overlooks the sea and is cleverly constructed so that it assumes the eddies and flows that one sees in the water.

To achieve this the designers customised their software to emulate these form changes seen in water. The modeling was entered along with additional parameters pertaining to the number of apertures required and balcony space to create the facade. The script was alterable so it could be manipulated to emulate more of the wave, swell and eddie formations that give the facade its interesting form if desired.

S C R I P T I N g P R E C E d E N T SM I C R O I M A g E - C A S E Y E . B R E A S

Casey Reas is an artist that has utilised software to achieve his artworks. Most people who work in the art or design field today employ some form of software to works that they have created. Whether it be image editing, plan drawing or simply a tool for presentation it is inherent in the field. It is uncommon to see the software being specifically written by the practitioner however. This is where Reas differs from the pack.

In this art work on the right Reas has scripted a set of small scale actions to cause a reaction that develops the structure. He has based his explorations around the concept of emergence. Emergence is an interesting phenomenon where by small events autonomously effect larger occurrences. The over all structures created are not directly defined or controlled, they are hundreds of small interactions between elements that on mass create unpredictable results.

As described in the Kolarevic article digitally generated forms are not designed or drawn as the conventional understanding of these terms would have it but are chosen by a generative computational method. The internal logic is defined and a series of automated resolutions are produced. This technique of producing iterations can result

in more fitting candidates to chose from when deciding how to satisfy the brief requirements1.

Reas believes that working in software allows him to engage the fine process and change the parameters to effect the way that it behaves2. The repetition of many simple interactions have here been able to develop a complex outcome that is very intricate and striking.

This flexibility in being able to define something so complex right from its origins while still failing to control every outcome is the beauty of this example. It translates into my understanding of how I am learning to use Grasshopper. Although not writing the software I choose what I want the components to do and then by altering parameters am able to choose the best iteration, often a much more complex realisation of what I had originally envisioned.

It is exciting and much more fruitful being able to dictate the skeleton but then wait and see what clads it, hence for Wyndham the want for the Gateway to be a innovative construction could be achieved by using this type of innovative scripting approach to design.

For most architects today some form of their practice, if not all of it, is informed by or dependent on computers. The software one uses for design has its limitations and these limitations are often the reasons why design is hampered, unoriginal or physically inconceivable.

For American based designer Dr Haresh Lalvani scripting is a means to annihilate this inherent problem with software and manipulate it in such a way that suits his requirements. By using scripting techniques designers can transcend the factory set limitations imposed by their 3D software. They can take charge of the tool that they are employing and harness it to breed new and innovative responses to design problems.

Working in collaboration with Milgo/Bufkin Fabricating Group for less than 10 years, Lalvani has concentrated on morphing and fabricating his conceptions simultaneously thus creating a seamless whole. He believes that straight lines and flat planes are a minority throughout the universe, so he has devoted his skills to produce complex algorithmically curved products. Lalvanis AlgoRythmn columns discount the need for harsh folds and edges common in typical algorithmic designs, instead they

organically and smoothly articulate the surface that is clad in glass also scripted into the design process.

To conceive this interesting form Lalvani looked at the Morphological Genome a universal code for mapping and manipulating all form: natural, man made and artificial. He came across it on the search for a shape gene in nature, one such gene does not exist so in its absence a shape genome needed to be designed.

In laymans terms what resulted was a composition of families of morphological genes that specified a host of related parameters. This was all scripted by Lalvani and gave rise to his AlgoRythmn columns the basis for this Project X, apartment building in Manhattan that was designed for Stanley Perelman.

To create these structures, a procedure was developed so that single, continuous metal sheets are shaped by computer-driven equipment according to the algorithmically generated geometries. This approach permits the structures to be modeled and easily fabricated translating into a reasonable cost.

S C R I P T I N g P R E C E d E N T SP R O J E C T X - H A R E S H L A L v A N I

S C R I P T I N g P R E C E d E N T SMETALAB ARCHITECTS - NEW HARMONY gROTTO

In this pavilion by Metalab architects a complex developmental process involving scripted iterations was undertaken in order to develop the final form. The project was concerned with reinterpreting the avant garde architect Frederick Kielsers Grotto for Meditation. The Lab utilised digital, parametric and scripting techniques in order to accurately re construct a new take on the old masters design.

With the computer enacting all of the tedious drawing and form building the lab members were free to experiment with more complex scripts. The result was a quicker realisation of the project to a standard otherwise impossible in such a short time frame. Many iterations could be tested thus the end product was a highly considered tested option.

Learning from these innovative digitally driven projects it is clear that many old tedious processes can be eliminated with the utilisation of scripting techniques. With a greater

understanding of scripting the architect can break free of constraint and truly push his or her designs in new and exciting directions.

For the Wyndham City Gateway the council specified the want for innovative design that would reflect well on their city. They also had a financial constraint and although we are not being hampered by it in our explorations the use of Rhino and Grasshopper to design if utilised correctly will be useful in minimising costs a common benefit spoken about by practitioners of parametric and scripted design procedures. This cost minimisation often comes about as a result of greater flexibility with time; the computer can develop many iterations without time consuming and laborious drawing. This can then lead to a higher quality of design, as there is more time to test more options.

S C R I P T I N g P R E C E d E N T Sg R A M A Z I O & K O H L E R - g A N T E N B E I N W I N E RY

The innovative use of materials in this winery is striking, the construction method is equally intriguing hence its addition here.

For the Gateway project it was evident after visiting the site that Werribee was very much an embodiment of some of the ideas of the Great Australian Dream. The life with a decent sized brick veneer house, a dog, a place to grow things and a car.

Mark Burry in his article Scripting Cultures highlights how technologies created in the computational realm are helping to re-appropriate old techniques. This segues quite well into how this winery has been built with the humble brick along with some very advanced technologies to define its placement in the construction. Although it may look like it took years to conceive and create the help of scripting driving the design process allowed for this winery to be built within a period of only three months. The fabrication was the most interesting part and by no

means a common method either. Firstly a photograph of a basket of grapes was taken and abstracted somewhat to get the best result. Then it was used to map the orientation of each brick.

The team then employed a robot which they programmed to construct the panels out of individually laid bricks. The angles at which the bricks were placed were determined by the brightness of individual pixels of the photograph of grapes and when built are constantly altering the overall facade as a result of the sun hitting the edges of the bricks.

The seventy-two panels that make up the facade were delivered on site via a truck and lifted into place with a crane. Brick is a useful material as it naturally tempers the peak outdoor temperatures, leaving it cooler inside for the barrels of wine.

It is a project that just shows how innovation can utilise old traditional materials and arrange them in such a way that entirely changes them.

R E S P O N S E T O T H E L E C T U R EP E R S O N A L R E f L E C T I O N - W E E K 0 4

I just had to add this in because todays lecture on performative design has thrown up some interesting questions for me. What struck me after Geromes talk was a very strange empty feeling. My initial comprehension of the ideas brought up in the lecture influenced the to wonder if we are to go down the lines of optimising all our buildings where does the architect cease to be important in the process? When will there be computer programs that are faster and more accurate at performing tasks we carry out now that dont need our input? Will this time occur? Will the need for the architects involvement become redundant?

