ARCHITECTURE DESIGN STUDIO AIR 2012Stephanie Dodd 527233 | Tutor: David Lister

Wyndham City Gateway ProjectJOURNAL

Part IEXPRESSION OF INTEREST

I. CASE FOR INNOVATION |

http://www.dezeen.com/2009/07/11/serpentine-gallery-pavilion-from-2000-2009/T. Kotnik, Algorithmic Extension of Architecture (unpublished postgraduate thesis, Swiss Federal Institute of Technology (ETH) Zurich, 2005/6)Williams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

The annual design brief for the Serpentine Pavillion requires a structure that exemplifies the current state of architectural discourse while being accessible to a wide public audience. The 2002 Serpentine Pavillion by Toyo Ito is an example of how computational design can produce form that is both aesthetically beautiful and structurally optimal and efficient.

The Pavillions design is based on complex geometry, specifically an algorithm designed by engineer Cecil Balmond, that involves the rotation and scaling of a series of squares around a central axis. CAD was used such that the building does not have a faade distinct from its structure, rather it is pure structure - like a crystal or a snowflake. This ground-breaking building demonstrates how the discourse of architecture continues to examine and attempt to imitate nature where, arguably, the most efficient design exists, and how the application of state of the art CAD techniques has allowed architecture to get closer to optimal efficiency in design. As Kotnic argues, digital design should be viewed as an extended form of expression in architecture, allowing architects to design more complex forms and integrate aesthetics and structure into the design. The Serpentine Pavillion advances the architectural discourse by answering the question Why is the attention to the facade less viable that to structure? Why is either worth the effort and attention? (Williams, 2005) by addressing both with equal importance and in parallel.

SERPENTINE PAVILLION London | Toyo Ito | 2002

This section explores the concept of architecture as discourse by examining precedents that have advanced the discourse through innovative approaches to design.

ARCHITECTURE AS:

structure and aesthetics combined

digital design should be viewed as an extended form of expression in architecture Kotnik, 2005-6

architecture as discourse

any serious rethinking of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject Vidler, 2000

QT LANTERN Melbourne | Stephanie Dodd | 2011QT Lantern was a project developed for Virtual Environments, a first year subject that is part of the Bachelor of Environments (Architecture) course. Similar to the Wyndham Gateway Competition, this brief required a sculptural object that inspired contemplation of the ideas behind it after first glance. A connection to site was also a criteria of the brief, the site of the lantern being the human body. By exploring the complex natural process of quantum tunnelling, the design attempted to challenge viewers interpretation of the form to go beyond first glance. This process was then related to the body in order to inform both the positioning of the lantern on the body and the nature of the design.

The design concept was initially developed manually using clay modelling. The physical model was then digitised using Rhino 3D, through which the faceted, panelled nature of the final lantern was developed. The digitised model was then able to be manufactured using computer aided manufacturing (CAM) techniques by unrolling of the 3D model into a 2D surface which then able to be cut out by a laser cutter before manual construction completed the process.

By engaging both traditional manual modelling tech-niques and cutting edge digital design and manufac-turing, this project examined the way the discourse of architecture has changed since the advent of CAD and CAM. The project advanced the discourse of ar-chitecture by exploring the limitations and benefits of traditional and contemporary design techniques.

Vidler, Anthony (2000) Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach, harvard design Magazine, 11, pp. 1-4, p. 3

ARCHITECTURE AS: traditional and state-of-the-art design techniques combined

any serious rethinking of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject Vidler, 2000

computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design problems Kalay, 2004

I. CASE FOR INNOVATION |The use of computing in architecture has transformed both the design process and design possibilities.

computing in architecture

ASTANA NATIONAL LIBRARY

THERMAL EXPOSURE PATTERN AS CLIMATE SCREEN

BIG won first prize in an international architecture competition to design the new National Library in Astana. The brief required an iconic form that would inspire the publics engagement with national literary resources. The building is in the complex form of a Mbius strip and state of the art technology has been used to map the thermal exposure of the building envelope (see diagram below, left). This data has then been used to parametrically inform the facade of the building, which becomes a patterned climatic screen that regulates the solar impact to improve the sustainability of the building.

This design is an example of how human creativity and the power of computational analysis can be combined to advance the architectural discourse with respect to solar performance and ornamentation, at a time when the screen might be the most contemporary category through which building expressions currently emerge (Moussavi, 2006).

www.big.dkhttp://www.archdaily.com/33238/national-library-in-astana-kazakhstan-big/

Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14

computers will contribute their superb rational and search abilities, and we humans will contribute all the creativity and intuition needed to solve design problems Kalay, 2004

ARCHITECTURE AS:

creativity and analysis combined

Kazakstan | BIG | 2009

http://integrationandincompletion.blogspot.com.au/2009/06/greg-lynn-greg-lynns-work-in-early.htmlI.M. Rocker, Calculus Based Form: An Interview with Greg Lynn, AD Vol. 76 pp.88-95

ARCHITECTURE AS: revitalisation and identity

NORTH AND SOUTH ELEVATIONS

KLEIBERG HOUSING PROJECT Netherlands | Greg Lynn | 2006The project was a renovation of an existing 500-unit social housing block, built in the early 1970s on the outskirts of Amsterdam. The project was intended to revitalise the housing estate, making it more socially accessible by dividing the block into neighbourhoods of 10 units.

A series of more than 150 parametrically designed vertical steel trusses, each unique in their form, is applied to the facade as an external cladding with the intention of providing a recognisable, organising form for the new neighbourhoods. The cladding also encloses the external circulation routes of the blocks.

