STUDIO AIR Journal LIM BENG HEE, 376062

CONTENT PART II: DESIGN PROPOSALS 1.) Design Brief & Response to Seeds of Change 2.) Project Overview & Summary 3.) EOI Finalisation: Towards Ornaments Materiality & Pattern 4.)Site’sspecification&SiteAnalysis 5.) Conceptual developments 6.) Forms Developments 7.) Physical Prototypes 8.) Grasshopper Problem Solving 9.) Construction Design 10.) Fabrication 11.) Model Making (Final Models) 12.) Details, Texture, Materiality, Experience 13.) Photomontage

PART II: LEARNING OBJECTIVE AND OUTCOME 1.) Personal Background and Objective 2.) Learning Progress 3.) Learning Outcome 4.)FutureLearningandUtilizationofAcquiredCompetencies

JOURNALpartIIWYNDHAMGATEWAYPROJECT

PART II: DESIGN PROPOSALS EOI FINALISATION: responding to Brief

eyecatching

exciting

municipality

aesthetic

visual arts

iconicdiscourse

speed

scul

ptur

e

WYNDHAM CITY

HIGHWAY

DESIGN target! Responding to Brief

- ‘exiciting and eye catching installation’- ‘inspires and enriches the municipality of Wyndham city’- ‘upgrade the condition and aesthetic of the streetscape on site’- ‘enhance the physical environment through the introduction of a visual arts components’- the design has to be iconic and has to become a discussion as an architectural discourse in future architecture works.

Respondingtobrief’srequirement,theprimaryobjectiveindesigningWyndhamCityGatewayProjectistocre-ate an architecture that shapes interesting visual experience while driving through it in a high-speed movement. With this attempt of experiencing, we believe in making our design exciting, iconic and eye catching that would improve the visual appearance of the site. Besides, The installment of the design aims to create a new atmos-pheredepictinghighculturalvaluethatreflectstheidentityanduniquecharacterofthesiteandWyndhamcity. Considering the scale of the project, we target to give our design a gigantic scale that is still not yet exist in Wyndham city that suit the site.

With the use of digital and computing tool to design- contemporary grasshopper scripting, we believe that it will be create an exciting experience for both drivers and passengers travelling through it.

The Wyndham city is always changing in a continu-ous succession of phases and the past is often wiped off in the exercise of growth. This project growth of ‘Seeds of Yesterday’s Tomorrow’ is an attempt to use and embrace an accelerated transition of Wyn-dham’s past instead of rejecting it and the existing contexts to sculpt a new environment, which serve as a platform to allow for the collective and simultane-ous presence of past, present and future in a single rapid context. In this, we propose an architectural solution, modern interacting sculptural art, through adoption of analogous theme of growing seeds, to evocate of the site’s memory and respectful of exist-ing immediate context for the future of Wyndham’s urban fabric and collective society.

PART II: DESIGN PROPOSALS Wyndham Western Gateway “ABOUT & OVERVIEW ”

SEEDSOFYESTERDAYS’TOMORROWWYNDHAMGATEWAYPROJECT

PART II: DESIGN PROPOSALS EOI FINALISATION: TOWARDS ORNAMENT

“Apurposefullydesignedmonuments, inbuilt formwill never separated fromorna-mentation because a building itself is essentially a careful and deliberate assembly of chosen materials.” (Massavi and Kubo, 2006)

Therefore, it can be argued that all buildings are ornaments in a city in this article. In exploring the purpose of ornamentation in contributing towards this western gateway project,webelievethatornamentsinsculpturalform,builtinsiteaspartthatdefinesWyndham city, is meaningful mechanism that allow architecture becoming a bridge that connect culture and the city. Besides, we do believe ornamentation is the fu-ture of architecture, an art form that is beyond the ideal postmodernism that connect nature,builtformandhumans.InthisGatewayproject,weareaimingtofinalizeourdesigninthedirectionofusingcurrenttechniqueswehavetocreateasculpturalart,symbolic ornaments rather than a building or a landscape that incorporate site speci-

Whyornamentation?Whysculpture?Whypicturesqueapproach?WhynotMimeticOrnamentation?

