Final Journal

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JOURNAL 390136_LYDIA GINN

CONTENTS

PART I - Expression on Interest

02 ADVANCING ARCHITECTURAL DISCOURSE

03 CASE FOR INNOVATION - PERSONAL PROJECT Faifi eld Boathouse Design inspired by Frank Lloyd Wright

04 CASE FOR INNOVATION - PROFESSIONAL PROJECTS Yas Hotel by Asymptote BMW Welt by Coop Himmelb(l) Au

07 PARAMETRICISM

08 COMPUTATING IN ARCHITECTURE Nordpark Cable Railway by Zaha Hadid Meta Series by Simbiotek Design Lab

11 PARAMETRIC MODELLING Seroussi Pavillion by Biothing Morphogenisis Growth by Marc Fornes

15 CUT/DEVELOP Matrix of Combinations Morphogenisis Speed/Movement

18 REVERSE ENGINEERING CASE STUDIES

30 EXPRESSION OF INTEREST Direction for Wyndham

31 PERSONAL REFLECTION Refl ection of the First 8 Weeks

PART II - Project Proposal

33 FINAL DESIGN PROCESS - INITIAL CONCEPT

34 FINAL DESIGN PROCESS - RE-EVALUATION OF CONCEPT Concept Development Location Construction / Materials 44 MODEL FABRICATION PROCESS

49 THE WYNDHAM GATEWAY - FINAL STATEMENT

PART III - Learning Objectives & Outcomes

51 PERSONAL REFLECTION What I Hoped to Gain from ADS Air Learning Progress Learning Outcomes Future Work

DESIGN BREIFWestern Gateway Design Project Wyndham City

SYNOPSIS

Design an exciting, eye catching installation at Wyndham’s Western Gateway. It will primarily be viewed by motorists travelling at high speed and provide the fi rst indication of arrival into

metropolitan Melbourne.

The Western Gateway installation should provide an entry statement and arrival experience, and become a new identifi er for the municipality.

The installation should create a focal point of iconic scale and presence and encourage a sense of pride within the local community.

The Western Gateway should propose new, inspiring and brave ideas, to generate a new discourse.

K Road Cli� s - Werribee

LYDIA GINN 390136 pg. 1

PART I EXPRESSION OF INTEREST

ADVANCING ARCHITECTURAL DISCOURSE

CONTRIBUTING TO DISCOURSEWestern Gateway Design Project Wyndham City

When designing the Western Gateway project it is vital that we contribute to a discourse. Richard Wil-liams in ‘Architecture and Visual Culture’ highlights that “architecture is as much a philosophical, social

or professional realm as it is a material one, and it is through the consideration of architecture as a discourse than one can engage with it as visual culture.” In other words, a design must have more sub-stance than just aesthetic qualities. In order for it to be fully appreciated a design needs to have some social, philosophical or professional signifi cance. Once this is achieved, an audience can begin to think

about it from the point of view of its consumption as much as its production.

Williams proposes that there are three approaches to architecture that must be followed.

ARCHITECTURE AS ARTArchitecture can only exist if there is a client and it is the client who determines the function of a project, its specifi cation, its location and its cost. In terms of the Wyndham Gateway project our parameters have been set and it is essential that we fulfi l the brief.

ARCHTECTURE AS A SIGNArchitecture is on display in the public realm and is therefore opened up to multiple read-ings by the non-specialised public. When de-signing the Western Gateway the perceptions of the public must be considered and an approach must be taken that appeals to a broad audience.

ARCHITECTURE AS A SPATIAL EXPERIENCEWyndham city council is very much after a project that considers the psychological eff ects the Gate-way would have of viewers as it is their main goal to inspire and enrich the municipality of the city.


BOATHOUSE personal project Yarra Bend Park, Fairfeild

This design is a proposal for a new Yarra River Boathouse, in Fairfi eld. The project was inspired by Frank Lloyd Wright, who was an early pioneer of modern architecture and greatly changed the way designers thought about design. The development of the Prairie style in the early 1900’s is an example of how Wright advanced architectural discourse.

Like Wright, I incorporated elongated, geometric forms, hugely cantilevered balcony and roof elements and monu-mentality through scale. The design is heavily integrated into the gently sloping hillside through the use of partial walls and far reaching eaves, stretching out into the surrounding landscape.

This design can be described as contributing to architectural discourse in that it challenges conventional boathouse design. The elements, for instance (offi ce, restaurant, café, boat hire and kiosk) are enormous and separate from each other, con-nected via grandiose staircases ascending the landscape. Rather than being located solely on the water’s edge the structure scales the landscape, far above the river. As well, the balconies and roofs appear to defy gravity, cantilevering up to 8 meters out over tree tops, requiring complex engineering.

Wright was known to create innovative monuments that were heavily integrated within their surrounding contexts, yet stood out, creating a grand statement. I attempted to achieve this in my boathouse design and aim to emulate this legacy of Wright in a design for the Wyndham City Gateway - the gateway must create a focal point of iconic scale and presence and encourage a sense of pride within the local community - as outlined in the project brief.




GEHRY’S OWN HOUSE by FRANK GEHRY California



Frank Gehry has been labelled “the most impor-tant architect of our age” by Vanity Fair, produc-ing a number of inspiring works that challenged the conventions of traditional architecture and prompt an array of mixed emotions from viewers. Gehry’s own house for example received much criticism from neighbours, who believe it ‘an eye-sore on the neighbourhood’ and ‘abnormal’. Gehry wished to transform his little pink bungalow into something “more important” by juxtaposing dif-ferent building types and scattering found objects over the façade and within the house. During the transformation of his house cheap materials in-cluding chain link fencing, plywood and galvan-ised corrugated iron fascinated Gehry. He thought encasing his house in a haphazard arrangement of these materials was a great way to experi-ment with the mass produced materials that were not ordinarily used in the building of houses.

Gehry can be said to have advanced architectural discourse by creating something that changed people’s attitudes towards ordinary and every-day things. His architecture is more like sculp-tural works of art than anything else. Gehry fo-cuses on outlandish forms that are captivating and render the audience somewhat puzzled and intrigued as to what exactly they are looking at.

The Wyndham Gateway should be a captivat-ing sculptural form that demands viewer’s atten-tion. Gehry has achieved this by challenging the ordinary and creating a spectacle that is thought provoking. We aim to achieve just this when de-signing our proposal for the Western Gateway.

Saga Húsanna. 2006. Stories of Houses. Accessed Online on 1/05/12 via < http://sto-riesofhouses.blogspot.com.au/2006/02/frank-gehrys-house-in-california.html>

BWM WELT by COOP HIMMELB(L) AU Munich, Germany

BMW Welt, a project by Architecture fi rm COOP HIMMELB(L)AU, is a prime example of parametric modelling, a method that al-lowed for a precise repetition of panelled glass shapes, abstract, fl uid forms and a design that works to reduce overall environmental impact.

BWM Welt was designed as a showroom for cur-rent BMW models, as well as an engaging space to hold events and forums. Architect Wolf Prix’ design intent was made clear when he announced at its opening that, “the building does not have the boredom of a hall, it is not only a temple, but also a market place and a communication cen-ter and meeting place for knowledge transfer”.