I thought it was an interesting angle looking at the task between the design and the optimisation as becoming a compromise aesthetics or functionality. I was forced to consider what the role of the architect is again in order to address this discouraging question.

I went back to Stanislavs first series of lectures and most particularly the discourse theme that architects act as the generators of. It is that idea of a connection, a hinge or bolt that interacts with several surfaces in order to join them. The presence of this element is vital to provide the correct inputs to drive the design and to add what is inherently missing in computation a human influence.

I dont quite know why I felt so deflated by the lecture, I think it just was delivered in such a way that I couldnt help thinking about how architecture can be so close to becoming a part of an entirely different field engineering for example depending on the needs and requirements of the zeitgeist, and instead of seeing this as a bad thing it is a means of evolving, becoming more applicable, more sustainable and more resourceful.

On Thursday the 22nd Alexa, Mykel, Ellen and I travelled out to visit the Gateway site. Our aim was to discover what really lies in Werribee and gain for ourselves some grounding on which to design. So armed with our cameras and sketch books we found:

THE SITE- very noisy: lots of cars zooming through- high speed: all of which were doing 100kmp/h- fairly flat: minus the slight rise in the middle of the split the overall topography is relatively flat; sight lines can be achieved, however one must contend with the service station - possibly a big/tall installment could counter this. -devoid of interesting things: as one would expect but this needs to act as a driver TO create some interest in the space.

When we had spent a sufficient amount of time experiencing our site, our attention turned to Werribee:

WERRIBEE MAnSIOn & ROSE GARDEn- the landscape: surrounding this manor is beautiful, its a nod in the direction of Melbournes Botanical Gardens but it is slightly less grand and well kept.- trees: were large and majestic, beautifully shaped and with multiple varieties. - the history: of the mansion is also quite interesting but particularly the fate of the owner Thomas Chirnside. Chirnside was one of the big movers and shakers in Werribee in its heyday around 1860 - 1880. He owned a considerable amount of land around the greater Werribee area and was along with his brother Andrew accountable for enlarging the district around that time. All the stress must have become too much for poor Thomas who committed suicide in 1887. He was found in dead in the laundry with a shotgun at the mansion.

W E R R I B E ES I T E v I S I T

The mansion since has become a icon for Werribee it is now a cultural center for festivals, weddings, and is most well known for the Helen Lempriere Sculpture walk held in its grounds every year.

The creation of this new attraction adds another level to the Werribee Park experience and no matter what time of the year that people visit, there will always be a sculpture exhibition in place. Additionally, with more than 100,000 people visiting the Mansion gardens alone every year, the exposure for these Australian artists is tremendous. - Director of the Helen Lempriere national Sculpture Award and curator of the Werribee Park Sculpture Walk, Anne Robertson.

The past seven Lempriere Award winners are still sited in the gardens and thus remain a draw card for tourists to the district. The arts culture is something that the Wyndham council want to cultivate within the area, hence the gateway could quite legitimately be more of a sculptural piece to express this.

-the Rose Garden: Werribees rose garden is quite extensive it is the state rose garden entirely run by volunteers and is made up of more than 5000 roses. -In plan, the design of the rose garden presents a stylised rose, with the traditional five-petalled Tudor Rose containing beds of HT and Floribunda roses forming

the largest display area at the northern end of the site. Pathways act as a rose stem, leading from the Tudor Rose petals, to a leaf and a rosebud.

WERRIBEE ZOO-open range: home to most of the exotic animals found in the savannah - African wild dogs, Cheetahs, Hippopotamuses, Rhinos, meerkats, Lions, Gorillas, monkeys, Zebras......-LARGE draw card for visitors and tourists. -possible inspiration from the animals/pattern potential, fur, form instruction.

W E R R I B E ES I T E v I S I T

Using the very direct focussed sentence DESIGn IS A PURPOSEFUL ACTIvITY AIMED AT ACHIEvInG WELL DEFInED GOALS a myriad of various combinations were tested to build a convincing understanding of grasshopper and its components.

Kalay prescribed several different methods of coming to design solutions, the method most applicable to this matrix of designs is the Best First solution. Many different input/

association and output component combinations were melded together and the ones with the best results were thus pursued.

Time was not considered wasted by using this perspective instead it encouraged more trialling and discovery of new and diverse possibilities.

RESEARCH PROJECT CUTd E v E L O P - M A T R I X

RESEARCH PROJECT CUTd E v E L O P - M A T R I X

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Here I have begun to play with possibly my favorite component. SURFACE DIvIDE + ATTRACTOR POInT + MULTIPLY AnD MOvE FUnCTIOnS. This iteration failed to work as I had intended. The point was too strong and the geometry too dense thus the effect is convoluted, an interesting pattern but virtually useless. To fix this my domain and range needed to be altered, the final image was the effect of some flattening and reparameterisation in strategic spots in an effort to bring the pattern back into coherence.

I began to play around with some different ways of applying cuts and understanding how to develop more complex definitions.HEXAGOnAL GRID +IMAGE SAMPLER + CIRCLES/RADIUS ALTERED and then I grafted and reparameterised the input and achieved a much nicer more randomised effect. To push the definition further I multiplied the output by three and moved each item in the Y axis to create a layered effect. It showed me that the circles can be stretched when applied to an irregular surface.

SURFACE DIvISIOn + APPLICATIOn TO SURFACE nORMALS + MATHEMATICAL FUnCTIOn I chose this function in order to find out whether maths could actually be interesting looking. I overlapped the cos function with the sine function played around using the surface divide parameters. It was divided over a longer surface in the end iteration and then simply controlled to create a more effective pattern.

SURFACE DIvIDE + APPLICATIOn TO SURFACE nORMALS + ATTRACTOR POInT this iteration was most definitely a flop, I was trying to achieve some slinkier movement away from the point but had over estimated a good size of the radius of a circle and thus blown the whole thing out of proportion. In the second image you can see how powerful the point actually ended up being - carving its way through the center of the pattern.

SURFACE DIvIDE + CURvE ATTRACTOR + SELECTED GEOMETRIES this little test strip articulates the subtle differences that occurred when I altered various parameters driving this pattern I started by adding a different curve in, hen decreased the density of the cir-cles populating the surface via the surface parameters, changed the geometry of the output from circles into a polygon shape the in the third and fourth iterations and in the final two I altered the curves referenced in. One is the original curve with the best surface division values of 58 and 63 and the other is actually a jagged polyline that is considerably smoothed by the circles articulating it.