In the discourse of seeing sculptural ornament as architecture and a system of com-munication, the main challenge in creating this ornamental art for Wyndham western gateway project is how to justify the intended meaning of sophisticated design to public and community of Wyndham city. In this project, we strongly believe that linking the idea of forming modernist and past architecture in one context as ornamentation tothewide,flatviewsofthechosensitesinapicturesqueapproachundertheinflu-enceofnaturallightissignificantlymoreimportant.Itisbecauseweareconcernthevisual experience and perception of the sculptural art imposed in the landscape of along the journey towards Wyndham city, rather than function, in relation to the nature and the city’s heritage value. Thus, in this project, the ornamentation proposed is of mimeticnaturecharacterizedwithsymbolicsignificancetowardsthecommunityandthe city(Jonathan Hill, 2006).

TEXTURE

To inform ideas of transition of past herritage of Wynd-ham city to presence leading to future, transition of past (bricky pattern) to future *()

Traditional brick wall(FLAT)

Change brick’s orientation (giving sense of changing space, allowing changing amount of natural light passing through gaps)

Brick with different orientation to form dynamicflowofpattern (optical motion of static patern)

MATERIALThe mapping diagrams of 18 public arts scattered around the area of Wyndham city Informs high use of new mod-ernagedmaterialsdespitethesimplicityandantiqueormodernfibre-likeartofrm.(Wyndhamcity,2008)

This has literally depicted the application of modernity in development of city culture and art appreciation while reflecting an effort of retaining past sculptural art andherritage.Thus,mappingwithsite’sspecification,wede-cided to utilise modern age materials as a transformation of modernity while maintaining cultural value of the past mirroring the identity of Wyndham community

PAST TEXTURE NOWMATERIAL

Symbolism of materiality and surfaces- why BRICKS ?

“Materials and surfaces have a language depicting the narration of a built form, informing its durability, inherent symbolism, existences which informs the designers’ intent and thinking through the public general impressions and experiences.”(Branko Kolarevic & Kevin R. Klinger, 2004)

“Bricks makeonesthinkofearthandfire,andagelesstraditionsofconstruc-tion”, particularly in the context of Victorian region. Not only in the past, use of red brick in erection of buildings and residential houses is substantial and common in nowadays’ architectural practice in this region due to vast avail-abilityofthismaterial.Thishasnotonlyreflectedthelocalityofthesiteandneighborhood, but also built up a sense of local community. However, in rel-evance of deliver our idea of transition of past (old) towards future (new) in one context, ‘bricky’ pattern is deployed in dynamic form of lightweight metal clad surfaces that informs of effects of how old and conventional local-ized materials pattern coexist collectively with new modern age materials on perception of space and design meanings.

Symbolism of materiality and surfaces-why LIGHTWEIGHT METAL?

“New ages materials are offering unparalleled thinness, dynamically changing properties and functionally gradient compositions(Branko Kolarevic & Kevin R. Klinger, 2004).”

Coupled with the means of digital technology, we have decided to use light-weight metal cladding (stainless steel) on surface and overall ornamentation of themodelaswebelievethehierarchicalfocusofperceptionwillfirstbethecolors,the materials and then the texture and dynamic forms of the sculptural model that give view of change. This hierarchical effect is directly parallel with the design criteria of imposing change of the past towards the present in rapid architecture through visual perception of drivers. In response towards the idea of future, though weathering is a potent surface strategy, stainless steel is used so that the sculptural built form will not deteriorate easily and will always appear new and emergent in site.