BMW’s innovative discourse set a trend for German carmakers who began erecting a similar “string of lavish, architecturally distinct temples to showcase their wares” (Landler, 2007) including the Mer-cedes-Benz Museum and the Porsche Museum.


LYDIA GINN 390136 pg. 5Landler, Mark. (2007). BMW’s Shrine to Horsepower. (New York: New York Times

BWM WELT by COOP HIMMELB(L) AU Munich, Germany


This complex twisted torque structure ad-vances architectural discourse by redefi ning the notion of a car showroom and dealer, with all design concepts geared toward enhancing the experience of delivery. The conventional ideal suggesting that form will follow function is challenged by BMW Welt, since function has evolved out of form through the use of parametric design.

Advancement in architectural discourse is made since this structure is a symbolic showcase of the innovation in computer modeling, a concept that is shared with BMW’s product. Through this cathedral-like showroom that dominates the surround-ing streetscape, BMW have made buying their ‘luxury’ brand a luxurious experience, shedding a grand and sophisticated light on their product and evoking feelings of aris-tocracy and importance within the buyer.

“Our dealers are like local churches,

while BMW Welt is St. Peter’s Cathedral” – Michael Ganal

“Our dealers are like local churches, while BMW Welt is St. Peter’s Cathedral”- This statement by Michael Ganal, BMW’s direc-tor of marketing highlights what the show-room achieved – affi rmation of BMW’s high status amongst other car brands.

Parallels can be drawn between the mes-sage behind BMW Welt and that intended in the Wyndham Gateway Project. Wyn-dham too hope to elevate their status within the broader context of Melbourne. Using parametric design we aim to de-sign a Gateway that achieves just this.

LYDIA GINN 390136 pg. 6Landler, Mark. (2007). BMW’s Shrine to Horsepower. (New York: New York Times


We have seen a growing inter-est in parametric design in recent avant-garde architecture as it presents a new approach to archi-tecture based on advance com-putational design techniques. It is a new movement with radically new ambitions that, as more de-signers turn to parametricism, is defining the style of the new age.

Parametric design uses a series of parameters to design rather than simply forming a shape. It is through assigning different values to these parameters that objects can be created. This approach al-lows designers to create a set of principles encoded as a sequence of parametric equations, rather than simply a shape, by which specific sections of the design can be generated and altered when necessary (Kolarevic, pp.18).Parametric desing is a way to de-sign objects that are active and constantly changeable without affecting the nature of them.

PARAMETRICISM

“The new primitives are animate, dynamic, and interactive entities—

splines, nurbs, and subdivs—that act as building blocks for dynamic systems.”

-Patrik Schumacher

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufac-turing (New York; London: Spon Press, 2003), pp.8

The use of digital modeling has opened up a universe of com-plex forms that, prior to modern computation programs such as CAD, would have been diffi cult to represent and develop. What is exciting about this new style is that parametricism off ers a fl ex-ible set of components to ma-nipulate. This leads to an infi nite amount of variation in design.

Computational design there-fore advances architectural discourse in that it allows de-signers to move away from an al-legiance to rigid geometrical fi g-ures as was the case in the past.

Zaha Hadid’s Nordpark Cable Rail-way is an example of this emerging style of digital design and construc-tion. It is comprised of four new sta-tions and a cable-stayed suspension bridge over the river Inn, taking pas-sengers from the centre of Innsbruck to the top of the mountain. Hadid’s philosophy was that each station design was to be diff erent and adapt specifi cally to the site conditions at various altitudes, yet all maintain the coherent overall architectural language of fl uidity (arcspace, 2008).

“The railway refl ects the city’s contin-ued commitment to the highest stan-dards of architecture and pushes the

boundaries of design and construction technology.”

-Zaha Hadid

COMPUTING IN ACHITECTURE

NORDPARK CABLE RAILWAYby ZAHA HADID INNSBRUCK, AUSTRIA

The use of parametric design al-lows a high degree of fl exibility within Hadid’s language of seam-less fl uidity that enables the shell structures to adjust to various site parameters, whilst maintain-ing a coherent formal logic. New production methods such as CNC milling and thermoforming en-sured a precise automatic trans-lation of the computer generate

design into the built structure.

Like Hadid’s philosophy, it is im-portant that the gateway maintain an overall language in order to be percieved as a coherent whole. It is also necessary to adjust the de-sign to suit various site parame-tres such as wind conditions.

The Wyndham Gateway Proj-ect should propose new, inspir-ing and brave ideas, to gener-ate a new discourse. To me this is precisely what computational design entails, creating excit-ing radical forms that evoke new perceptions of what design is. The gateway must inspire a fresh and modern outlook for Wynd-ham City, highlighting the com-munity as an important sector in broader Melbourne’s Future.

Arcspace. 2008. Zaha Hadid’s Nordpark Cable Railway. Accessed online (21/4/12). < http://www.arcspace.com/architects/hadid/nordpark/nordpark.html> LYDIA GINN 390136 pg. 8

“Compared to this what are the cathedrals or palaces built by men! Mere models of

playthings, as diminutive as his works will always be when compared with those of

nature.”– Joseph Banks

Designers look to nature for inspiration as it is in nature’s strategies where form genera-tion is driven by maximal performance vari-ation. Computational modelling and new technologies of fabrication have allowed us to more closely imitate the complexities of nature in our designs when compared with the past, making them inherently more ef-fi cient in their use of materials and energy.

Simbiotek Design Lab (SDL) has focused on the creation of biomimetic products that edify their clientele on the importance of biodiversity in the natural world. Their products are based on researching highly evolved organisms utilizing design com-putation and advanced fabrication tech-niques. An example of their work is the Meta Series, which consist of both a jew-elry and furniture line based on research into various organisms that display the vo-ronoi subdivision logic, namely the giant Amazonian water-lily and dragonfl y wings.

The Meta occasional tables feature a subsurface produced by a CNC router which is a computer controlled machine for composites, aluminum, steel, plas-tics, wood and foams. The Meta bracelets are 3D printed from a soft yet durable ABS plastic that has a coral like texture.

META SERIES by SIMBIOTEK DESIGN LAB


LYDIA GINN 390136 pg. 9Simbiotek Design Lab. (2012). Interation, Design Technology. Accessed Online 22/04/12 via < http://simbiotekdesignlab.com/>



In both the past and the present of Wyndham City there is an intensive relationship between the natural environments and the activities of human settlement and associated industries.

The city itself has undergone enormous expansion in recent years, experiencing the largest and fastest population and

industry growth in all Victorian local government areas (Wynd-ham City Council, 2012).

We aim to focus on this growth in the development of the Western Gateway. Like Simbiotek Design Lab, we will Look to

biomimetic design and morphogenesis, the biological process causing an organism to develop its shape, for inspiration, we aim to convey Wyndham city as a growing organism in the

broader fabric of Melbourne.