Here I experimented with the SURFACE GRID / SURFACE DIvIDE + InTERSECTInG LInES + DATA DRIvEn EXTRUSIOn along the inter-section point a circle is oriented with this definition and then extruded according to an image that I picked. This conglomeration expressed a variety of points to learn from for me; I discovered that flattening the data that exited the main extrusion definition com-pletely altered what would actually be extruded and I also learnt that over a larger span the definition becameineffective hence concentration was the key. To extend the script I drew intersecting organic curves to get the second two definitions, I found that the amount of curves that intersected needed to be many for the result to be decipherable I honestly am not sure thought that it is. From this further experiment it is clear that this definition isnot intended for non uniform intersections unless you are looking to achieve a mess of circles.

Sick of circles and now with a interest in morphing this line of iterations is concerned with RECTAnGULAR GRID + ATTRACTOR POInT + POLYGOn GEOMETRY. To achieve a morph as such I played around with the aim to develop from a triangle to a circle and vice versa. The radius of the circle and the number of points that made up the grid space were the key.

Application of dense linear pattern to a surface was created with SURFACE DIvISIOn + ATTRACTOR POInTS + CIRCLE GEOMETRY. I was uninspired by the results of this amalgamation so decided not to persist. The patterns created were predictable and I could not get them to really alter drastically with the parameters that I had control over.

These quite complex pattern arrays were completed by using the SURFACE DIvISIOn + IMAGE SAMPLER + COMPLEX PATTERn OUTPUT. The results that I obtained I did not expect at all. The first iteration was indecipherable and did not seem to be following the image sampler very well, with a quick change of the surface divide parameters it was beginning to become visible. The big picture depicts the best choice of parameter values in the surface division parameters and the multiplication slider attached to the image sampler. I quite enjoyed watching the lines connect up when the slider was moved in a seemingly random fashion.

Further experimentation with the image sampler this time I used it in conjunction with the overlapping patterns component as well as orienting it with a attractor point to further deform it. OvERLAPPInG PATTERnS +ATTRACTOR POInT +IMAGE SAMPLER + ORIEnTATIOn. The results that I obtained werent all that exciting so I attempted to apply the patterns to a new form to see if the alteration in surface could make it seem more interesting. When there are more surface divisions the pattern worked the best it had an air of randomness where as when reduced it assumed a much more controlled form - not so desirable.

Using the SURFACE DIvIDE + CURvE ATTRACTORS + CIRCLE/TRIAnGLE/POLYGOn GEOMETRIES I experimented with the ability to alter the patterns created via the amount of surface division sliders and the geometry that was being outputted. I began with the simple circle moved on to trials with a square and then decided that the circle was much better at articulating the actual location of the curve. I got bored of using the flat surface so referenced in a wavy brep via the brep - brep components - surfaces components, the last two images are of sections of this.

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SURFACE DIvISIOn + APPLICATIOn TO SURFACE nORMALS + IMAGE SAMPLER. As alluded to before the attractor point was my favourite component, this has changed! now to be honest the image sampler is undoubtedly my favorite component, it achieves the most interesting results based on the reference that you plug in. These three trials are simply altered via the amount of surface divisions to increase the density and therefore create more strength in the image. The first is 50 by 50, then increased to 76 by 63 followed by a mega blow out of 100 by 94 in the x and y directions. I have been considering this image sampler idea and the image quite a bit, the zebra hide is attached to quite a few interesting precedents that my group and I have been interrogating, its potentially a bit of a pattern that we might just incorporate into our final design.

Again using the SURFACE DIvISIOn + APPLICATIOn TO SURFACE nORMALS + IMAGE SAMPLER but this time with the additional use of some DATA DRIvEn EXTRUSIOn tacked onto the end to achieve these examples of a brick image that was referenced in and then the amount of extrusion, surface division and circle radius size altered. Some very interesting depth changes occurred when I added in some mathematical components to shake up the extrusion a bit, the first example is my initial trial, the middle I multiplied the output from the image sampler by 10 and then increased my surface division sliders, the final image depicts what happens when you multiply the radius of the circle by tooooooo much it blew out completely and ruined the image and also stuffed up the extrusion a bit.

This is another experiment with the SURFACE DIvISIOn + APPLICATIOn TO SURFACE nORMALS + IMAGE SAMPLER input, association and output components. The more intricate, finer pattern took quite a few iterations with the surface division sliders to achieve the clearest iteration. I began at 20 by 20 and increased steadily over the following iterations to see what I could achieve. I also trialed with this fur image to see if it could produce striking results like the zebra hide has, I think Im still sold with the zebra really.

Here are the final two experiments that I did with the SURFACE DIvISIOn + APPLICATIOn TO SURFACE nORMALS + IMAGE SAMPLER components. Bigger the cheetah hide looks best but still not as striking as the zebra hide seems to be. The image to the left is an example of one of the little tests I did right at the end of the process of this project where I referenced in a picture of a womans face. It was amazing how clearly it came out even though it was entirely articulated in overlapping circles. not sure though if this is a viable option to follow up in the future it will be exceedingly hard to cut out and fabricate, more suited to a etch style design rather than a cut I think.

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SURFACE DIvISIOn + IMAGE SAMPLER + OvERLAPPInG PATTERnS. These tests directly influenced our Herzog and DeMeuron case study not for the pattern but instead as a direct response to the learning that we achieved via the experimentation process. It came to our attention that when overlapping two patterns set on different grids (see first image) we could achieve an overlay effect not unlike that of the Herzog De Young Museum facade. The proceeding two images depict where I found the zebra image that was being referenced to be stronger when by itself, a note to remember for later trialing.

SURFACE DIvIDE + IMAGE SAMPLER + FABRICATIOn OF CUSTOM FORMS + DATA DRIvEn EXTRUSIOn so this line of three shows the direct progression that was undertaken in order to develop the dimpled form that we required in order to re engineer the Herzog facade. This dimple shape was the really tricky tripping point, we could not simply output to circles we needed a way of creating a form that would punch into the material, but not perforate through it. This took quite a bit of experimenting, the far left image depicts where we thought we had cracked it, I referenced in a circle and then joined it to one directly above it, however this solution was devoid of a cap and broken because I couldnt get it to follow the image that was referenced in. Scrapping that we moved on to look at using cones it was somewhat successful, sorting out why it wasnt referencing the image properly was the next step and then altering that with a some negatively extruding cones and positively extruding cones followed.

OvERLAPPInG PATTERnS + IMAGE SAMPLER + DATA DRIvEn EXTRUSIOn. These two trials were the basis on which we could respond to the development of the Herzog and De Meuron Museum facade. The components worked together to emulate the image referenced in (a blobby abstract picture) and then according to the gradient change in the image extruded by an according increment.

Separately we had all the parts we could use OvERLAPPInG PATTERnS + IMAGE SAMPLER + FABRICATIOn OF CUSTOM FORMS + DATA DRIvEn EXTRUSIOn to achieve all the separate parts of the facade however were struggling with trying to get these things to work seamlessly together in one script. The cones were turned back into circles that were lofted in between and capped to create a dimple shape we were easily able to develop the pattern of perforation that utilised images of trees, and had worked out a way to have the dimples negatively and positively extruding all over the plane. (see page 20 for final re-engineered results)

OvERLAPPInG PATTERnS + IMAGE SAMPLER + FABRICATIOn OF CUSTOM FORMS + DATA DRIvEn EXTRUSIOn as somewhat of a side to the development of the Herzog and De Meuron facade, we had also been trialing with some paneling configurations to try and see how they might effect a form applied to. Extruding in length rather than height this trial is a little different to what was achieved before but none the less interesting for moving forward to develop an interesting design for the city of Wyndham.