PART II: DESIGN PROPOSALS EOI FINALISATION: Materiality & Pattern (Ornaments)

Key drivers of “change”MigrationflowsandResidentialHousingCityofWyndham

The City of Wyndham is a residential and rural municipality on Melbourne’s south-western fringe. The City is centred on the residential areas around Werribee. The formerruralservicecentreofWerribeebecamethefocusofsignificantresidentialgrowth from the 1960s. This growth was focused in areas to the north of the original township, principally in the Hoppers Crossing area(Wyndhamcity, 2012). .

The City of Wyndham experienced a period of substantial residential expansion through the 1970s and 1980s. The primary housing market role that the City played over this period was to provide affordable home owning opportunities for fami-lies and prospective families from the western and south western suburbs of Mel-bourne. This period of expansion is set to be mirrored by a new phase of develop-ment focused in Point Cook, Tarneit, Truganina and Wyndham Vale. This is based predominantlyon factorofdecliningamountofeasilydevelopable ‘greenfield’and ‘wetlands’ land in the City (Wyndhamcity, 2012). This has showed the contra-dictaryobjectivesofmaintaininggreenfieldandwetland,whilestrugglingtoenrichcultural and city development into metropolitan, demonstrated in population and housing growth’s statistics, since 2006.

Mapping of Structural Curve Form (wetland and data)Tomeettheconceptualideaofmakingdynamic,fluidformwithinterestingpara-metricmodelingtechniques,asetofdata(shrinkingareaofwetlandandgrowingnet migration and population in Wyndham city), a splice curve is map for the ideal sculptural formalongsiteAandB reflects thedata itself isdeploy to reflect thewyndham identity and characteristics.

PART II: DESIGN PROPOSALS EOIFINALISATION:SITE’SSPECIFICATIONS

The size of grassland in Victoria region is decreasing gradually due to devel-opment since European Settlement in1750s.Reflectingat thedata,Wyn-ham City is one of the few cities that still contain relatively large wetland in Victoria.

SITES

Itonlytakesapproximately28secondsforthepassthroughthewholesiteAand B. Thus, as the design intent is to create an experience to the drivers, the sculpture has to scope the whole site as to give maximum effects to the driv-ers.In perceiving our design as a mimetic sculpture with experietial approach, we respond to this criterion by looking at the site which gives dynamic lines so that we could manipulate the site to our desire of forming sculpture with changingformsandorientation.Thus,theviewstravellingacrossfromsiteAto B would be the most prominent site for our sculpture positioning

VIEWThenaturalcurvyroadshapeonsiteAandBwillguidethevisionofthedriverswhiledrivingthoughtheside.Atdifferentpartoftheroad,differentanglewillbe hiden while other will be on focus. Thus, with the observation from the view, we focus on the chosen three parts on the sites.

SITE B

SITEA

Approximatelythesiteis800meter.

Highway Speed = 100km/h (28m/s).

Travel time = 28 seconds.

WYNDHAM CITY GATEWAY SITE

MELBOURNE

GEELONG

PART II: DESIGN PROPOSALS Conceptual Developments: Brainstorming

In studying Wyndham city herritage and goal of urban planning, the city aspires to escape of its past of urban sprawl of Melbourne city, to form its own identity as a metropolitanof culture by shaping its community and surroundings with progressive sculpturalartswith specificationof siteorone’smemorial,education,etc; thus,creating sense of place and belonging. The urban setting of public art gives sig-nificantidentitytothecity.Itimprovesthevisualappearanceofourenvironment;itoffersthecommunityaccesstoartaspartofdailylife;anditcreatesastrongersense of community.

WyndhamCity’sArt inPublicBuildingsandPlacespolicy supports thedevelop-mentofahighqualityartcollectionwithregionalsignificance.OurprimarypublicartacquisitionstrategyiscalledthePerCentforArtScheme.Thisensuresthatonepercent of the budget for Council’s major capital works projects is set aside for a relatedpublicartcomponent.ArtworkshavealsobeenacquiredaspartofCoun-cil’ssupportoftheHelenLempriereNationalSculptureAwardbetween2002and2008, as well as through Council’s Mayor’s Commission program which operated between 2001 and 2006. (Wyndhamcity, 2012) This effort of creating cultural city ofhighvalueinartappreciationbecomesourdriversinfinalisingourEOIincreat-ing rapid architecture of public art, signifcantly inform the identity of city, creating sense of fun , exciting place welcoming drivers towards the city.