Wyndham City Council. (2012). Population and Demographics of Wyndham. Ac-cessed Online 22/04/12 via < http://www.wyndham.vic.gov.au/aboutwyndham/wyndhamcity/demographics> LYDIA GINN 390136 pg. 10

SEROUSSI PAVILLION by BIOTHING Design team: Blasetti / Wang / Evers / Raingsan / Eun / Bearak Paris 2007

Biothing uses bottom up processing, an agent based design system utiliz-ing digital technologies and parametric programming to realize their structures. This method of scripting is a ‘voyage of discovery’ (Burry, 2011), rather than a means to better a pre-conceived design idea. Biothing describe their process as one without having any clear goals, a method of ‘generative’ design where outcomes emerge from exploration.

Seroussi Pavillion, as an example, was ‘grown’ out of self-modifying patterns of vectors based on electro-magnetic fi elds (EMF). The script allows for lo-cal adaption to the site and in short there are six geometrical systems used to design the pavilion, all stem-ming out of a primary trajectory.

Biothing. 2010. Serouissi Pavilio. Accessed 22/03/12. < http://www.biothing.org/?p=24>

PARAMETRIC MODELLING


SEROUSSI PAVILLION by BIOTHING Design team: Blasetti / Wang / Evers / Raingsan / Eun / Bearak

Paris 2007



The project portrays the complexity and innovation of digital scripting and fabrica-tion and demonstrates how computational design practices have been assimilated into contemporary design practices. I feel that scripting is a revolutionary paradigm that allows designers today to plan and fabricate forms that otherwise would have been immensely diffi cult, if not impossible.

Parametric design has received criticism however. Some claim that using such de-sign mechanisms leads to a loss of ‘the hand’ in architecture, or the skill of sketch-ing forms and concepts. Rob Woodbury, in his book Elements of Parametric Design argues that conceptual sketching is not lost. Instead sketching with code” is the new architectural discourse, which retains the ability to capture ambiguity, to ex-plore and to adapt to change, as seen in the Seroissi Pavillion. As well, Woodbury demonstrates that sketching with code, al-though quite new in architecture, is by no means foreign to broader fi elds of design.

The idea surrounding mechanized de-sign is intriguing. The act of designing is taken to a meta-level where, rather than identifying specifi c content, we identify frameworks and rules within which con-tent happens. This notion epitomizes Burry’s concept, ‘scripting as a voyage of discovery,’ and is one which will be fully embraced whilst using Grasshop-per to design the Wyndham Gateway.

LYDIA GINN 390136 pg. 12Robert Woodbury. Elements of Parametric Design. New York: Bentley Institute Press. 2010

Zubin Khabazi’s book ‘Generative Algorithms’ (2009), describes the “development of parametric ob-jects in Grasshopper/Rhino Environ-ment using algorithmic solutions through experiments rather than geometrical/algorithmic subjects.” Khabazi focusses on the formation process of the micro-organisms’ hard shells, utilising the methodol-ogy of form fi nding to mimic these structures in digital space and fab-ricate it with new machineries like Laser-cutters or CNC machines.

Khabazi’s work inspired us to consid-er the augmentation of Wyndham as a generative function, something which evolves and expands over time like nature. The concept of morpho-gensesis previously raised is linked to the technique of form-fi nding. Scripting, such as in Grasshopper, to digitizing morphogenesis in na-ture is quite similar to the naturally occuring processes of morphogeni-sis. Wyndham City’s urban growth and its strong connection with the surrounding environment can be linked to mophology since they are both in a constant sate of fl ux.

MORPHGENESISGenerative Algorithms

MORPHGENESIS IN NATURE Epithelial cells

JENNY SABINE “Branching Morphogenesis” Simulates the predicted network generated by human lung cells as they interact with an extracellular matrix in three-dimensional space and time.





Marc Fornes’ ‘The Very Many’ ex-plores scripting as a method of de-sign. ‘Growth’, a project conducted in 2009, uses Grasshopper to create a form based on growth formation of an object, focusing on random-ness and non-linearity. Fornes applies probabilistic randomness, therefore forming structures that although similar cannot be produced twice.

This concept of using Grasshop-per to represent growth and the resulting morphology models pro-vide a source of inspiration for our Wyndham Gateway design. A similar approach can be taken to allude to the natural growth of the city by comparing it to the morphologies of an organism.

GROWTH by MARK FORNES The Very Many



CUT / DEVELOP RESEARCH PROJECTMatrix of Combinations

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INPUT Explicit Grid Using Surface Normals Curve Intersection Surface Grid Arbitrary Points Boolean Patterning

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CUT / DEVELOPMorphogenesis

INPUT - Arbitrary PointsASSOCIATIVE TECHNIQUE - Image SamplerOUTPUT - Rotation

This initial exploration involved lofting a surface in Rhino and refer-encing it into the defi nition produced during grasshopper explora-tions. It resulted in an organic, contorted, fl owing form .

Simlifying the initial curve and adjusting the param-eters for the rotation and image sampler transformed the structure into what could be likened to the double helix form of DNA. This time the eff ect of the image sampler is less visible resulting in a more inform array of circluar forms

Adjusting the radias of the circles has produced an amor-phous form, rather like the stalectites and stalecmites found in caves.

CONCEPT EXPLOREDOur group has placed a focus on morphogene-sis, the biological process that causes an organ-ism to develop its shape. Here i have explored the concept of evolution by using a genera-tive design process to morph an organic form.

SEARCH PROCESSKalay informs us that design can be an open ended search for new possibilities, not only a problem solving mechanism. He proposes a two step process whereby we must ‘pro-duce a set of candidate solutions for consid-eration,’ and then ‘choose the right solution for further consideration and development.’

Here I have explored a candidate solution for the Western Gateway Project but not yet have i reached the ‘right’ solution as this can only be done through signifi cant exploration.

EOI SIGNIFICANCEKalay highlights that computational design can produce many more possible ‘candidate solutions’ than other methods and therefore more avenues of possible designs must be ex-plored. For the purpose of the Gateway Project it is essential that a comprehensive investiga-tion of possible design solutions be under-taken in order to achieve optimal outcomes.



CUT / DEVELOPSpeed/Movement

This initial exploration involved loft-ing a surface in Rhino and referenc-ing it into the defi nition produced during grasshopper explorations. The result represents speed and the blurring of focus when capturing an object at high speeds

Altering the number of rows and col-umns in the defi nition and changing the parameters of the domain and boolean pattering tool have produced a more defi ne form that more strongly hints to movement through more closely spaced linear segments

The function, initially sine, was changed to tan resulting in multiple layers. Enlarging the radias of the circles has enhanced the blurred eff ect, further emphasising motion and speed. This time the form resembles, quite literally a road.

CONCEPT EXPLOREDA requirement of the project brief is that the Western Gateway consider the high speed movement of traffi c along the Prin-cess Freeway. Also poigniant is the notion that Wyndham City is growing rapidly and moving forward in terms of its relationship with the City of Melbourne. Hence the con-cept of speed and motion is highly relevant to consider when designing the Gateway.

SEARCH PROCESSThis methodology is an example of a search process Kalay terms ‘depth’, which relates to the exploration of a candidate solution to it’s logical consulsion. This method ensures a comprehensive, logical and focussed in-vestigation of each candidate solution.