10 HILLS PLACEAmanda Levete Architects, LondonHigh quality ship building techniques have been employed to express the sculptural facade of this inner city office building. It is a building inspired by Lucio Fontanas AL_A art work with its slashed scores, but articulated in the built world with a great deal more fluidity, less anger and a great deal of pragmatism. The clever creation of the apertures ensure that light is transferred into the belly of the building , a feat traditional office windows would struggle to achieve.

RESTAURAnT AOBA - TEI Sendai, Japan; Hitoshi Abe + Atelier Hitoshi AbeThe concept for this restaurant was developed around the ideal of a soft boundary surface. This is articulated in an organic membrane that acts as a continuous interior wrapper. The interior is thus a visual dialogue bridging the gap between inside an outside, bringing the characteristic landscape of Sendai in while provoking discussions about its derivatives which are out.

THE SPAnISH PAvILIOnAichi, Japan; Foreign Office Architects The pavilion is a unique articulation of the Judeo-Christian European cultures and the Islamic influence on the Iberian Peninsula between the 18th and 15th Centuries. The interplay between these social groups has been realised by the architects through their use of hexagonal glazed ceramic tiles that are a unit used to both symbolise aspects of the Spaniards and Japanese. Parametrically this design is defined by the repetition of a self similar unit that is irregularly populated along the facade, this similar unit is altered/ becomes part of a whole thanks to the location on the wall and the pattern it creates.

MC CORMICK TRIBUnE CAMPUS CEnTERChicago, Illinois; Rem KoolhaasThe university building has ties with the one of the most important leaders of the Bauhaus - Mies van Der Rohe who was head of IITs architecture program in 1938. When entering the building one passes through a large pixilated portrait of the master reminding all of this prestigious connection. The portrait is populated with tiny dots that build to create the whole.

AIRSPACE TOKYOTokyo, Japan; Faulders StudioThe cellular design and double layers of the facade by Faulders are generated with the sites rich bio history in mind. All those layers of original vegetation are represented in the two 20cm thick skin. Framing and blocking out the sun the vorenoi panels are layered to create depth and achieve these attributions more effectively.

GAnTEnBEIn WInERYFlasch, Switzerland; Gramazio & Kohler See page 10

JOHn LEWIS DEPARTMEnT STORELeichester, United Kingdom; Foreign Office ArchitectsAgain using the layering of panels to develop more depth this example uses a frit pattern applied to the glass to enhance the viewers reception of the pattern that is applied.

CARABAnCHEL SOCIAL HOUSInGMadrid, Spain; Foregin Office ArchitectsThis design takes into account the orientation and importance of the sun in a built form and has put in place flexible mechanisms to benefit from it.

R E S E A R C H P R O J E C T C U TP R O J E C T S O f I N T E R E S T

This cut exploration project is focussed on the De Young Museum by Herzog and DeMeuron Architects. It held interest for a number of reasons:

The Museums facade is a striking example of perforation, and is articulated in a strong weather hardy material that changes somewhat over time. Inspiration was gleaned by the discovery that the pattern projected onto the surface is very much an inherent characteristic of the unique surroundings the Museum resides within. The images that map the placement of the perforations and dimples are of trees that are growing surrounding the Museum. They are mapped in such a way that is intended on simulating the experience of dappled light filtrating through a canopy of trees.

This strong link to the place that the building exists was something that is a recurring theme within this design process that has been flagged previously as a driver that needed to be integrated somehow into the Gateway Project.

Ideas of morphing and rates of change in addition to

this theme of place were discussed and as a result of some brainstorming the conclusion that it was quite pertinent that the facade was constructed with copper panels that change in patina with time was reached. This change is only a slight morph but it then lead on to scrutiny of the script and how it had a variety of textures that create a illusion of the trees without explicitly copying them at all.

The construction of a facade that can be textured morphing between cuts and dimples to create the feeling or experience of a natural phenomenon was again very compatible with ideas that have been explored in directions applicable to Werribee.

This exercise has thus been a way of defining some solid design drivers, taught us about using scripting to achieve versions of these conceptual intentions and brought up many interesting questions.

R E S E A R C H P R O J E C T C U THERZOg ANd dEMEURON REENgINEEREd

R E S E A R C H P R O J E C T C U THERZOg ANd dEMEURON - f A B R I C AT E d

To accurately fabricate the Herzog and DeMeuron project some customised fabrication tools were required. In order to achieve the dimples and cuts in the correct spots on metal, machinery stronger than the laser cutters needed investigation. According to the Fab Lab copper shim could not be cut as it was a material incompatible with the lasers involved. Hence the experimentation with manual techniques was undertaken.

First a few test sheets of perforating were completed, then moving on to the more difficult embossing. It was the difficulty involved with embossing correctly that resulted in the construction of a custom built panel that was accompanied by its very own moulding tool to achieve the dimples.

It was created as closely to the computer generated pattern as possible by printing out the pattern and then tracing it onto the custom wood. Shallow scoops were cut into the

board which were the basis for the emboss shape.

A piece of dowel sharpened to a point and then sanded back was used to create the flat cap on the dimple when used to mould the metal into the scoop.

What was built was not as polished as the De Meuron panel however it possessed a charm of its own there were many more wrinkles in the sheet than intended and often spots had accidentally torn due to the over extension of the metal.

To achieve the cuts hole punches of various sizes were utilised to pierce the metal. Those that worked best were able to cleanly chop the center out in one hit.

The interplay of light and shadow from reflections and direct beams are the most striking elements that react with this reconstruction.

d E S I g N R E S E A R C HdEvELOPMENT Of POTENTIAL IdEAS, THEMES ANd dESIgN dRIvERS

These sketches are purely preliminary ideas/ thoughts/ threads, I had to get out of my head onto paper. I was considering sides of the roads, view lines, movement, unit and whole, novelty and the site themes and potential influences when sketching. This exercise helped in my consideration of key drivers that are required when defining the terms of design for this project.

To properly understand the site and the direction that we intend on heading to define our form I have made many concept sketches and written down ideas here and there to filter through all of the exciting brainstorming that we undertook the days before.

For me the most important defining factors are the idea of sense of place I feel that to gain any type of emotional response we must be connecting and appealing to the Werribee site. The influence of the natural world and how it plays an important part in helping create the sense of place theme and is a useful form making/pattern developing tool for articulating our intentions .

I spent some time thinking about where the Gateway might go in relation to the road, over? beside? I came to the conclusion that in order to truly capture the drivers attention we needed to envelop a part of the road make it seem as though you would be passing through and experience, privy to that transient emotive reaction.