The Iconic Entrace of WYNDHAMWYNDHAM GATEWAY PROJECT- PUBLIC ART

DIAGRAMS SHOWING LOCATION OF 18PUBLIC ARTS SCATTERED AROUND WYND-HAMCITYANDTHEFORMS AND MATERIAL-ITYOFTHESCULPTURALART

PART II: DESIGN PROPOSALS Conceptual Developments

Concepts:

The design proposed for the Wyndham Gateway Project combines the idea iof transitionofpast towardsfutureasonecontextexpressed inEOIfinalisation.Thistransition of progression changes of time in wyndham city,is expressed through vi-sual experience in driving through the sculpture.

Concepts:

Expressed in analogous diagram, we are passionate to produce sculptural art that is dynamic and fluid(lively),justlikealivinggrowingseedlingsintoplantssymbolisetheadaptabilityofalifeformofWyndham in a harsh environment under strong and dry wind and hot under strong sunlight through-out the year. the grid line approach is used to decide the placing of dynamic forms of lively static sculpture that will demonstrate changes in driving experience. This could be done by manipulating the position of art, creating progression of changing views towards site and towards the sculpture

Concepts:

Inordertodesignasculpturalartspecifictothesiteelements,parallelwiththeaimofcreatingflow,airmovement is taken account into this sculpture design. the surface and forms are later explored with dif-ferentorientationthatchangesprogressively.Also,asdemonstratedinEOIfinalisation,wearekeenoncreating symbolic sculpture. Thus, we are interested in manipulating the natural light intake and provide artificiallightexperiencethroughoutnighttosymbolisewillofhopeandbrightnessoflocalcommunity

Concepts:

In this design’s direction which is to create a memetic ornaments that focus primarily in the visual experience of drivers, we decided to place the focus in manipulating the space with changing heights, open and enclosing space and pattern along the surface. This will also improve the site’s appearance with different perspective seen and perceived by drivers, giving sense of place of dynamic change, signifying a sculpture as a growing life form. Besides, we also are interested in creating a welcoming posture like a palm of grips giving a friendly culture and sense to driver at the end of short but meaningful journey (like the Welcoming Hand of Singapore)

PART II: DESIGN PROPOSALS Conceptual Design Developments & Design approaches

Light as StructureThe proposition explores this sculptural art of ‘light as structure’: a simultaneous understanding that lightdefines spaceandspacesculptures light.Essentially in thisproject,natural lightandcastingshadows ismanipulatedtodefinecompositionofspacetosculptadrivingaxial ritualtoward Wyndham city, city of hope and light from dark, enclosed space towards open, bright spaceinarapidarchitecture.Also,thetransitionofpasttofutureissymbolizedthroughthede-sign of texture and patterns along the sculptural surface, height and overall built form accord-ingly, which has taken account of Wyndham rapid growth (population and residential housing)

Significance of Growing Seeds- Analogous Representation

The idea of growing seeds (iconic symbol of hope to Wyndham western gateway)The seed is metaphorically depicting potential of Wyndham city that is continuous-ly growing from the past and is forecast to be developed into secondary metropo-lis after Melbourne City. The growing seed into spline leaf (bush or grass) of freedom that dance elegantly in the drive of wind in harsh environment, representational, is divided into few succession phases that culturally symbolize the continuous de-velopment of site and the surroundings from the past to the unknown potential future. From this idea of freedom and strength of survival of bush splice throughout the past history to the future in the harsh environment of Melbourne region, we are keen in develop this idea into forms development.