This initial exploration involved loft-ing a surface in Rhino and referenc-ing it into the defi nition produced during grasshopper explorations. The result represents speed and the blurring of focus when capturing an object at high speedsobject at high speeds

INPUT - Boolean PatterningASSOCIATIVE TECHNIQUE -Multiple Functions

OUTPUT - Data Driven Shading

Altering the number of rows and col-Altering the number of rows and col-umns in the defi nition and changing the parameters of the domain and boolean pattering tool have produced a more defi ne form that more strongly hints to movement through more closely spaced linear segments



DE YOUNG MUSUEM by HERZOG & DE MEURON Reverse Engineered Case Study

The de Young Museum fl aunts a dra-matic copper facade that has been perforated and textured to replicate the impression made by light fi ltering through a tree canopy. To create the perforation design abstracted, digi-tized photographs of tree were super-imposed onto each elevation. 7,600 unique exterior panels resulted and contained approximately 1.5 million bumps and 1.7 million perforations, all derived from the digital images.

The material chosen for this project is one that dramatically impacts with the atmosphere. The untreated copper skin oxidises with the salt-laden winds over the course of seven to ten years producing a green patina that Herzog & de Meuron believe will “harmonize with the surrounding vegetation.”

In relation to the Western Gate-way Project we intend to focus on of metamorphosis, not only in terms or form as previously stated, but also in terms of dramatically vary-ing materials. Copper is one example.

OXIDATION OF COPPER


DE YOUNG MUSUEM by HERZOG & DE MEURON Reverse Engineered Case Study


SPANISH PAVILION by FOREIGN OFFICE ARCHITECTSReverse Engineered Case Study

GRASSHOPPER TOOLSHexgridExtudeTrim Planar Surfaces

The Spanish Pavilion is composed en-tirely of of a 3dimensional hexgrid.

Using the hexgrid component in Grass-hopper we were able to create a set of hexigons that were then extruded in the z direction. To covert this arrang-ment into a surface the cap hole and trim planar surface tools were used.

The Spanish Pavilion incorporates an external skin that is composed of glazed ceramic hexagon forms. The material used in symbolic as it is a customary technique common of the Mediterranean Spanish coast and also in traditional Japanese ceramics. The concept of a ce-ramic lattice is derived from Mediterranean architec-ture in order to achieve traditional spaces and shadows in the building perimeter that help regulate the solar gains and spread of the thermal load over the space.

In relation to the Gateway Project, the structure we design does not need to be an inhabitable space and therefore it is not essential that we consider its thermal proper-ties. However what is relevant is the signifi cance of the chosen material, in this case both cultural and historical. Wyndham wishes to portray their upgraded image as a clean and modern region and encourage further urban growth. I feel it is therefore vital that new, sophisticated and engaging materials be chosen to achieve this goal.

Foreign Offi ce Architects. (2005). Spanish Pavilion Expo 2005.Accessed Online 24/4/12 via < http://www.cusa-dds.net/ARCH842SP2010/wp-content/uploads/2010/01/Foreign-Offi ce-Architects1.pdf >


AIRSPACE TOKYO by FAULDERS STUDIO Reverse Engineered Case Study

GRASSHOPPER TOOLSVoronoi patterningOff set

The Airspace Tokyo is composed of four over-lapping 2dimensional voronoi patterned skins.

Using the Voronoi patterning tool in grasshopper and extruding the edg-es we were able to create a 3dimen-sional pattern that we then layered to simulate the Airspace Tokyo Building.

Faulders Studio has invented an architectural system that performs with similar attributes to the dense veg-etation that previously occupied the site and created “a new atmospheric space of protection.” AirSpace re-fracts sun along its metallic surfaces, channels rainwa-ter away from the exterior walkways via capillary action and shields interior views behind its foliage like skin.

The double layered skin has a 20 cm air gap and is de-rived from a compressed combination of unique patterns generated with parametric software. Composite lazer-cut aluminum panels compose the façade and are fi xed to a matrix of thin stainless steel rods that are threaded from top to bottom, creating a visual fl oating eff ect. The ex-ternal skin frames views, splays dynamic shadows and accentuates light according to diff erent times of the day.

Faulders Studio have followed a ‘performance’ based design’ method as opposed to a ‘process based design.’ This method ensures that the design outcome desirably achieves a “combination of form and function in a spe-cifi c content.” Tools from outside disciplines are able to be integrated into designs through computational de-sign, ensuring a more informed decision making process. Airspace Tokyo and its ‘green’ building skin performance based design is driven by the quest for more sustain-able environments. This precedent shows how in future the parametric design techniques we are developing can be focused towards a sustainable living approach.

Like Airspace it could be interesting to link the Western Gateway with its sur-rounding environment by exploring ma-terials that react and change in the at-mosphere. An example is Western Red Cedar, that if untreated weathers more rapidly than other timbers, transforming

from a vibrant light brown to a rustic grey.

Faulder Studios. (n.d) AirSpace Tokyo. Accessed Online 24/4/12 via < http://faulders-studio.com/proj_airspace.html>Lecture 05 Slides - Why Computing? Performance-Driven Design_JeromeFrumar.pdf Accessed online via < http://app.lms.unimelb.edu.au >Kalay, Yehuda, ‘Performance-based design,’ University of California, Berkley, 1999.

WEATHERING OF WESTERN RED CEDAR


AIRSPACE TOKYO by FAULDERS STUDIO Reverse Engineered Case Study


RESTAURANT AOBA-TEI by HOTOSHI ABE Reverse Engineered Case Study

GRASSHOPPER TOOLSImage Sampler

Restaurant Aoba-tei has created a steel surface that establishes a visual dia-logue between the inside and the out. The surface takes the form of an or-ganic membrane with an imprint of the regions characteristic landscape.

I have taken this concept of imprinting an image of a tree and used an image sampler to convey the shading diff erence onto a surface of small, condensed circles.

RESTAURANT AOBA-TEI

PERSONAL IMITATION

Restaurant Aoba-tei creates a dramatic lighting eff ect through a multitude of tiny lights that shine through a sophisticated S-shaped volume, defi ned by a continuous, curving sheet of perforated steel. The steel forms a skin that is entirely separate from the external shell of the building. The architect wished to relate the restaurant to the street that was shaded by Zelkova trees. This was achieved by distilling an image of the trees into an abstract pattern of dots. A CNC router punched these holes into a steel screen.

Hitoshi Abe has proposed a ‘performance based design’ method, driven by a desire to build a form that creates a dramatic light-ing experience for guests as well as conveying a sense of belong-ing within the street through the use of the Zelkova tree imprint.

It is our hope to convey Wyndham’s complexity as a multifaceted munic-ipality that is continually improving its image. The concept of a skin frag-menting and partially shielding something trying to break through, such as the light in Restaurant Aoba-tei, can be used to symbolize Wyndham emerging as a signifi cant region in the broader fabric of Melbourne. It is for this reason that this case study is worthy of further exploration. It is impor-tant to understand diff erent ways in which a single skin can be designed and manufactured to refl ect this region. By exploring diff erent facets, in-cluding texture, gradient, overlay, depth and speed we will be able to de-termine a larger set of potential solutions to the Western Gateway Project.