I. CASE FOR INNOVATION |Parametric modelling takes computing in architecture to new levels by allowing us to use the generative and analytic power of computers to influence design outcomes according to specific, defined parameters.

parametric modelling

Parallels between this project and the Wyndham Gateway Project can be drawn in the social agenda of the projects - both are intended to provide a sense of identity to its inhabitants and spatial organisation (though the Wyndham Gateway is on a much larger, regional scale). They are also intended to revitalise an existing place, to inspire forward thinking and raise the profile of the area.

The use of parametric computational design processes in this project can be aligned with the goals of regeneration and revitalisation. Application of current and forward-moving technologies spell out a clear message that this housing estate contains up to date amenities as well as opportunities for growth now and into the future.

The consumption of architecture may be thought about in two ways: first, the understanding of it as sign, or symbol; second, in terms of it as spatial experience. (Williams 2005)

ARCHITECTURE AS: revitalisation and identity

The project was a renovation of an existing 500-unit social housing block, built in the early 1970s on the outskirts of Amsterdam. The project was intended to revitalise the housing estate, making it more socially accessible by dividing the block into neighbourhoods of 10 units.

A series of more than 150 parametrically designed vertical steel trusses, each unique in their form, is applied to the facade as an external cladding with the intention of providing a recognisable, organising form for the new neighbourhoods. The cladding also encloses the external circulation routes of the blocks.

GLA HeadquartersLondon | Foster + Partners | 2002The GLA Headquarters building in London was designed by Foster + Partners as part of an international competition. After winning the contract, Foster + Partners worked with engineers to model the acoustical performance of the building and this led to a refining of its form. These design alterations, a direct product of scripting cultures, also contributed to the designs thermal efficiency as it has 25% less surface area than if it were a cuboid form of identical volume.

[design] driven by environmental considerations which, interpreted through analytical numerical data, inform its shape (Foster + Partners, 2006)

The consumption of architecture may be thought about in two ways: first, the understanding of it as sign, or symbol; second, in terms of it as spatial experience. (Williams 2005)

Computational design has contributed to great advances in the architectural discourse in recent decades. As parametric modelling programmes become more advanced, contemporary scripting cultures have resulted in the relationship between architects and engineers becoming more integrated. Whilst parametric modelling is often applied as part of the architectural design process, when used by engineers for structural decisions it also often leads to tangible impacts on building design; thus efficiency in structure and sustainability is optimised whilst architectural form (for example, Toyo Itos Serpentine Pavillion) or ornamentation (for example, BIGs Astana National Library) is also favourably altered.

The collaboration of engineering and architecture has also been fuelled by ambitious and innovative architectural design using computational techniques that have produced complex forms unbuildable by traditional means. Gehrys Guggenheim Museum (Bilbao, 1997) - though initially designed traditionally by sketch concept - was ground-breaking in its application of CAD and CAM techniques that were previously the domain of aeronautic and automotive design, to construct a complex form. Since then, CAD and CAM has developed to become an integral part of the contemporary architectural discourse, contributing to advances in structural and material efficiency.

As Williams (2005) states, architecture is something that can be consumed by all, in which everyone can participate. This is what makes architecture a discourse. We hope to contribute to the architectural discourse by generating a design for the Wyndham City Gateway Project that is open to multiple interpretations from each of the thousands of individuals that will experience, and on each of the occasions that they experience it. In this way, we hope to contribute to both the architectural discourse, through the use of innovative parametric design techniques, and to Wyndhams cultural and community identity.

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pp. 25-26Williams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

I. CASE FOR INNOVATION | conclusion

Kalay, Yehuda E. (2004). Architectures New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

II. RESEARCH PROJECT | matrix: explore

Applying our skills using Rhino 3D and Grasshopper, we developed a matrix of possible candidates for further exploration. The matrix was developed as a result of a search process which tested different combinations of input, association and output scripts in Grasshopper. The use of parametric modelling techniques has allowed us to explore a wide range of possibilities and explore those effects which prove more interesting in more detail. This search process is described below, in reference to Kalays text Architectures New Media (2004).

II. RESEARCH PROJECT | matrix: explore

i.

ii.

iii.

iv.

v.

vi.

SEARCH PROCESSInitially, our explorations followed a depth first search process, as we experimented with new scripts and came to understand how they worked and what type outcomes they produced. As our skills in using Grasshopper developed, we were began to follow a broader breadth first approach as we understood how to use a wider number of components to reach the outcome that we desired.

The matrix shows a series of search processes which illustrate how our search process started in a depth first direction and then progressed to a breadth first process as capability improved.

i. | ii. | iii. The shape of the letter W was explored as a simple and, in this case symbolic, image association. The top three rows (left) show how the IMAGE SAMPLER ASSOCIATION was combines with a GRID INPUT and EXTRUDE OUTPUT (i). The image sampler was also connected to radii of the perforations(ii and iii).

iv. INPUT: Surface Grid | ASSOCIATION: Image Sampler | OUTPUT: Extrude

v. INPUT: Surface Grid | ASSOCIATION: Maths Functions (graphs) | OUTPUT: Rotate

vi. INPUT: Surface Grid | ASSOCIATION: Streaming Text Files | OUTPUT: Extrusion

II. RESEARCH PROJECT | matrix: explore

vi.

vii.

viii.

ix.

OUTCOMESAs we explored various script combinations, our design ideas began to develop and take a more targeted direction. We started to focus on producing outcomes that could be considered for use in a perforated screen design. We had particular interest in offset boolean patterns of geometric shapes arranged in a grid formation. Initial exploration was using circles however polygonal shapes including triangles and hexagons were explored as our capability increased. We found that polygonal shapes can be used with rotation output scripts to produce interesting overlap effects. Some of the perforation patterns were parametrically associated with an image.

vi. INPUT: Overlapping Patterns | ASSOCIATION: Maths Functions | OUTPUT: Rotation

viI. INPUT: Surface Grid | ASSOCIATION: Point Attractor

vi. INPUT: Overlapping Patterns | ASSOCIATION: Image Sampler | OUTPUT: Extrude

vi. INPUT: Overlapping Patterns | ASSOCIATION: Image Sampler | OUTPUT: Rotation

This sequence started with an overlapping grid of hexagons, the size of which was parametrically linked to the brightness of an image (1.5). The density of the grid and range of the radii of the hexagons were then adjusted to produce various interesting overlapping patterns (1.1, 1.2, 1.3, 1.4). The extrusion output was applied, however it was decided that the 2D contrast of the grids was more effective than any extrusion technique.