The rose derived from the Werribee rose garden is was an interesting starting point as it lead to many possible starting points to inform potential designs.

It lead into the fibonacci sequence, then fractals and how these elements may potentially be good patterning or form building devices with which we can employ in the digitalization process.

M. C Escher has been a really strong source of inspiration for our realisation of the morph from different materials and also for me is a fabulous example of how one can effectively move between states. This in between phase is integral in our success in creating a cohesive fabric that expresses our conception of Wyndham.

Looking at Alvar Aalto and his innovative use of bricks in the his Synatsalo Experimental House was another precedent for us to interpret. Although we now look at this

building an see that it is dated his extrusion, alignment and grouping of the humble brick have entirely altered their identity something that if we do choose to utilise bricks we must do.

Storey Hall was the precedent we looked at when understanding fractals and their use in architecture. The facade and into the building is a growing pattern that changes direction alters but remains coherent. Arm architects have exhibited how this complex mathematical equation can be utilised in a not convoluted manner.

One of the most inspiring concepts that has arisen out of our investigating is derived from how animals camouflage themselves. Zebras are striped vigorously so that they arent visibly distinguishable against the pack. The deer has a lighter toned stomach as compared to its darker back thus making it blend well with its surroundings.

M I N d M A P P I N gI d E A S f O R d E S I g N

I N S P I R I N g P R E C E d E N TM. C. ESCHER - SELECTEd WORKS

I have included Escher because I really find that his work was way before its time. Escher morphed forms by hand, he meticulously defined every pattern, every line and was in control of every inch of change.

For us today this type of painstaking work would not even be considered to be conceived by hand due to the rise of computers and their myriad of different softwares can do the job much quicker and in some cases more efficiently (you can ctrl Z!!).

This is however an art in itself. Being able to effectively drive software to incrementally change a form into another,

in an interesting non convoluted manner is something I really would love to learn how to do.

For our conception of Wyndham we have found a myriad of interesting aspects all of which provide a rich fabric with which we want to express. Here is where we must also work in coherence. KISS - keep it simple stupid offset by that whole idea of less is more, less is a bore.....

For me a potential direction is to push this issue of lots of influences into being a tool that helps one create a interesting multifaceted design/panels or patterns to apply to a form that is simply articulated.

With the understanding and re-engineering of the Herzog script complete we sought to express our own design intentions with relation to the process involved with the Museum facade. Our ingredients or design drivers, as illuded to earlier were morphing of form/pattern and use of significant elements unique/characteristic of place - Werribee.

Our morphing in form is a device that is derived from movement and the perception that one will be privy to when passing the installation. M.C Escher has become a strong influence for us in our research of this theme. The Zebra and rose are two very literal items that we have lifted directly from Werribee along with the spine concept pertaining to the meaning of the name the Aboriginals gave Werribee in their language. To aid in the morph that the

project will go through we intend on employing lessons learnt from the natural phenomenon of camouflage. The in between states, the transitions that are undertaken for the morph to occur is where we intend on using this idea of camouflage. It is a mechanism that we will employ to make the state change more interesting and cohesive.

Our objective is to innovate through use of these very literal drivers to stimulate an emotional reaction from the experiencee. Because emotion is such an innate characteristic of humans it is a universal and egalitarian tool that we would like to appeal to and it causes discussion henceforth contributing to discourse and innovation.

R E S E A R C H P R O J E C T C U THERZOg ANd dEMEURON - I N S P I R AT I O N f O R R E I N T E R P R E TAT I O N

R E S E A R C H P R O J E C T C U Tf U R T H E R d E v E L O P M E N T

This design was conceived as an extension to all that we had learn in the previous reengineering process. The rose, fractals, biomentoring, camouflage, the spine along with a myriad of other Werribee ideals have come into the development of this matrix.

It was intended that all of the design drivers that we had discovered would be the ingredients required to imbue the design with meaning. Without being too literal elements were utilised for form finding and overall design mapping.

The shapes that are seen in the following matrix were indicative of the Werribee Rose Garden and were oriented on a spine like curve, the rosettes were then rotated and changed to express the differences in the township.

To begin these rosette forms were curves referenced in, multiplied and then oriented along the curve that we has drawn. This was achieved by using some of the definitions learnt from the matrix trials along with some butchering of other methods learnt in the tutorials (orienting objects long a curve and rotation around a point). With the knowledge that had been obtained we were able to develop some interesting arrays of these circular rosettes all over the curve.

Utilising the orientation, range, domain and radius parameters applied the forms were altered experimentally aiming to achieve the best outcome.

R E S E A R C H P R O J E C T C U Td E S I g N P E R f O R M A N C E

Responding to light was the strongest mechanism that expressed the transient nature of the design. The process resulted in the discovery that to achieve a strong experiential effect the construction would need to envelop the road and become something that one should drive through. The segmented model was intended to be an integrated realisation of the rosetted form that we designed previously, however its translation out of virtual world was not as successful as hoped.

It was found that the form became segmented weirdly and did not articulate the junction of each section all that well. It was found however that the model exemplified a different aspect, that of the spine.

The flatter model in the top right hand corner was another learning experience. The model was laser cut in the fab lab and was an exercise in identifying what can go wrong. The scale was incorrect and resulted in quite a small mediocre little cut piece of card. It also articulated the

need for the correct thickness of card required when creating such a form.

The image in the far right at the bottom focussed more on creating effective perforations that would catch and reflect the light in an interesting configuration.

It was too was unsuccessful but was a valuable test that indicated where we could improve and also the most important feedback that arose from its delivery was the fact that when designing not everything needs to be explained by a design driver.

From all of these tests a great understanding was developed a good basis for moving into the next phase. To move forward from this point a distillation of all of the ideas that we have tested and worked with needs to be reached. The design became convoluted with all these possibilities and instead we need to focus on what is important and strong in expressing a clear message.

R E S E A R C H P R O J E C T C U TC O N C E P T - R E f I N E M E N T

Moving on from our critiques in class our new direction has taken form with a much simpler understanding of what we are moving to achieve. Rather than spending time justifying every move we have decided to stop and evaluate our inspirations and amalgamate them into a much simpler set of ideas to propose our EOI design with.

This has driven us into the realm of literal but also reinspired our intentions to emulate a very emotional, transient, egalitarian design. A tunnel/ installation/ sculpture enveloping the road the message must be clearly translated through the object as no clues are given from the function of the piece. All of the elements of the piece must be closely related or at least in some sort of dialogue retaining the cohesive nature of the design and relaying the message clearly.

The images to the right are some of the trials that were undertaken in grasshopper to try and achieve a tunnel that we could then apply the panels that we have devised to.

The tunnel starts but depicting the silhouette of a house which then morphs out into a winged bird like, organic form (see first four images). The move between the geometric to the organic is a strong device that we can employ to heighten the experience that one is privy to when travelling through the installation.

The panels are depicted in the final three images and then realised in paper and card in a prototype model to the far left.