LYDIA GINN 390136 pg. 22LYDIA GINN LYDIA GINN 390136 390136

CUT / DEVELOP MATERIALITY Reverse Engineered Case Study

CASE STUDY - Restaurant Aoba-teiARCHITECT - Hotoshi Abe

ASSOCIATIVE TECHNIQUE -Image Sampler

OUTPUT - Data Driven Rotation

TEXTUREContinuing on from the previous case study expe-riementation I have began altering the textural patterns produce by the defi nition. By increasing and decreas-ing the radias of the circle component and changing the number of rows and col-umns very diff erent textural forms are produced. The fi rst hints to motion and speed, exhibited through strong horizontality. The second is more stagnant and abstract.

OVERLAY/DEPTHThe overlapping patterns input was added to create a layer of two distinct patterns. For the fi rst example a maths funtion tool with larger circles overlay the image sampler creating the illusion of depth and of growths branching from the tree. The second substitutes lines for circles for the output of the over-laying defi nition hinting to depth. The tree appears as if approaching at a fast speed.



LYDIA GINN 390136 pg. 23LYDIA GINN LYDIA GINN 390136 390136


CASE STUDY - Restaurant Aoba-teiARCHITECT - Hotoshi Abe

ASSOCIATIVE TECHNIQUE -Image Sampler

OUTPUT - Data Driven Rotation

TEXTUREUsing the Restaurant Aoba-Tei defi nition I substituted circles with spheres. This was intend-ed to better symbolise growth of an organism. The texture change is dramatic, yet the form is still quite stagnant. This image is comprised of a series of extruded spheres yet infers the notion of focus, or seeing something as a whole rather than the sum of its parts. This is an important idea to con-sider in relation to the Gate-way design since approach-ing an object from a distance shows us a holistic image, yet upon reaching the object the sum of its parts are revealed morphing our perception.

GRADIENT / GROWTHIn this example the initial def-inition for the pattern seen in Restaurant Aoba-Tei was ap-plyed to an amorphous loft-ed surface in Rhino. The Im-age Sampler tool produced a gradiet of circlular shapes and although the image of a tree is no longer evident the form ties in more closely with the theme of Wyndham as a rapidly growing organ-ism, constantly evolving its image. This example also represents the notion of a continuous skin, morph-ing around an organic form.


CUT / DEVELOP MATERIALITY Physical Models

OVERLAY/LIGHT

SHADOW

DISTORTION

Moussavi and Kubo in their book, ‘The Function of Or-nament’ describe the concept of ornament in design as “the fi gure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth.” They feel that orna-ment is an “empty sign capable of generating an unlim-ited number of resonances.” This ties in with the ‘Western Gateway project’ as we aim to relate culture to our object by creating sensations and eff ects through ornamentation.

In this example refl ecting the voronoi pattern seen in Air-space Tokyo, the classifi cation of depth, specifi cally form is what constitutes ornament as it is the entire model organisation that produces the resulting expression.

This model aims to investigate the concept of a skin through which an organic form can emerge. Two separate pieces are overlayed in an attempt to create a sense of depth and complexity integral to Wyndham’s new image.

This model and those that follow have been explored in terms of diff erent lighting aff ects and the shadows that are created. This was inspired by the dynamic shadows formed in Airspace Tokyo, accentuated by light accord-ing to diff erent times of the day. Also considered was dis-tortion as motorists travelling at high speeds will inevi-table have a blurred perspective of the ‘Western Gateway.’

The digital model was eff ectively translated into a physical patterned skin since the original contained no small per-forations and was rather structurally sound. Although the material used, 1.8mm box board, isn’t able to be bent or contorted into abstract forms, which is what we hope to achieve. In fact, slight twisting caused the panel to fracture.



SHADOW


OVERLAY/LIGHT

DISTORTION

SHADOW

Here we have explored an alternate ‘skin,’ this time repre-senting Wyndham’s integration into the broader context of Melbourne. The strict geomotrical composition aludes more literally to the city of Melbourne fi lled with buildings of all varieties.

Like the previous trial, this model wasn’t able to be contorted, yet i feel that such a structured and geometric pattern would fi t in more with a form of the same kind. For this reason i feel that such as skin wouldn’t be suitable for our current direction of thought.



DISTORTION

SHADOW

This model was inspired by Restaurant Ao-ba-Tei. The digital model had to be simlifi ed drastically in order for the lazer cutter to pro-duce it and therefore the intended image of a tree can no longer be identifi ed. This howev-er may not be a problem. I feel that in terms of the Wyndham Gateway Project, a skin fea-turing an imprint of a tree is too literal. The abstract arrangement of circles is interesting in its own right, in terms of the way shadows are cast on the ground and the rather etheral appearance of the panel under blue light, further reiterating the notion of an organism.

Patterns such as the three we have explored, will be applied to an external skin. The skin could be composed of some sort of a metal, which would produce a more permanant so-lution to the larger scale, Western Gateway. Copper is an enticing option, which would introduce an added facet of metamorpho-sis to our design. Copper, or other similar metals are also a maluable alternatives that could be contorted around an internal form.




This form, with its organic rather than geometric shapes alludes to the notion of growth and movement through the shifting dynamism of the individual surface planes. As mentioned pre-viously, this is an important concept that must be depicted within the Wyndham Gateway. Here we explored contouring to achieve a sense of movement within the planes of the model. It was an exciting learning experience to divide the solid geome-try into a series of 2D surfaces notched together for fabrication.

This was our fi rst attempt at fabrcating a digital model from grasshopper. The model was pro-duced using a lazer cutter and each piece fi t to-gether like a puzzle. Through this trial we inteded to create the illusion of movement which i feel has been achieved. An organic wave can be seen which appears to grow out from the model’s core.


MATERIAL EXPLORATIONS Further Experimentation

Throughout the course of my EOI I have hinted to natural amorphous forms that can be achieved through parametric mod-eling. An example in nature of such forms are stalactites and stalagmites, organic ‘growths’ found in caves formed through the dripping of mineralized solutions and the deposition of calcium carbonate. These biomorphic structures have intrigued me and inspired me to try and recreate their ethereal qualities in a 3-dimensional model.

The technique I’ve adopted was inspired the local artist, Kate Rohde. Polyurethane foam was sprayed into a chicken wire frame to create a rather uncontrolled growth-like form. A latex mould was then made and epoxy resin was poured. This produced a semi transparent amorphous form with a rough and unrefi ned texture. What was par-ticularly exciting about the model was the way in which light splayed over the surface.

This is an alternate technique to digital fab-rication that could be used to construct a 3-dimensional biomorphic model. Although there is limited control in regards to how ex-actly the form will look this method is quite suited to the concept of morphogenesis since in nature, like cave formations, there is no set plan, only a series of unforeseeable circum-stances that lead to the result. This can be lik-ened to Wyndham’s future. We expect urban growth but it is unknown how exactly the city will fl ourish with increased public awareness.


MATERIAL EXPLORATIONS Further Experimentation

Metal has been raised previously as a pos-sible medium for the Wyndham Gateway, for it durability and structural integrity.

Here is an exploration of Aluminium as a potential material. I have pleated the metal sheeting to create a ripple aff ect. This investigation was mainly to deter-mine the workability of soft metals into contorted forms and to see how eas-ily textures can be produced by hand.


EXPRESSION OF INTEREST Summary

Already the city of Wyndham has been success-ful in improving its image through the signifi -cant work that has been done to upgrade the condition and aesthetics of its streetscapes, open spaces and parks. Yet we as designers have been called on to help Wyndham achieve more.