1.1 1.2 1.3 1.4

1.5

1. INPUT: Overlapping Patterns | ASSOCIATION: Image Sampler | OUTPUT: Extrusion

II. RESEARCH PROJECT | matrix: develop

Selected designs generated during the exploratory phase of the research project are developed further as potential designs to be incorporated into the Wyndham City Gateway Project.

This sequence started by parametrically associating the size of a grid of triangles according to the brightness of an image (2.2). The density of the grid was adjusted to produce different results (2.3). Then a rotation output was added to one layer of triangles to produce interesting overlapping patterns (2.1 and 2.4).

2.1

2.2

2.3

2.4

2. INPUT: Overlapping Patterns | ASSOCIATION: Image sampler | OUTPUT: Rotation

This sequence of designs used an association with a text file that contained a Fibonacci sequence of numbers. The size of the sequence was adjusted to produce a denser (3.1) and a sparser pattern of circles (3.3). An extrude output script was then attached to the script, whereby the height of the extrusion was parametrically linked with the radius of the circle (3.2 and 3.4).

3.1

3.2

3.3

3.4

3. INPUT: Surface Grid | ASSOCIATION: Streaming Text Files | OUTPUT: Extrusion

II. RESEARCH PROJECT | matrix: develop

This sequence involved distribution of overlapping grids of circles (4.1, 4.2, 4.3) according to a random maths function. The inputs of the function were adjusted, as were the radii of the circles to produce different effects (4.4 is an example of one such effect).

4.1 4.2 4.3

4.4

4. INPUT: Overlapping Patterns | ASSOCIATION: Maths Functions | OUTPUT: Rotation

AIRSPACE TOKYO, Tokyo| Faulders Studio | 2007

Airspace Tokyo, by architect Hajime Masubuchi of Studio M, is a mixed residential and commercial building. The urban presence of the building is defined by a double layer screen that envelopes the building. The screen references the previous landuse - dense vegetation - and creates a protective airspace that is supposed to mediate the transition from the busy. urban exterior environment and the more private interior.

We recreated the screen in Rhino3D, designed by Faulders Studio, using a voronoi script in Grasshopper. This case study provides an example of how interesting, irregular patterns can be created using Grasshopper, and it represents an extension in our capabilities for patterned perforated screens, the previous examples being mostly regular patterns or those associated with an image sampler. The image below also shows the interesting light and shadow effects that occur when multiple screens of offset patterns are layered, a design concept we plan to explore in the Wyndham City Gateway Project.

http://faulders-studio.com/proj_airspace.html

5.1 5.2

II. RESEARCH PROJECT | reverse-engineered case studiesWe reverse-engineered two case study projects using Grasshopper and Rhino3D to further demonstrate our capabilities in parametric design.

DIOR GINZA, Tokyo | Kumiko Inui | 2004

The facade of the Christian Dior Building in Tokyo applied the pattern of signature Lady Dior handbag to create a double-layered, perforated plaid screen. A CNC milling machine was used to create the pattern on 10mm-thick aluminium surfaces. Fiber optical illumination in the space between the two screens creates a delicate, glow in the evening. The double layersurface was recreated in Grasshopper using line attractors and image samplers. This project is an example of how state-of -the art technology has been used to manufacture and then illuminate a form, the effect being one that immediately stands out from the rest of the harshly lit urban-scape.

B. Pell (2010). The Articulate Surface: Ornament and Technology in Contemporary Architecture (Basel, Berkhauser), pp.105-109

6.2

6.1

5.1 Close up of voronoi pattern generated with Grasshopper5.2 Four voronoi panels were generated with Grasshopper6.1 Recreation of Dior facade using Grasshopper6.2 Close up image of the overlapping perforated panels on the Dior facade

MODEL 1: W Screen

We fabricated this model to explore how parametric techniques and effects could add dynamism to a generic symbol. The model was fabricated by unrolling a double curved surface, adding tabs and having the strips cut by the FABLAB laser cutter. The strips were then manually assembled and glued together.

This model was not as successful as hoped as the size of the tabs blocked were to large and so blocked some of the perforations. We also decided that the W symbol was too literal and boring for the project as we aim to create a dynamic scultpture that is open to multiple interpretations by the public.

MODEL 2: Circular PerforationsThis model was again manufactured using the laser cutter. Two surfaces with a random pattern of circular perforations and of different scale are placed one in front of the other.

The light and shadow effects created by the interplay of light and space between the panels is an effect we intend to carry through to our design for the Wyndham City Gateway Project.

II. RESEARCH PROJECT | material effects & assembly methods

Several design outcomes from the RESEARCH PROJECT were selected for fabrication. By fabricating several models of different designs, we were able to explore material effects and potential assembly methods that may be applied to the Wyndham City Gateway Project.

MODEL 3: Voronoi ScreensThis model, fabricated using the laser cutter, provides an example of more transparent screens where the perforations are larger than the dividing surfaces. The screens were placed in front of each other with a structural frame holding them rigid and vertical.

The difference of illumination of one screen from behind the other provides an interesting effect. In addition the shadows that are projected onto the ground in front of the screen are striking. The larger scale of perforations in this model are perhaps more appropriate to the Gateway Project given that observers will be passing the sculpture at high speeds.