Functionality

Thefinalmodelhasindeeddemonstratedourpassionandideaofimprovingthevi-sual appearance of the driving environment, particularly at this site- western gate-wayentrytoWyndhamcity.Thisunique,hugeartformcomparedtootherpublicart in the city, undoubtedly, offers the community and tourists access to art as part of daily driving culture, creating a stronger sense of belongings (identity) of Wyn-dhamCity.Thedynamic,fluidtexturealongthesurface,contouredwithelegantmovement of Growing plants driven by winds on site, not only give sight (visual ex-perience) change of lines and pattern, but also provides exciting optical illusion of moving pattern of static ornamentation of the model. With successful and carefully thought in designing the axial ritual of driving experience towards wyndham city, the driver will undergo short, brief shade or tunnel like sculpture from dark region towards light, open space, giving a whole new level of experience of rapid travel, symbolize a journey towards better hope: “brighter tomorrow (future/ ?)”

PART II: DESIGN PROPOSALS Conceptual Design Developments & Design approaches

Driving Apex- creation of space of unseen and un-expected

Edge Apex- creation of space of non-transparent blocks intended to enrich perception of drivers

CONCEPTUALDEVELOPMENT

PART II: DESIGN PROPOSALS Conceptual Design: Analogous Dia-gram & Forms Finding

FORMS DEVELOPMENT

FORMS DEVELOPMENTPART II: DESIGN PROPOSALS Design Developments: Forms Finding and explorations

Light+ Structure + Space + line = FORMS

Thesurfacetraceofthesiteboundariesallowflexiblesimplegeometryexplorations

Developmentofundulatingsurfacespecifictositelandscapeandanalogousdiagram

Curve is added and manipulated according to design ambition of creating exciting experience, creating unexpected visual experience

Formisfurtherdevelopedtofitourdesignnarrativewhichisaboutpast,presentandfutureaboutwyndham city

Past form: site memorial of the past where human civilisation is not seen in sitePrecent form: struggling stage of getting the balance in between urbanisation and natureFuture form: though the future is uncertain, we wish to shape a positive culture of brighter future, with sculptural changing form gradually open up allowing more light and space which give an experience of hope and perception of brighter, positive expectation in reaching the city.

Forms & tec-tioncs drivers

experiental approach- Visual + light +volume (degree of enclosure and opening)

Surface articulation

Past-future transformation

Fluidity & Dynamic outcome

Constrast of city development and suburbs- greenfield

PART II: DESIGN PROPOSALS PHYSICAL PROTOTYPES (EXPERINMENTING STAGE) & PHOTOGRAPHY I.) PAPER MODELING (JOINTS & STRUCTURAL ELEMENTS TESTING) II.) CARD MODELING (THICKNESS & TEXTURE + PATTERN) III.) MATERIALITY STUDY (LIGHTWEIGHT METAL SHEET) IV.) EXPERIENCES DRIVERS (MANIPULATING ATMOSPHERE THROUGH LIGHT CONTROL- DAY & NIGHT)

MATERIALITY MODELING experinment with thickness, materials and views under different light conditions

Metal Paper

cardboard

Aprototypemodelwas createdwhilewaiting for laser cut printing. This model was a study for form and light effect pri-or making the real model.

PART II: DESIGN PROPOSALS PHYSICAL PROTOTYPES (EXPERINMENTING STAGE) & PHOTOGRAPHY I.) PAPER MODELING (JOINTS & STRUCTURAL ELEMENTS TESTING) II.) CARD MODELING (THICKNESS & TEXTURE + PATTERN) III.) MATERIALITY STUDY (LIGHTWEIGHT METAL SHEET) IV.) EXPERIENCES DRIVERS (MANIPULATING ATMOSPHERE THROUGH LIGHT CONTROL- DAY & NIGHT)

cardboard

GRASSHOPPERTechnical DevelopmentsPART II: DESIGN PROPOSALS Grasshopper Techniques Application- Problems Solving

ISSUEIMAGE SAMPLERAdjustmentdifficulitiesforlongsurface Surface is divided into 4 parts

and use different image for each.