Wyndham must be put on the map, and estab-lish themselves as the integral, ever-growing part of Melbourne that they are. This can be achieved if we are given the opportunity to create a spectacle that like the Frank Gehry’s sculptural architecture or BMW Welt, cannot be overlooked by travelers on the Princes Freeway.

‘The Western Gateway’ should be an icon that makes a statement about Wyndham’s con-tinual evolution towards a greater, more vital sector of Melbourne. The notion of the city as an organism, focusing specifi cally on meta-morphosis of organic forms and patterns, en-compasses this philosophy. Parametric design tools will enable us to infer the relationship between the natural morphogenesis of an or-ganism (in this case Wyndham City) and their related algorithmic morphogenesis. Wynd-ham is renowned for its rural character and therefore the representation of naturally oc-curring processes ties in with the sites’ history.


The concept of a skin fragmenting and partially shielding an organic growth within is one which we consider symbolizes Wyndham’s emerging higher contemporary status. Movement and dynamism will be addressed as the design must create a visual experience for motorists travel-ling at high speeds and from diff erent angles.

Our proposal will provoke new, inspiring and brave ideas to generate a new discourse as this is precisely what is achievable through the use of parametric design. We have linked urban growth to the growth of a generative form; one that can only be realized through com-putational processes. The form will be radical and exciting and evoke new ideas about de-sign. Parametricism is the architectural style of the new age and the very act of designing parametrically has the potential to boost Wyn-dham’s desirability as a place to live and visit. We have the potential to inspire a fresh and contemporary outlook on Wyndham, elevat-ing the city’s status as a prominent and sophis-ticated puzzle piece in Melbourne’s future.

EXPRESSION OF INTEREST Summary

PERSONAL REFLECTIONProgress/Learning Objectives

Throughout the fi rst eight weeks of this course I have attempted to familiarize myself with the emerging architectural style made possible by computational design programs. I have spe-cifi cally explored grasshopper as a mode of designing. This process and the skills neces-sary to use the program eff ectively have been diffi cult to grasp and I am aware that there is much more I must learn before I can be entirely comfortable with this design approach. Un-like usual processes, I have explored mecha-nized design via grasshopper, which is the act of designing by identifying frameworks and rules within which content happens, as op-posed to identifying specifi c content. I have eff ectively approached scripting as a ‘voyage of discovery,’ as Mark Burry elegantly put it.

In terms of developing my skills in 3-dimen-sional media, prior to this subject I had made all my models by hand and never relied heavily on technology to design or draft my concepts. Through fabricating our digital models via lazer cutting I was able to gain an understanding of the process and the limitations of such digital fabricating tools, for example, if the perfora-tions are too small or too close together the ma-chine is unable to replicate them. This of course meant that certain digital patterns and shapes had to be simplifi ed in order to be fabricated.


By researching precedents I have gained knowledge of how others have used paramet-ric design techniques eff ectively to convey their concept. I have seen an array of applica-tions, from simple jewelry design to complex twisted structures, all advancing architectural discourse in some way. The designers I have looked at use varying degrees of computa-tion in their work, for instance biothing have created forms entirely using parametric tech-niques, whereas architects like Herzog & De Meuron or Hotoshi Abe have created only a skin. I feel that the latter option is more suited to my skills and a more realistic approach to the Wyndham Gateway project since I will be better able to realize a concept specifi c to Wyndham.


PART IIPROJECT PROPOSAL


Following feedback from the mid semester critique I now have a better grasp on what is expected from the Wyndham Gateway Project. Our initial concept of morphogenesis was quite vague and was consid-ered to not have a strong enough link to Wyndham’s growth. The metaphor we focused primarily on - Wyn-dham City as an organism, morphing over time – was fl awed in that unless comprehensively explained, passers by would be unable to make the connection to the area. Another poignant comment made was that the form chosen must clearly represent growth.

Using this concept of morphogenesis, we found it diffi cult to produce a design for the Wyndham Gateway project that obviously refl ected the area.

We initially explored L-systems or Lindenmayer sys-tems within grasshopper, a parallel rewriting system used to model the morphology of a variety of organ-isms. This exploration was inspired by ‘Growth’ by Marc Fornes. This script produced a random, timed growth process of a series of boxes, over which we had limited control. It was only possible to select an initial starting point and control the size and spacing of each box. There was no control over the pattern of growth or the complexity of the resultant form.

Issa, Rajaa. 2009. Generative Algorithms: Lindenmayer-System (L-System). Accessed Online 29/05/12 at <http://www.grasshopper3d.com/profi les/blogs/generative-algorithms>

FINAL DESIGN PROCESSInitial Concept

A method of simplifi cation we employed was use the region union tool in grasshopper to create curves around the perimeter of clus-ters of boxes. This did not have its desired ef-fect since the model retained a complexity that could not accurately be replicated physically.

Although L-systems demonstrate morpho-genesis, there is no other clear relation-ship to Wyndham city and as such it was im-practical to continue along this design path.


FINAL DESIGN PROCESSRe-evaluation of Concept

Following our ruling out of L-systems as a potential fi nal design we considered extrud-ing geometry using Bezier Curves. This script produces extruded geometry to varying de-grees. The rectangular geometry seen in this parametric model provides a clear visual link to the growth of a city, drawn specifi cally from the concept of suburbanisation. The obvious parametric appearance and evident connection with the growth of an urban form sparked our desire to continue manipulat-ing this script into an iconic Western Gate-way. This was achieved by altering the Bezier curve that drives the shape of the extrusions. The use of multiple curve attracters allowed us to control the overall shape of the object,

EXTRUDING GEOMETRY USING BEZIER CURVES

Feedback from tutors encouraged us to re-evaluate our fundamental concept, honing in on what Wyndham off ers to Melbourne above other suburbs. We know that Wyndham city has the largest and fastest growth of all Victori-an government areas but ‘growth’ is simply not a strong enough concept. The reason behind this urban development is however important, as well as what the area provides to residents.

Wyndham off ers an opportunity for fami-lies to own their own home; families who otherwise couldn’t aff ord one. The recent suburbanisation and prospective growth signifi es the city’s increasing importance within the broader context of Melbourne.

Through our design we aim to depict Wynd-ham’s position as a BoomBurb, a rapidly grow-ing city that remains suburban in character.


EXTRUDING GEOMETRY USING BEZIER CURVES

Through the construction of a concept model we were able to gain a better understanding of how we could represent the suburbanisa-tion of Wyndham and the concept of the city as a ‘BoomBurb.’ The script was manipulated so that the rectilinear extruded geometry was tilted on its side. Each rectangular extrusion was made hollow so as to create the approaching view of an expanding suburban housing grid. The passing side view depicts the haphazard and exaggerated development of Wyndham City. This adaptation of the script produces a more aesthetically interesting sculptural form that would more clearly depict the suburban growth to travellers passing by at high speeds. As well dynamism is more strongly evident.

CONCEPT MODEL

FINAL DESIGN PROCESSConcept Development

}LYDIA GINN 390136 pg. 36

FINAL DESIGN PROCESSConcept Development

Lang, Robert E. and Jennifer B. LeFurgy (2007). Boomburbs: Th e Rise of America’s Accidental Cities. Brookings Institution Press.