Our vision for Wyndham is a dynamic sculpture that is more than just a landmark marking the entrance to Wyndham. It will be an experience that is not static but will be altered according to the time of day at which it is experienced, and the prevailing weather and atmospheric conditions.

Many of the people who will experience the Gateway will be those who drive past it on a daily basis whether that be residents of Wyndham and commuters on their way into and out of Melbourne city. It is for this reason that we believe it is paramount that the sculpture is dynamic. It will provide those who experience it regularly with different experiences and so will not become a boring, unnoticed part of the landscape.

The competition for the gateway is in part a response to the Quality Community Plan 2007, which as a result of surveying residents of Wyndham found that residents felt Wyndham lacked identity that is it was not well known by those who dont live there. In particular a lack of cultural identity was felt, and the Community Arts strategy aims in part to cultivate an image that is to the benefit of Wyndham as a whole, develops a positive image of the locality and also helps it become recognised as an arts and culture hub.

Wyndham is Victorias fastest growing municipality and, by employing cutting edge digital design techniques, our design looks towards the future. We are engaging with innovative design techniques that will, we hope, advance the architectural discourse. The associations that this will have for Wyndham City will be one that is progressive and moving forward.

Architecture is something that is open to consumption and experience by all. If the Gateway Project is to have an impact on the wider Victorian perception of Wyndham City, it must be aspiration and responsive to the change that time brings with it. In this way, it will remain a relevant and powerful symbol of Wyndham Citys cultural identity now and into the future.

III. EXPRESSION OF INTEREST | conclusion

Part IIPROJECT PROPOSAL

PROPOSAL | project interpretation

WYNDHAM CITY

MELBOURNE CITY

COAST

COUNTRY

COUNTRY

From the RESEARCH phase of the project, we knew we wanted to incorporate overlapping patterns and perforated screens into our proposal.

We had experimented with literal expressions of Wyndham in the RESEARCH phase with our W MODEL however this produced an underwhelming result. There was a temptation to explore the Wyndham City Councils City, Coast, Country slogan as inspiration for the proposal however we decided instead to follow an abstract path in interpreting the design brief.

We selected Site A as the location for our design as the size of this site allowed us the largest amount of flexibility in our design. We were also interested in the mound that exists on the site and decided to incorporate this unique feature in an otherwise wide, flat landscape into our design.

LITERAL VS ABSTRACT DESIGN

SITE SELECTION

DESIGN BRIEF: dialogue between sculpture and landscape to compose the gateway

Integrating sculpture and landscape is one of the key points of the Design Brief and developing on that, our initial idea was to excavate the entire central section of the existing mound on Site A, replacing the soil with a series of panels.

However, when we considered the scale of the site in more specific detail, it became evident that it would be excessive to excavate the entire mound, as the span of over 60m across the site would mean that the central panels would not be visible.

We then rationalised the concept by choosing to keep the central 30m portion of the mound, reduce the number of panels but maintain their integration into the landscape by having them appear to emerge from the hill at either end. We then took this interplay between natural elements and sculpture further, choosing to incorporate vegetation into the design.

As we were following an abstract design path, we also wanted to incorporate an experiential aspect into the design, in line with what is suggested in the Design Brief. The simplicity and scale of our multi-layered panel design led us to incorporate a Moire effect into the design. Our research into precedents suggested that the most effective Moire effect is had when vertical elements are used to convey a pattern, with one slightly offset from the other to create a rippling experience when moving past.

We were successful in achieving this outcome, as evidenced by the image (right) of our 1:200 model.

INITIAL DESIGN PHASE

MOIR EFFECT

DESIGN BRIEF: experiential approach

DESIGN BRIEF: this project follows on from the success of Seeds of Change project...encourage further reflection about the installation beyond first glance...iconic

Page3

1.0PROJECTBACKGROUNDWyndhamisthefastestgrowingmunicipalityinVictoria.ItisbasedaroundthesuburbsofWerribee,HoppersCrossing,PointCook,WyndhamVale,TruganinaandTarneit.TheCitycurrentlyhasapopulationof148,000andinrecentyearshasbeengrowingatarateof8000to10,000residentseachyear.Ultimatelyitwillbecomeacityofmorethan430,000people.

Inrecentyears,WyndhamCityhasbeenaddressingtheissueofitsimagebyundertakingsignificantworkstoupgradetheconditionandaestheticsofitsstreetscapes,openspacesandparks.Aspartofthisprogram,ithasestablishedthisGatewayProject.

Throughpreviouscommunityconsultationprocesses,anumberoflocationsacrossthemunicipalityhavebeenidentifiedaspotentialgatewaysites.TheWesternInterchangeonthePrincesFreewayisthethirdmajorgatewaysitetobeaddressed.ThisprojectfollowsonfromthesuccessofSeedsofChangein2003,locatedattheEasternInterchangeofthePrincessFreeway,andHouseintheSkyin2001,locatedattheinterchangewiththeWesternRingRoad.WyndhamnowwishestoestablishanotherinnovativeandprominentindicatortoprovideafocustotheWesternInterchangeentrytotheCity.

SeedsOfChangeinstallationattheEasternInterchange,PrincesFreeway,HoppersCrossing.Designer:ThompsonBerrillLandscapeDesign.

PATTERNING

Process

Using R

hino & G

rasshopper

In Grasshopper one geom

etry w

as initially used; the custom 2D

leaf shape - sim

ilar to that of the L

eaves of Change sculpture at

the other end of the Freeway. T

his shape w

as then applied to the scaled rectangular surfaces of each of the screens, U

sing the geometry

compnent again, w

e then ma-

nipulated a series of rectangles to t w

ithin the leaf shapes at 2mm

intervals. T

his pattern was then

baked and we arranged this 2D

geom

etry manually in R

hino using the trim

tool to depict the perfora-tions.