EXPRESSION Of INTEREST CONCLUSIONC O M P E T I T I v E A d v A N T A g E

Our interpretation of the site, the brief and its requirements lead our discovery into the realm of experience based design techniques. We intended to encourage the stimulation of an emotional response from the viewers. This was a path chosen as a direct reaction to the stipulation within the brief that the design should appeal to all and contribute to architectural discourse.

Emotion effects everyone it is innate, sometimes immediate other times delayed, it often incites reflection and thus resonates beyond simply the initial viewing. It was decided that this would be our avenue with which to innovate, to develop aninstallation for the city of Wyndham that could create an impact that would inspire a visit from commuters, regardless of their background.

In order to achieve this we sought to employ some literal devices that could articulate this intangible concept of reaction. The symbols articulated in warm shades of yellow and orange are indicative of specific strengths, characteristics and truths rooted within the very identity of Wyndham. The house is a representation of the home, with a car, a dog and the family, The Great Australian Dream it also alludes to the phenomenal population growth that has been witnessed in the shire of Wyndham.

The sweeping lines that alter from closed in to a widening outwards are a very indicative representation of the way that we want to make the viewer feel when they zoom

through the installation - the widening of horizons, the feeling that they are welcome, significant yet free.

The final symbol is a nod to the abundant wildlife and natural vegetation that is native to Wyndham. The design must achieve a strong link to this characteristic of the location. We intend on using nature as mentor to help inspire our designing - biomimicry is a holistic way of viewing and valuing nature. It introduces an era based no on what we can extract from the natural world, but what we can learn from it. Janine M Benyus.

By using Light as an effective tool for evoking emotion, we aim to enlist modular panelling to manipulate natural and man made lighting conditions. In order to do this effectively, the employment of parametric modelling, allows us to simulate and rapidly alter forms accordingly to achieve the best possible reactions to existing conditions. The interesting lighting effects will be applied to a dynamic morphing form. Because in definition to morph is not permanent nor static we will utilise this to thus encourage experience and participation.

By creating a design informed by these concepts and drivers Wyndham will obtain an installation that is steeped in the very identity of the place, that encourages viewers to stop and enjoy the municipality and continue to reflect and discuss their visit well after they have gone.

LEARNINg OBJECTIvES ANd OUTCOMESI N T E R I M R E f L E C T I O N

My ability to utilise, design and refine Grasshopper and Rhino to achieve my design intentions is growing. With each iteration and trial I have learnt more. Through the matrix I was able to build a broad understanding of many of the components that work together to create the definition. I have identified that my favorite components are the image sampler and the attractor points, because they can develop and result in really unexpected and strong visual realisations.

It has been exciting and challenging when translating these matrix trials into a significant addition to something that can be considered applicable to Wyndham. There has been many discrepancies and translation errors or simple blockers that I have learnt to think laterally in order to overcome.

When finally the result of try before you buy trialing (the way I learnt how to use many of the grasshopper

components that werent explained in the tutorial videos) came to fruition and was baked and brought into the physical world, was the point that I really began to see the positives to this type of designing.

It has been a complete re-versing, relearning/alternate learning process that I really am enjoying. Admittedly the time lost waiting for my computer to come back to life after I had changed a parameter just a little too much is frustrating, and having absolutely no idea how to fix a problem that is in all honestly quite simple but hard to work out how to fix with grasshopper components too, but the amount I have learnt is considerable.

With more time trialing and help from my group members and tutor I am sure that the next stage of designing will result in something exciting, something great for Wyndham!

P A R T I I

P R O J E C T P R O P O S A LP R O J E C T I N T E R P R E T A T I O N

From our interrogation of the brief we became acquainted with a series of interesting drivers, the ones that stood out and commanded our attention were:

-The creation of a design that communicates to all, regardless of their background.

-An innovative installation for the city of Wyndham

-An experiential approach as opposed to the creation of simply an object or sculpture on-site,

-The generating dialogue between sculpture and the landscape In identifying these drivers from the brief we were then faced with tricky questions pertaining to how we could accurately express through the design these strong influences.

To the right are a series of photographs and small diagrams next to them, precedents for the designing phase. The diagrams are focusses that pick out the aspect that we have taken most strongly from that particular precedent.

The top image is an aerial view of the site. The brief indicates three sites, our design requires a strong impact hence our use of two of the three sites with a convergence

point over the road in the middle.

Image two is a photograph taken in Weribee when we went on our site visit early in the semester. It was clear to me that the old gum trees growing either side of the road were naturally very effective at developing an experience. For me I felt immediately at home, as if I had an affiliation with the place although I had never visited before. We considered this natural phenomenon with its shadows and height and found that it would be very useful when defining scale and evoking that sense of place.

Following the tree diagram is a simple diagram referencing the scale of the DCM Melbourne Gateway installation. By looking at how big this Gateway is we were able to rationalise our final form accordingly.

The final two images follow on from our theme of Bio Mentoring explored in the EOI presentation as a principle to aid in designing. To explain it simply the form will be concentrated at the intersection point where the design converges over the road. Without effect applied this point will inevitably be very dark. To counter this we have applied our pattern that is a direct reference of the dazzle of the zebra hide to lighten it and thus create a design that is permeable blending into and framing the surrounding environment.

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P R O J E C T P R O P O S A LP R O J E C T I N T E R P R E T A T I O N

The factors explained on the previous page have strongly driven the design process, resulting in experiments focussed on evoking an intrinsic experience through reference to and inclusion of the surrounding landscape and people of the Wyndham area.

In order to achieve a desire to encourage involvement from the general public, we experimented with a more experience based design rationale; one that utilised tools that we were certain would evoke a response based on the users experience, encouraging dialogue and reflection when encountered. We employed the control of light and alteration of scale to varying degrees to achieve this.

It is important to explain our definition of innovation at this point because as cited in the brief it is something that the Wyndham city council expressly asked for.

Innovation requires the presence of an element of novelty, and this innovation must then be accepted and often aims to incite positive change. Using these indicators we were able to build a framework with which we could accurately respond to this intangible concept participation with the installation is a more novel approach than the erection of another monument or structure that remains passive as commuters pass it, and by extension of this we hope that those passing through the site will accept and enjoy this feature and reconsider their perception of Wyndham and its place in the surrounding area of greater Melbourne.

The image to the left is one of my early concept/design sketches depicting the importance of shadow and the form developing over the road, moving from the organic sweep into a geometric house silhouette.

P R O J E C T P R O P O S A LP R O J E C T d E v E L O P M E N T

The project developed throughout the final weeks in multiple directions. Because the design drive was clearly mapped out via our formulation of criteria it was up to our skills in Grasshopper to try and articulate these developments in the best possible format.

The image directly above is the 7 simple curves that were drawn in Rhino and referenced in to Grasshopper to be lofted. Using the loft options component and some strategic flipping the loft was smoothly articulated along the curves creating a tunnel.

To move on to the more exciting stage of defining our slices the loft fed into a box corners component which drove the part of the script that dealt with the number of slices that the tunnel would be segmented into. As you can see in the first 7 iterations on this page we had to battle with overlapping and the over segmentation of the form.