We have stipulated the growing connection between Wyndham and Melbourne by deriving our design from the regular square geometry of the Melbourne CBD Hoddle grid. By distorting the rectilinear organ-isation of the Hoddle grid we have inferred a sense of movement, promoting the growth of Wyndham as

an up and coming city that evolves and expands over time.

Our parametric design process shows the warping of the Hoddle grid into our fi nal design, one that il-lustrates the organic shift from large rural areas to condensed urban properties. The fi nal grid formation depicts Wyndham as a fully-fl edged ‘boomburb and gaps between each individual square suggests space between properties. The Gateway appears in a state of fl ux which is refl ective of the predicted exponen-tial urban expansion of the region in the next 30 years. ’Initially our design very much demonstrated the growth of a city from the ground up, but in order for drivers to recognise the grid formation the design

was tilted to show varying extrusions as they drive around it.

ITERATION OF DESIGN PROCESS/ PARAMETRIC CAPABILITIES OF DESIGN

}“BOOMBURB”

A rapidly growing city that remains suburban in character


SCRIPT DEPICTING THE FINAL DESIGN


The ‘booming’ growth and extrusion repre-sented in our design is refl ective of a bar graph signifying rapid development and change, elevating the city’s status as a prominent and sophisticated part of Melbourne’s future.

RECENT SUBURBANIZATION OF WYNDHAM,EMERGING AS A ‘BOOMBURB’

CREATING A PROMINENT ENTRY FOR BOTH WYNDHAM AND METROPOLITAN MELBOURNE

ESTIMATED POPULATION GROWTH OF WYNDHAM

FINAL DESIGN PROCESS Concept Development


SOUTH PERSPECTIVE

SOUTH WEST PERSPECTIVE

NORTH EAST PERSPECTIVE

NORTH WEST PERSPECTIVE

Having one 20m high structure will engage viewers from a distance as they travel along the Freeway towards Melbourne or Wyn-dham. Its primary elevation (south west perspective) targets those travelling to-wards Melbourne and Wyndham, whilst an alternate view is provided for those existing Melbourne. From a distance the viewer will see only the skeletal frame, however as they approach the structure the individual tubes will appear to extrude at diff ering lengths, representing rapid growth and dynamism.

The view existing Melbourne represents the sprawling, random suburbanisation oc-curring on the fringe of the Metropolitan Melbourne, further strengthening the con-nection between the CBD and Wyndham.

The arrangement of tubes is haphazard and disorganised, demonstrating the rampant growth of the residential area.


FINAL DESIGN PROCESSLocation


SITE PLAN

40,000

15,000

From feedback given during the mid semester critique we were encouraged to design a single structure; a monumental gateway as opposed to a series of objects. We decided to design a standalone sculpture at the fork of the Princes Hwy and Wests Road at the

southern end of Site A. This location is ideal for the placement of a monumental structure that craves attention from every direc-tion. The large-scale sculptural form will engage the viewer from a signifi cant distance and for a lengthy amount of time as they

can approach it from a head on direction as opposed to viewing it on the side of the road.

We feel that designing a single structure is more fi tting to this design project since we were asked to produce a Gateway into Wyn-dham as well as an entrance to Metropolitan Melbourne. An iconic monument that can be experienced equally from all converging

roads is therefore most appropriate.


M12 STAINLESS STEELBOLTS

RUBBER INSULATIONTAPE - 3mm BORDERINGCOPPER TO LIMIT CHEMICALREACTION WITH STEEL

FOOTING

PIER CAP

BORED CONCRETEPIER FOOTING

STEEL FRAME

COPPER

SPOTLIGHT


The structure can be made possible with the use of a steel frame, grounded by deep bored pile footings. Lightweight copper will form the extruded rectangles with a line of rubber in-sulation tape separating the copper and the steel to limit chemical reaction. Stainless steel M12 bolts would be used, again preventing a direct connection between the reactive metals.

Pre-fabricated components will be manu-factured and assembled on site. The frame, due to its sheer size must be delivered to the site in components and bolted together. Since there are no space constraints on site this method would be the most appropriate. The use of digital fabrication techniques will be used for the full-scale project, much like for our 1:50 model. A laser cutter to cut the cop-per allows for a high degree of accuracy, con-sistency and control, ensuring each extruded rectangle is refl ective of the digital model.

At night spotlights embedded within the ground will illuminate the sculpture. This will not only make the design visible from the road but will also create an added sense of dyna-mism, splaying shadows across the ground and refracting light off the refl ective copper.

FINAL DESIGN PROCESSConstruction/Materials

DEATAIL (not to scale)


A comment made during our fi nal presenta-tion made us aware that copper traditionally hints to delicacy and elegance, particularly in Japanese architecture. This was not our reason-ing for choosing copper as the primary mate-rial. Instead, in order to achieve the 20m high sculpture a light-weight material was necessary. We also looked at aluminum however ruled this out because of its highly refl ective surface, as well as a desire to provide a dramatic contrast between the steel frame and the extruded el-ements. Like in the de Young Museum, cop-per also compliments the surrounding green landscape more so than aluminum would.

The Western Gateway Project should be seen as a dynamic whole where every facet morphs with time and as such copper is an idea mate-rial choice. Untreated copper oxidises in the atmosphere and over a period of 7 to 10 years the material will transform, changing from a rich copper colour to a vibrant green patina.

We explored the oxidation process of copper further by testing a 1:20 extruded rectangu-lar element. 2M Nitric Acid was dripped onto the surface of the copper and over a period of two days oxidation occurred. This gradual process was documented in a stop motion .


MODEL FABRICATION1:50 Physical Representation of Digital Model

Using the grasshopper defi nition provided we unfolded the digital model, producing 723 rectangular nets. The unfolded components were then arranged on 15 A1 sheets and laser cut on 1.5mm mount board. In hindsight this material choice was not idea since the etch lines were not laser cut deep enough and it was a very time consuming process to deepen each etch and fold the nets. Also, due to the thickness of the material it was time consum-ing to try and make each extruded rectangle perfectly square. As a result the fi nal product was not as neat as I would have liked, how-ever as a whole the model is quite impressive.

Assembling the model involved each num-bered component being referenced to a 2-di-mensional print out of the fi nal model (bot-tom left). Two thicknesses of building tape were used to separate each component, true to the digital model. The structure was as-sembled on its side, painted and tilted upright.


NIGHT VIEW


DAY VIEW


STOP MOTIONDemonstration of Movement & Light

In order to simulate the view that would be seen from a car circling the gateway, a short stop motion was created using a series of images from Rhino. From this stop motion we are able to imagine the sheer size and impact our Gateway would have on travel-lers. Using Rhino, shadows that would be cast over the sculpture during the course of a day were explored. Dramatic changes are evident due to the sunlight em-phasising the hollow nature of the extruded rectangles.