As w

e had trouble producing the m

iddle screen, which had perfora-

tions placed at a slight degree of rotation ( w

hich created the moire

effect combined w

ith the other tw

o vertical screens) we decided to

copy and manipulate the already

baked geometry of the vertical

screens which proved to be easier

and more effective.

lines placed at 3 degree angle

8m

6m

3.6m

280m

270m

300m

Initial combination of

varying circle radii

Developed to reveal

voroni-esque angular cicrles

Manipulate to express

the geometry of a leaf

inspired loosely by the L

eaves of Change

installation

Short relapse to explore the effect of plain circles on screens, though the leaf design took priority and w

as further explored

Snapshot of nal screen projection w

ith perforations and

required border clearly expressed

diagram of dim

ensions

Initial patterning ideas stemmed from our explorations of circular and polygonal patterns during the RESEARCH phase. Wanting to incorporate vertical elements in order to generate a Moire effect, we then explored the idea of perforating the screens with vertical slits according to the circular pattern (above). However, we reflected on this design and decided it lacked meaning or dynamism, which was important given the simplicity and large scale of the form. We considered the idea of a Voronoi pattern, which would bring a more organic element to the pattern (left) before settling on the idea of a manually generated organic leaf design (below).

This design also reflects the leaf shape of the Seeds of Change project, encouraging further contemplation of the Gateway when viewers encounter the Seeds of Change further down the highway. The leaf shape thus becomes an iconic and easily recognised symbol of Wyndham City.

PROPOSAL | project delivery

The design features two sets of three screens (one for each side of the site). Duplication of the screen design allows for economies in fabrication, which would use innovative Computer Aided Manufacturing techniques to cut the perforations.

The dimensions of the screens are given in the diagram below; the diagram to the right illustrates the placement of the screens on Site A.

SITE PLAN (screens in red)

DIMENSIONS OF SCREENS (note: pattern not to scale)

SCALE AND FABRICATION

CONSTRUCTION

VEGETATIONVegetation is distributed across WYNDSCREEN, in front of the screens and in planter boxes that run along sections of the middle and back screens. The planterboxes are discreetly placed behind the screens such that the vegetation appears to grow organically across the structure. Attaching the planter boxes to the top of the screens in sections where there are no perforations means that the overall effect of penetration through the overlapping perforations is not obstructed by the plants.

These diagrams illustrate the basic structure of WYNDSCREEN.

The screens consist of 2mm thick Corten panels on a 48mm structural frame. The panels are held in place by steel braces which are set in concrete footings below ground. A tongue in groove system connects each panel which is 6m wide, allowing for a nearly seamless appearance across the 280m of structure.

At either end of the structure the panels appear to cut into the mound, which is stabilised with a retaining wall.

Phormium plants are recommended due to their hardiness, drought tolerance and minimal required maintenance. They also come in a range of colours and variegated varieties from dark reds to golden and green varieties. Phormium is widely available and commonly used in public landscaping.

PROPOSAL | fabrication

A 1:500 model was fabricated to represent how WYNDSCREEN sits on the site. The model is a representation of the entire form and as such details such as the perforated pattern were not included. The 1:500 model illustrates the overall form which consists of 3 panels on each side, which cut into the central mound of the site.

MODEL | 1:500 | Site Placement

DESIGN BRIEF: consideration of how the installation integrates with the immediate and surrounding landscape... appropriately scaled

MODEL | 1:20 | Detail

Planter boxes are attached periodically along the middle and back panels. The boxes are placed on the backside of the panels (the side opposite to that which faces the road) such that they are out of view and the vegetation appears to be growing organically along the structure.

DESIGN BRIEF: ease of maintenance, materials, longevity...

A 1:20 model was fabricated with the primary purpose of illustrating the intended structure of WYNDSCREEN. The model shows the way the 2mm thick Corten panels are placed on an internal structure. WYNDSCREEN will be constructed of 6m panels featuring 2mm thick Corten on a 48mm internal structural frame. The panels connect to each other with a tongue-and-groove type system, making the overall effect appear seamless. The panels sit in a concrete footing system which lies out of site, below ground level. The gentle curve of the panels across the site also acts to enhance the structural stability of the screens.

MODEL | 1:200 | Day Effect

MODEL | 1:200 | Day Effect

i.

DESIGN BRIEF: original and engaging in form...experiential approach

A 1:200 model of WYNDSCREEN was fabricated, representing about a quarter of the area of the site. The intent of this model was to demonstrate the effects of light on the experience of the form at different times of the day. Another key purpose was to demonstrate the experiential aspect of the Moire Effect created by the vertical, offset perforations.

i. EARLY MORNING: shining directly onto the perforated panels. The perforations appear darker as the panels glow in the directional early morning light.

ii.

iii. iv.

ii. NOON: the entire structure is illuminated and the perforations glow as the space between them is lit up. The vegetation is also highlighted at this time.

iii. LATE AFTERNOON: the perforations on the eastern side of WYNDSCREEN glow with the setting sun shining through them.

iv. LATE AFTERNOON: the perforations on the western side of WYNDSCREEN are in shadow as the setting sun shines directly on the panels.

MODEL | 1:200 | Night Effect

MODEL | 1:200 | Night Effect

At night time, the perforations appear to glow out of the surrounding landscape. Lighting behind and between the screens creates this effect and draws attention away from the imposing service station on the western flank of the site, instead encouraging reflection on WYNDSCREEN and its location at the entrance to Wyndham City.

v. Night view northbound of site A on the Princes Hwy, showing the existing TAC sign and the imposing glow of the service station on the western flank,

vi. Lighting behind the panels at nighttime will create a glowing Moire Effect.

vii. Perspective view at night time including shadows in front of the panels.vi.

v.

vii.