To achieve variable thicknesses in the members we

employed a parabolic graph mapper to alter the thickness, more in the middle and less on the members further out in accordance with the principle of counter shading inspired by the bio mentoring theme.

As you can see the variability of these parameters just in the first 7 iterations was great. Following on from this we came to realise that there needed to be a little more curvature in the installation. By moving the initial curves a little from left to right in response to the road that it would be sited on we altered the overall form to achieve this.

Having learnt that the definition was convoluted with superfluous data a clean tree component was popped in and the lines were able to become a lot cleaner.

We were then able to concentrate on constructing the best thickness, length and amount of curves over the road via our parameters.

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From the spacing width and length parameters we trialed many different configuration, one of the beauties of having been able to entirely script the form. Had we won the design competition and Wyndham shire happened to desire one more member across the road, we could easily go back to the script and alter via input of simple numerical value.

The iterations on the bottom of this page range from curve values of 28, 30, and 39, the width of each of these curves was defined by a bezier curve mapper and range from 59, 45, 20, 30, 28 and the third and final parameter that we had control over was a series component that allowed for the over all length change. This component ranged form 100 (see end iteration) to 1 (first iteration - middle of page).

It was found that the design needed to be closer together in order to respond to the road effectively and to articulate the pattern the best.


Developing the pattern configuration for the form became a question of many many iterations each that seemed to get al little closer to what we required.

In order to transfer our pattern cleanly to the members we devised a plan based on what we had learnt completing the prototype.

The script was simple, a surface divide applied to the loft that we had cut into the members, then passed through an image sampler referencing in a strongly contrasting image of the zebras hide. This image was doctored slightly so that it faded out to the sides so when applied to the loft would concentrate densely in the middle and then fade out as the form fragmented.

This decision was influenced by the principle of counter shading, cited right back at the beginning of the design process.

The images you can see closest on the right are just a few of the many iterations that we performed trying to achieve the best application to the loft, I have stayed consistent by using a side view to articulate the changes. Each iterations ranges from having the radius size of the circle outputted changed or the surface divisions increased/decreased or both.

Once we had achieved the best configuration of surface divisions that was locked and just the parameter concerned with radius sizes decreased. Moving steadily by one point we were able to bake out each slightly altered pattern iteration and apply that to the members and send the sheets off for fabrication.

This work flow of computer to factory would apply similarly if the design were to be constructed for Wyndham. The panels designed and optimized on the computer before being sent to the factory for precision cutting and layering.


In an attempt to see what we were in for, to work out wether all that we had designed could actually be fabricated we got to a point with the script that we were happy enough to have a go at building a prototype. More needed to be done to clean the script up and get a few things smoother - for example the projection of the pattern went all squelchy and out of shape something we needed to figure out a way to fix. However, the overall results were promising enough to allow for some chances to be taken on seeing how successful it would be fabricated.

The image on the facing page was a break through, it was the moment that we had discovered a way of taking all

that we had developed in the virtual realm and make it buildable.

The members of the tunnel that were most highly perforated were extracted in this prototype test. These members had the pattern projected onto their surface and were thus baked out, unrolled and nested for fabrication. This process was undertaken 5 times to achieve the 5 layers of incrementally altered perforations.


The construction process for the prototype was relatively simple once we had worked out a few major tricks. First step entailed us laying out the strips and then scoring the backs f each strip so the could then be glued to our frame. The frames required an inner member to be cut and glued in to provide strength and also give us a plane to glue to.

The scored sections then were slowly and carefully squeezed into place along these frames. We came to the realisation that the pattern would become slightly off plum with each layer, simply as a result of the material thickness something we could not really change.

A careful labeling system and some helpful bull dog clips kept us on track and we had three scale members complete in an afternoon.

This dummy run proved to be a savior when we came to the sticky bit at the end when we were required to time manage in order to achieve all of the tasks required for the final day.

It taught us what to watch out for, including what materials and tools to employ and what to be careful of. We also were able to test the ability of our model to articulate the light as intended.

We found that the perforations needed to be slightly larger, more regular and possibly more concentrated and our members a little smoother.......Back to Grasshopper we went.

P R O J E C T P R O P O S A LP R O J E C T P R E S E N T A T I O N

Werribee is growing - getting bigger and more exciting. Becoming a multicultural hub, a place to go, a place to be, a place to stop. When approaching the design of the Wyndham Gateway project, we felt it very important to emphasize the momentum driving Wyndhams development now and well into the future. Upon reaching the gateway, we want users to feel an urge to explore the local community and see all it has to offer, spurred on by this initial introduction.

The sculpture itself forms a dialogue with the surrounding landscape by referring the two vastly different landscape types nearby when approaching from Geelong, the piece begins organic and devoid of surface treatment. As one progresses through, the members change intensifying the experience. The organic, as reference to the surrounding landscape, morphs into the rectilinear and more recognizable symbol of the home. This is the embodiment of Wyndams evolving state as a suburb. The form then returns back to an organic form to illustrate how Wyndhams connection to the city as a suburb is not yet consolidated.

It was important that each member read as a contribution to the experience itself and not an individual object. In order to achieve this, the pattern of light and shade created by the members was manipulated to form a striking and engaging experience. The rhythm of the members quickens and their thickness increases towards the middle point almost joining to eliminate the large punctuating strips of light. The principle of countershading camouflage was applied to increase the perforations at this darkest point to shift to a new dynamic play of light. The testing of prototypes has highlighted that this central point forms the climactic moment of the experience.

In a nod to the nearby icon of the Werribee open range zoo, the form of the design itself employs a technique similar to the dazzling camouflage of the zebra. This softens the outline of each discrete member to imply the whole, converting isolated units into a single overarching form that embraces the user while moving with the surrounding landscape to further strengthen the dialogue between the two.

37n O R T H E A S T E v A L U AT I O nP LAn

S O U T H W E S T E L E v A T I O n nORTH EAST E L EvAT IOn

SOUTH EAST E L EvAT IOn

The individual members of this design would be composed of trusses at the sides, supporting the structure. These would then be clad in sheet metal with the perforations already inscribed. These panels would be prefabricated off site in sections, before being transported and bolted into place at the site. This off site construction will minimize disruption to the road and traffic, and ensure a swift and efficient construction process.

After consultation with a structural engineer, the design software ensures that the steel required for each member could be calculated and modeled digitally to create a precise estimate of cost of materials and additionally the allocation of weight per truck for transportation.

This will ensure the absence of unforeseen expenses and time delays resulting from errors and miscalculations for

the project.

This method of construction was inspired by an article found documenting the construction process of the Guggenheim museum in Bilbao. The museum was conceived with contemporary digital softwares and then realised in form with the help of the software again -

The steel fabricators for the project used a very powerful detailing program developed in Belgium, BOCAD, to create three-dimensional graphic files of the steel assemblies from the structural wireframes developed by the architect.

The result it striking and mind boggling, a testament to the benefits of digital media within design.