As the city of Wyndham reinvents itself through upgrading its condition and aes-thetics, we have designed a gateway that enriches the municipality and informs us of its newfound glory. In order to put Wyndham on the map, establishing it as an integral, every growing part of Met-ropolitan Melbourne, we have created a monumental spectacle that demands attention, much like the Yas Hotel and BMW Welt. Our Western Gateway is an icon that infers Wyndham’s suburbaniza-tion and continual evolution towards a greater, more vital sector of Melbourne. Our proposal generates a new discourse of architecture that is only achievable through the use of parametric design.



PART III LEARNING OBJECTIVES & OUTCOMES

LYDIA GINN 390136 pg. 50 LYDIA GINN 390136 pg. 51

PERSONAL REFLECTION Learning Objectives

Prior to beginning Studio Air, although having heard of Rhino as a computer-modeling tool I had never used it. My only exploration with digital model-ing software was with Google Sketch-up, a program taught during fi rst year virtual environments. I predominantly hand drew all my designs and used Photoshop to edit them, never daring to create something overly complex that couldn’t be easily represented by hand. I always admired my peers and professional work that did use complex computer generated design but felt it was beyond my capabilities at this current stage in my learning.

By completing this subject I hoped to gain some understanding of, not only what parametric design and computer scripting was, but also the capabili-ties of computer modeling software. I hoped that through exploration with Grasshopper I would be capable of dynamic 3D modeling and be able to digitally fabricate my creations. This skill alone I felt would be greatly ben-efi cial to me in my future projects.

In terms of parametric design, I’m not sure I understood fully, prior to this sub-ject, what it was. I guess I was quite shel-tered from the capabilities of computers in the design industry, never stopping to think of how complex forms were formu-lated and manufactured. Digital fabrica-tion was also foreign to me. I never used the Fab Lab at university and instead opted to make all my models by hand.


PERSONAL REFLECTION Learning Progress

During Studio Air I was able to gain an under-standing of what parametric design actually is. I learnt that parametric modeling is a type of geometric modeling where geometry is a function of a finite set of parameters. In other words, it is design that is generated through a representational medium such as grasshopper. This is an important distinction that I now un-derstand. Transferring a design to a computer using rhino or any other digital modeling soft-ware does not make it parametric. A parametric design is one that must be generated by a se-ries of parameters using specialized software.

Through research I discovered that paramet-ric architecture isn’t always appreciated in the architectural community. One criticism is that this design approach leads to a loss of the skill of sketching forms and concepts. I interviewed my father, an architect who has worked in vari-ous positions including small residential and large government initiatives. He, along with many of his colleagues, have somewhat skep-tical perceptions of parametric architecture. They feel that it is an intellectual pursuit that satisfies the artistic urges of the architect but doesn’t always serve the long-term interests of the client, in terms of building costs and func-tion. Also argued is that parametric architecture isn’t practical in some circumstances since it tends to ignore historical and cultural context (Wooden Pavilion below looks somewhat out of place amongst the traditional urban sur-roundings). I agree with these statements to an

This subject proved to be the most challenging of all my architecture design studios. Never hav-ing used Rhino before, let alone Grasshopper, I experienced a huge learning curve. There are so many possible components involved in the para-metric modeling program and I know that during these past twelve weeks I have only scratched the surface of Grasshopper’s capabilities. In say-ing this, the cut definitions provided and my re-sultant exploration matrix where hugely helpful in teaching me the basics of the software and I gained the ability to generate a variety of design possibilities for a given situation. Even though we chose not to incorporate perforations into our final design, it is a useful skill to have for future.

I leant how to unfold a 3D model in both Rhino and grasshopper and submit this file to be la-ser cut. The time saved by laser cutting our final design was enormous and it allowed for preci-sion is cutting 723 components. Although only simple forms, achieving this accuracy would be highly unlikely without the use of digital fabri-cation since it eliminates inevitable human er-ror. Research undertaken into other methods of digital fabrication, particularly on a large scale, for instance CNC routers and 3D printing has also ensured a more comprehensive understanding of

Wooden Pavilion in Romania by Dimitrie Stefanescu, Patrick Bedarf, and Bogdan Hambasan


PERSONAL REFLECTION Learning Progress


PERSONAL REFLECTION Learning Outcomes

Aside from the technical skills in parametric de-sign and manufacturing I have picked up, this subject has also taught me how to interrogate a brief and produce a personal set of guidelines that go beyond what the client asks for. We were given quite a vague criterion of what needed to be achieved through the Wyndham Gateway and from this it was necessary to narrow our fo-cus by picking out what truly made Wyndham unique and exploring ways in which this could be represented. Initially our concept was based on morphogenesis, or the natural, rampant growth of the city. We needed to refine this idea further, focusing on the opportunity the suburb offers for families’ to own their own home. This we feel is the true essence of what makes Wyndham desirable and has caused its rapid suburbaniza-tion and is what we based our personal brief on.

Our material exploration of copper and informa-tion from lectures gave me an understanding of the relationship between architecture and air. It is important to consider not only how structures look and perform the day construction is finished, but also decades after. Good architecture is that which withstands the test of time and also uses the surrounding environment to its advantage, rather than its detriment. This is what the De Young Mu-seum has achieved through the use of copper, exploiting natural chemical reactions to gain a more complex aesthetic effect. This is also what I addressed in the Wyndham Gateway proposal.

After concept changes and many potential de-sign ideas I am quite satisfied with out final prod-uct. It does what we aimed to achieve from the beginning, create an icon that is dominant in the landscape and demands attention. One that reflects the essence of Wyndham and its rela-tionship to Melbourne, yet not too literally and also promotes the areas newfound glory using an innovative methodology, parametric design.

Although largely satisfied with the final outcome, I can’t help but be disappointed with the quality of our final 1:50 model. We were faced with the enormous challenge of producing over 700 indi-vidual extruded rectangles and assembling them in a very precise arrangement. Time pressure and choosing 1.5mm mount board to laser cut our nets on meant that the final product was quite messy. Possibly better time management to navigate around the Fab Lab back up would have proved more successful. If I were to make the model again I would use a thinner material that could be folded more neatly. Also, rather than using sepa-rator construction tape a single 2-dimensional frame could be laser cut out of Perspex and then the individual rectangular components could be slot in, like seen in the 1:20 detail model. This would ensure a perfect square shape be attained and lead to a more structurally stable model.


PERSONAL REFLECTIONFuture Works

Since parametric design is considered by some as the new architectural zeitgeist I feel it nec-essary that I continue to develop my skills and continue exploring possible outcomes of such softwares. This may increase my employability following my degree. Specifi cally I would like to become familiar with all the diff erent compo-nents in grasshopper and understand where they can be applied because at this current stage I only know what I have seen and used in online tutorials and cut/develop exploration.

On a smaller scale, the digital modelling skills I have gained in rhino, particularly how to digitally fabricate a 3D model will no doubt prove to be greatly benefi cial in my future assignments. As an example I have discovered how much easier it is to create simple organic lofted surfaces in grasshop-per that can be easily changed and adapted as opposed to by hand or in Sketch-Up.

The skills I have practiced in presentation, analysis and communication, essential to this subject are also vital to my future prog-ress. For instance, communicating to oth-ers my design, the steps taken to achieve it and the thought process behind by pro-ducing a simple, easy to understand dia-gram, like our design proposal iteration, is a useful skill to take out of the subject.

PERSONAL REFLECTION Future Works

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