DESIGN BRIEF: backdropped by a large scale service centre...experiential approach...daytime and night time viewing

W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium

Detailed Section illustrating structure

Screens rendered with Corten effect

Dimensions

DESIGN PROCESSThe design is the product of extensive experimentation, selection and refinement of ideas through generative parametric modeling techniques. Key ideas that were explored in the Expression of Interest proposal and expanded upon during the rationalisation phase include overlapping and offset patterns using image sampler associations. Computer aided design enables innovative design and fabrication techniques.

We gave consideration to the high-speed movement of the vehicles that would provide the primary viewpoint of the form and decided to incorporate a Moir effect into the design. Our investigations into the creation of Moir effects concluded that repetitive vertical elements create the most dynamic effect. As such, we refined our design to incorporate vertical perforations, rather than the polygonal perforations initially explored.

WYND SCREEN will never become static as it responds to a range of time scales: it is a dynamic experience that changes over the course of time it takes to drive past it; the effects of light and shadows vary over the course each day, and the structure will develop over the years as the materials weather and the plants grow.

S T R U C T U R EThe simple structure of WYND SCREEN allows for state-of-the-art offsite computer-aided fabrication and efficient onsite installation.

P L A N T SPhormium plants were chosen as they are drought tolerant, require minimal maintenance and are widely available being commonly used in public landscaping. The variegated colour of the plants complements the Corten and natural palette of the site.

P A T T E R NThe organic pattern resembling leaves refers to the integration of organic elements in the design, especially the vegetation and topography. It is also an iconic symbol of Wyndham City, reflecting the shape of the Seeds of Change sculpture, thus linking the Wyndham Gateway with this existing landmark. This encourages further contemplation of WYND SCREEN beyond first glance, as viewers are reminded of it further down the highway.

C O N T E X TWYND SCREEN responds to the context of its site by integrating the built element with the landscape, which is also the only topographic feature in the vicinity. WYND SCREEN becomes part of the landscape but remains dynamic through its Moir experience. The curve of the panels mimics the existing elongated curve of the site, which also enhances the structural stability of the form. The scale of the panels is appropriate to the viewpoint from a moving vehicle and responds to the existing topography of the site.

W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium

Detailed Section illustrating structure

Screens rendered with Corten effect

Dimensions

DESIGN PROCESSThe design is the product of extensive experimentation, selection and refinement of ideas through generative parametric modeling techniques. Key ideas that were explored in the Expression of Interest proposal and expanded upon during the rationalisation phase include overlapping and offset patterns using image sampler associations. Computer aided design enables innovative design and fabrication techniques.

We gave consideration to the high-speed movement of the vehicles that would provide the primary viewpoint of the form and decided to incorporate a Moir effect into the design. Our investigations into the creation of Moir effects concluded that repetitive vertical elements create the most dynamic effect. As such, we refined our design to incorporate vertical perforations, rather than the polygonal perforations initially explored.

WYND SCREEN will never become static as it responds to a range of time scales: it is a dynamic experience that changes over the course of time it takes to drive past it; the effects of light and shadows vary over the course each day, and the structure will develop over the years as the materials weather and the plants grow.

S T R U C T U R EThe simple structure of WYND SCREEN allows for state-of-the-art offsite computer-aided fabrication and efficient onsite installation.

P L A N T SPhormium plants were chosen as they are drought tolerant, require minimal maintenance and are widely available being commonly used in public landscaping. The variegated colour of the plants complements the Corten and natural palette of the site.

P A T T E R NThe organic pattern resembling leaves refers to the integration of organic elements in the design, especially the vegetation and topography. It is also an iconic symbol of Wyndham City, reflecting the shape of the Seeds of Change sculpture, thus linking the Wyndham Gateway with this existing landmark. This encourages further contemplation of WYND SCREEN beyond first glance, as viewers are reminded of it further down the highway.

C O N T E X TWYND SCREEN responds to the context of its site by integrating the built element with the landscape, which is also the only topographic feature in the vicinity. WYND SCREEN becomes part of the landscape but remains dynamic through its Moir experience. The curve of the panels mimics the existing elongated curve of the site, which also enhances the structural stability of the form. The scale of the panels is appropriate to the viewpoint from a moving vehicle and responds to the existing topography of the site.

W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium

Detailed Section illustrating structure

Screens rendered with Corten effect

Dimensions

DESIGN PROCESSThe design is the product of extensive experimentation, selection and refinement of ideas through generative parametric modeling techniques. Key ideas that were explored in the Expression of Interest proposal and expanded upon during the rationalisation phase include overlapping and offset patterns using image sampler associations. Computer aided design enables innovative design and fabrication techniques.

We gave consideration to the high-speed movement of the vehicles that would provide the primary viewpoint of the form and decided to incorporate a Moir effect into the design. Our investigations into the creation of Moir effects concluded that repetitive vertical elements create the most dynamic effect. As such, we refined our design to incorporate vertical perforations, rather than the polygonal perforations initially explored.

WYND SCREEN will never become static as it responds to a range of time scales: it is a dynamic experience that changes over the course of time it takes to drive past it; the effects of light and shadows vary over the course each day, and the structure will develop over the years as the materials weather and the plants grow.

S T R U C T U R EThe simple structure of WYND SCREEN allows for state-of-the-art offsite computer-aided fabrication and efficient onsite installation.

P L A N T SPhormium plants were chosen as they are drought tolerant, require minimal maintenance and are widely available being commonly used in public landscaping. The variegated colour of the plants complements the Corten and natural palette of the site.

P A T T E R NThe organic pattern resembling leaves refers to the integration of organic elements in the design, especially the vegetation and topography. It is also an iconic symbol of Wyndham City, reflecting the shape of the Seeds of Change sculpture, thus linking the Wyndham Gateway with this existing landmark. This encourages further contemplation of WYND SCREEN beyond first glance, as viewers are reminded of it further down the highway.