P R O J E C T P R O P O S A LP R O J E C T P R E S E N T A T I O N

P R O J E C T P R O P O S A LP R O J E C T P R O P O S A L C O N C L U S I O N

So in conclusion, through the use of context-driven scripting we have designed an experience, which embodies all that which makes

Wyndham great.

The pursuit of an experience in lieu of an object, along with an innovative approach to representing and referencing to surrounding

environment produces a design, which aims to resonate strongly with all who travel through the site. This has led to an outcome which will

hopefully intrigue visitors to the area, and make current residents reflect on their home with pride.

PA R T I I I

P E R S O N A L B A C K g R O U N dA N d L E A R N I N g O B J E C T I v E S

Overall this process of designing and learning a new software along the way has been invaluable. I am not afraid of Rhino or Grasshopper anymore, something that you would definitely not have ever in a blue fit have heard me say 11 weeks ago.

Attempting,on a modest scale, the utilisation of digital media to generate a host of different possibilities some of which have been documented while others discarded has been a truly satisfying development.

A statement that I have been often going back to that Mark Burry explains in Scripting Cultures is about the importance of scripting in present day architectural endeavours -

Scripting liberates designing by automating many routine aspects and repetitive activities of the design process.

I have found first hand the successes and shortcomings of the technology over my exploration for this subject. It is a truth that the more time spent the better and quicker you get. The ability to complete a task I once would have shaken my head in disbelief at I now have the skills to complete.

The design that my group and I came up with was achieved using tools and skills learnt, in majority, soley in this semester. never have I been able to build a form using components with mystifying input and output plugs, I havent been able to use Rhino to such an extent let alone build a whole installation for Werribee with it.

Overall it has been a positive experience, one that has taught me a great deal with a myriad of examples and iterations with which to show this. I had moments where I absolutely hated the software, followed by times where I was really proud that I had been able to think around the problem and come up with a logical, innovative solution (probably erring on the side of novel most times but still innovative!).

It has been inspiring having help from tutors who can quickly and efficiently solve problems that had stumped me (even though frustrating at the time) this has particularly aided my learning and instilled a want to strive to become better and more knowledgeable with the programs.

L E A R N I N g P R O g R E S Sf I N A L O U T C O M E S

Education is the path from cocky ignorance to miserable uncertainty - Mark Twain

This quote was put on the Facebook page by Stanislav and at the time filled me with a pessimistic outlook. It was it seemed, quite a direct jab at the fact that learning is hard, and quite reward-less and also suited the period of time that I saw it, that being mid-semester.

now, there is possibly the vestiges of miserable uncertainty creeping around however I believe its all in the way that you frame an experience. I would like to offer two alternative quotes that I think sum up my outlook on learning done in this subject -

I am always doing that which I can not do, in order that I may learn how to do it. - Pablo Picasso

I hear, and I forget. I see, and I remember. I do, and I understand. - Chinese Proverb

I have done things I could not do, learnt things I had never considered and achieved a level of understanding that in no way can be considered miserable or uncertain.

From the skills I had before I was able to dive off in directions, media, never before worked with. The results are documented all throughout this journal and in the physical models and stop motion videos that I have contributed toward or created alone.

It is also apt to state here that the requirement of completing all of this in a group has helped phenomenally in the volume of outcomes achieved. Having two other people to learn from, to teach, to develop with, has definitely altered this experience from a destructively daunting one to simply daunting instead.

f U T U R E W O R KU S I N g v I R T U A L T E C H N I Q U E S

Future work will most definitely include a much greater use of digital media. I had been put off using digital media to achieve past designs. Coming from a background heavily influence by the visual arts it was often frowned upon using the computer to draw a design, when it was more intimate and considered more skillful drawing by hand.

Throughout this process I have come full circle, the explorations that were completed and the time that I put in helped me come to the realisation that this preconceived idea does not hold up.

I intend on building on the techniques that I have learnt in this subject, it has introduced me into a whole new world of designing one that I had thought too advanced, too incomprehensible for me. Becoming acquainted with

a series of architectural examples, that employ digital techniques to achieve striking outcomes, has further aided in the consolidation of my interest. Each diverse and complex example has sparked inspiration and provided a clear exemplification as to the results that the use of scripting and parametric design can achieve.

I hope that the skills I have learnt will be recognised by potential employers and prove to be a valuable contribution to any work undertaken.

It has been a difficult and at times arduous task learning how to drive Grasshopper and Rhino in the directions we prescribed but one that I would not swap for anything.

RE

fE

RE

NC

ES 01 PERSONAL PROJECT

-STUDLEY PARK BOATHOUSE

02 STATE Of THE ART PROJECTS-JEWISH MUSEUM 1. Western Gateway Design Project - www.wyndham.vic.gov.au pp.2-13 2.Ted talks: http://www.ted.com/talks/daniel_libeskind_s_17_words_of_architectural_inspiration.html -THE YAS HOTEL 1. Jodidio, Philip (2010). ARCHITECTURE nOW! (Italy: Taschen), pp. 78 - 812. Western Gateway Design Project - www.wyndham.vic.gov.au pp.2-13

04 INNOvATIvE dIgITAL PRECEdENTS-THE SPAnISH PAvILIOn Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (new York; London: Spon Press, 2003), pp. 3 - 62Brownell, Blaine (2012). Material Strategies: Innovative Applications in Architecture (new York: Princeton Architectural Press), pp. 76 - 77

-LInCOLn PARK nATURE BOARDWALK1. http://studiogang.net/

-THE AQUA TOWER 1. http://studiogang.net/

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (new York; London: Spon Press, 2003), pp. 3 - 62

07 SCRIPTINg PRECEdENTS-MICROIMAGE1. Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (new York; London: Spon Press), pp. 6 - 242. Architecture and Design - Programming Cultures, Art and Architecture in the Age of SoftwareGuest-edited by Mike Silver - Process/Drawing pp. 26 - 33

-PROJECT X1. Architecture and Design - Programming Cultures, Art and Architecture in the Age of SoftwareGuest-edited by Mike Silver - The Milgo Experiment: An Interview with Haresh Lalvani pp. 53 - 61

-nEW HARMOnY GROTTO1. http://www.archdaily.com/101711/new-harmony-grotto-a-reinterpretation-of-frederick-kielser%E2%80%99s-grotto-for-meditation-metalab-architecture-fabrication/

-GAnTEnBEIn WInERY1. Brownell, Blaine (2012). Material Strategies: Innovative Applications in Architecture (new York: Princeton

Architectural Press), pp. 30 - 312. Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 713. Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (new York; London: Spon Press), pp. 6 - 24


14 CUT PROJECT-MATRIX OF TRIALSYehuda E. Kalay, Architectures new Media : Principles, Theories, and Methods of Computer-Aide-Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

38 PROJECT PRESENTATION- Hal Iyengar, P.E., S.E., Lawrence novak, S.E., Robert Sinn, P.E., S.E. and John Zils, P.E., S.E. The Steel Flower

Modern Steel Construction / July 1998

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