C O N T E X TWYND SCREEN responds to the context of its site by integrating the built element with the landscape, which is also the only topographic feature in the vicinity. WYND SCREEN becomes part of the landscape but remains dynamic through its Moir experience. The curve of the panels mimics the existing elongated curve of the site, which also enhances the structural stability of the form. The scale of the panels is appropriate to the viewpoint from a moving vehicle and responds to the existing topography of the site.

FINAL PRESENTATION | panels

W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium

Detailed Section illustrating structure

Screens rendered with Corten effect

Dimensions

DESIGN PROCESSThe design is the product of extensive experimentation, selection and refinement of ideas through generative parametric modeling techniques. Key ideas that were explored in the Expression of Interest proposal and expanded upon during the rationalisation phase include overlapping and offset patterns using image sampler associations. Computer aided design enables innovative design and fabrication techniques.

We gave consideration to the high-speed movement of the vehicles that would provide the primary viewpoint of the form and decided to incorporate a Moir effect into the design. Our investigations into the creation of Moir effects concluded that repetitive vertical elements create the most dynamic effect. As such, we refined our design to incorporate vertical perforations, rather than the polygonal perforations initially explored.

WYND SCREEN will never become static as it responds to a range of time scales: it is a dynamic experience that changes over the course of time it takes to drive past it; the effects of light and shadows vary over the course each day, and the structure will develop over the years as the materials weather and the plants grow.

S T R U C T U R EThe simple structure of WYND SCREEN allows for state-of-the-art offsite computer-aided fabrication and efficient onsite installation.

P L A N T SPhormium plants were chosen as they are drought tolerant, require minimal maintenance and are widely available being commonly used in public landscaping. The variegated colour of the plants complements the Corten and natural palette of the site.

P A T T E R NThe organic pattern resembling leaves refers to the integration of organic elements in the design, especially the vegetation and topography. It is also an iconic symbol of Wyndham City, reflecting the shape of the Seeds of Change sculpture, thus linking the Wyndham Gateway with this existing landmark. This encourages further contemplation of WYND SCREEN beyond first glance, as viewers are reminded of it further down the highway.

C O N T E X TWYND SCREEN responds to the context of its site by integrating the built element with the landscape, which is also the only topographic feature in the vicinity. WYND SCREEN becomes part of the landscape but remains dynamic through its Moir experience. The curve of the panels mimics the existing elongated curve of the site, which also enhances the structural stability of the form. The scale of the panels is appropriate to the viewpoint from a moving vehicle and responds to the existing topography of the site.

Part IIILEARNING OBJECTIVES AND OUTCOMES

OBJECTIVE 1 | interrogat[ing] a brief by considering the process of brief formation in the age of optioneering enabled by digital technologies

OBJECTIVE 2 | developing an ability to generate a variety of design possibilities for a given situation by introducing parametric modelling with its intrinsic capacities for versioning;

OBJECTIVE 3 | developing skills in various three-dimensional media and specifically in dynamic 3D modelling, digital fabrication, dynamic diagramming and so on;

OBJECTIVE 4 | developing an understanding of relationships between architecture and air through interrogation of design proposal as physical models;

OBJECTIVE 5 | developing the ability to make a case for proposals by engaging students in the controversies and contradiction of contemporary architectural discourse on digital architectural design.

OBJECTIVE 6 | begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application;

OBJECTIVE 7 | develop the foundational understanding of computational principles behind digital geometry, data structures and programming;

OBJECTIVE 8 | develop capabilities for conceptual, technical and design analysis capable of positioning students creative work in comparison with the flagship professional projects.

In this section, I discuss on my learning progress and outcomes of the semester, starting with a reflection on my abilities at the start of the semester compared to the end, examining my progress and outcomes achieved, and considering how I might apply my new skills in the future.

LEARNING OBJECTIVES AND OUTCOMES | personal

DIGITAL DESIGN SKILLSAt the start of semester I had limited experience with Rhino3D. I had learnt basic skills on Rhino3D during first semester 2011 while using it for the unit Virtual Environments. My capabilities were extremely limited however, and I had forgotten many basics not having used the program at all for 8 months (please refer to my further comments about the support of the development of computational design techniques in the Bachelor of Environments (Architecture) degree in the next section on Learning Objectives and Outcomes | Progress).

PERSONAL OBJECTIVESI was excited about developing my digital design capabilities and hoped to reach a level of competence that would allow me to easily apply these skills in future studios and possibly employment.

SCOPE OF THE PROJECTI was initially disappointed by the scope of the design project, especially as it lacked a traditional functional programme component to the design. However, I also understood that design of a functionally simple structure would allow us to concentrate on developing our computational design skills rather than worrying about more traditional functional design concerns.

INTERROGATING A BRIEF AND PREPARING A PROJECT PROPOSAL/EXPRESSION OF INTERESTI have had previous experience writing business proposals professionally in the corporate finance sphere and thus understood the importance of addressing the stated requirements of the client in the project brief.

VERSIONING AND OPTIONEERINGI understood the potential to generate multiple iterations of design ideas due to my experience experimenting with panelling techniques during Virtual Environments in first semester, 2011.

LEARNING OBJECTIVES AND OUTCOMES | progress

ONLINE TUTORIALSI found it frustrating having to learn to use Rhino3D and Grasshopper through online tutorials. A large part of my frustrations were due to a poor internet connection at home, which made watching the videos a prolonged and painful process. When I accessed the videos at university, I maxed out my download quota on one occasion and so was not able to access non-university websites at all for the rest of the week which was frustrating. This could have been avoided if the video tutorials were available directly through the LMS instead of via Vimeo.

RHINO3D and GRASSHOPPERI was also frustrated at having a Mac laptop. I installed Windows via Bootcamp on my laptop, however was unable to access any networks/internet via Windows. As a result, in order to watch the videos whilst simultaneously using Grasshopper, I would have to access the videos via a different computer or device to the laptop I was working on. The frustrations of using a Mac when most architecture software is native to Windows and may have only WIP or relatively new versions to run on Macs has been frustrating since I started this course and I plan to rectify this by getting a PC at the earliest convenience (i.e. when I can afford it).

THE PLACE OF PARAMETRIC DESIGN IN THE BACHELOR OF ENVIRONMENTS DEGREEIt took me a while to get the hang of Grasshopper. In fact, it wasnt until I was able to sit down over the Easter break and put ongoing hours into using the program and exploring its possibilities that my capabilities jumped significantly. I went from being able to duplicate the scripts taught during the tutorials to being able to apply some independent thinking and create my own scripts or modify those that I had learnt to my needs.

I appreciate the need for ongoing dedicated use of the programs to develop competence in them. I plan to maintain my skills and further develop my competence through practice by applying them in future studio work. I hope that future studios will allow this, as there has been a large disparity between ADS3 and ADS2 which required handdrawing and traditional design techniques based on the modern masters such as Le Corbusier and Mies Van Der Rohe.

My enthusiasm to learn skills in digital design at the beginning of semester has not waned of the semester, however it has been slightly disillusioning undertaking this unit concurrently with a construction unit which required the use of AutoCAD 2D drafting. Learning about parametric design whilst being required to use such a backwards, inefficient drafting technique in another major assignment only served to highlight to me the benefits and potential of parametric design techniques and computational modelling.

Whilst I understand the necessity to learn about traditional architectural practices and construction techniques in this degree, I believe that this unit, along with Virtual Environments, are outliers in the Bachelor of Environments (Architecture) degree. These units do not seem integrated into the rest of the degree, in that the skills learnt are not well supported or built upon in other core units. Given the necessity to keep using the skills learnt in these units, it is disappointing that these skills are not endorsed by other units or built upon further. I acknowledge that these comments are based on my experience of the undergraduate degree only and I cannot speak for the Masters Program which I believe has more flexibility in choice of design studios etc. however I do think this is a point of weakness that could and should be remedied.

LEARNING OBJECTIVES AND OUTCOMES | outcomes

SCRIPTINGI now understand the significance of being able to script, how it can free designers of the inherent constraints of standardised programmes that cater to crowd and thus enable status quo design outcomes. This was something I had never before considered, as I had previously thought computer programming was the domain of other people, but not myself.

MY ABILITIES AND POTENTIALLearning about parametric design also expanded my awareness of how I might apply my strengths in mathematics and analytical sciences in the field of architecture. As an introductory unit to parametric design, it has made me curious about how I might pursue this further to draw on my inherent strengths more in this field.

DIGITAL DESIGN IN THE WIDER ARCHITECTURAL DISCOURSEI more fully appreciate and understand the position of digital architecture within the wider architectural discourse, having examined arguments for and against digital architecture in our prescribed readings and personal research. Having completed this studio concurrently whilst studying a modern architectural history unit (Momo to Pomo), I can see the way that digital architecture represents a new theoretical pathway for architecture and a break from modernism through the capabilities and potential computational design provides human designers.

INTERROGATION OF A REAL WORLD DESIGN BRIEFDespite my initial disappointment in the scope of the design brief, I appreciated the fact that we got to use a real-world design brief to guide the design project. It required us to consider our design as sitting in the real world and being guided by actual parameters. It also helped us to learn what clients are actually looking for in this type of project (eg. iconic, noteworthy, innovative). It was also useful learning about the function and structure of an Expression of Interest, though that stage of the project did seem to go for longer than necessary, eating into the design stage of the semester.

It would have been good to have more involvement from the Wyndham City Council, even if they came to sit in on some Week 12 presentations and hear their feedback, since it was their criteria that was a significant consideration in the design process.

DIGITAL DESIGN SKILLSAs discussed in the previous section (PROGRESS), I now feel that I understand the basic capabilities of Grasshopper and am confident enough in my abilities to be able to experiment with scripts and explore further possibilities. I would like to maintain and improve my capability by continuing to use the programs in future studios.

LEARNING OBJECTIVES AND OUTCOMES | future workVERSIONING AND OPTIONEERINGI enjoy being able to generate multiple options by playing with parameters on a computer screen and would like to apply this technique in future design projects.

UTILISATION OF SKILLSAs mentioned earlier, I would like to maintain and improve my current ability level using Rhino3D and Grasshopper by continuing to use the programs in design work.

PARAMETRIC THINKINGAn important outcome of the semester for me has been that I now think parametrically and can apply this thinking in design with ease. Now that I am aware of the tools and am equipped with some skills to apply this way of thinking in computational design, I think I will continue this technique in future work.

DESIGN PROCESSSince the first two thirds of semester was dedicated to developing our digital design skills to a reasonable level, the design phase of the semester felt somewhat rushed. Whilst the matrix development task was meant to provide us with a range of options to choose from and develop further, the focus at that stage felt less on design and more on exploring our capabilities using the programs. However, we did end up applying the design ideas explored and developed during the matrix phase in our final design/project proposal. I think I would have found the matrix development more satisfying if it was more closely linked with generating designs for the final project (as opposed to just potential techniques to apply to this design).

FABRICATIONAlthough our final project proposal models were not fabricated using laser cutters or computer-aided techniques, we did get several prototype models fabricated using the laser cutter in the FABLAB. The process of getting these models fabricated along with being exposed to the range of techniques and materials being applied by other students in the course has increased my awareness of the possibilities of digitally aided fabrication (on this scale).