Curvesurfacedifficulttodis-play 3D image

Some rectangles are isolated from others due to the sharp rotation

Slider replace image sampler.Slider is used to control the rota-tion of each vertical rectangel.

Use a simple image with less col-our change rather than using a complex one.

Avoiduseofwhitecolour.Thebright-er image are, the greater value of rectangle rotation could be done.

NUMBERS OF RECTANGLES PER PANELThe V values of sub-divide component control the number of rectangle per panel.Difficult to apply one defini-tionforwholesurface;differ-ent length of panel requiredifferent number of rectan-gle

Divide the surface into different partandmakeavarieddefini-tion with different V values.

PLANPLAN

Panels with different colour represent they are applied with dif-ferent V values

PERSPECTIVE PERSPECTIVE

The shortest

Set the V-value as 38It can’t use the same V-values for the whole surface, since each panels get dif-ferent height.

The tallest

Reasons of Grasshopper cannot display the entire dynamic panel:1. No intersection between rectangles.

2. The surface grid of the missing pan-els are not perpendicular to reference curve.

Join and combine all overlapped rectangle to a continuous surface.

Change the size of rectangle.

Increase number rectangle per panel

Rebuild the surface & its’ grid are per-pendicular to the reference curve

PLAN

PLAN

20 rectangles per panel 40 rectangles per panel

PLAN

PLAN

Rectangle size: 1000/300mm Rectangle size: 1600/600mm

REUNIONISSUE

REFERENCE CURVE

SURFACEGRID

3. It doesn’t work when dividing the surface along y-axis.

Divide the surface along x- axis

ISSUE SOLUTION

Solution: (feedback)

Combinethepanelsmanuallybyusing‘BOOLEAN’componentbeforeputtingitback to grasshopper to do fabrication model.

1. Panels are missing when the start-ing or ending point of panels are not X=0.

Seperate the surface into two partMISSING PANELS

GRASSHOPPERTechnical Developments

PART II: DESIGN PROPOSALS Grasshopper Techniques Application- Problems Solving

DESIGN DEVELOPMENTCONSTRUCTION

PART II: DESIGN PROPOSALS Case study for CONSTRUCTION

Singing Ringing Tree, Landcashire, 2006Tonkin Liu

The foundation of the “TREE” is ex-posed from the ground and steel angel is the joint that connect between it and ground.

1. 114.3mm Galvanized steel tube8.75/50/6mmGalvanizedSteelAngle9.100/65/10mmGalvanizedSteelAngle10.1.65m Galvanized Steel plate 25mm thk.11. 25mm Leveling Bed of Mortar12. 4mm Steel Plate13. 3.25m reinforced concrete slab14. Threaded Bolt with 100/100/5mm anchor plate welded to 12

Connection between sculpture & ground

Feedback: Foundation of our de-sign shouldn’t be exposed fromground.Itisquitestrangethat a huge visible platform underneath the sculpture and which is only work for small project, just like the case study.

Construction issues:Limited span of panel strips at 10m will collapse at their own loads

Inappropriate structural system of case study applying steel at platform for con-nectingeachstripsdoesn’tcreatesuffi-cient supporting force to overcome the mass load of each panel strips. Thus, this issue will put drivers at risk as the panel sheet doesn’t have supporting elements to hold each other against the live loads of external environment, particularly wind loads or rainwaters

Suggestion on improving structur-al design: AddingstripsofSteelbarinternallyalongeach panel will reinforce the support-ing elements against gravity load of the sculpture and wind load. This could be installed at every panel and extended to 8m underneath to create a large back supporting to versus self load.

Problem & Solution:

load

load

load

Wind load

DESIGN DEVELOPMENTCONSTRUCTION

PART II: DESIGN PROPOSALS CONSTRUCTION DETAILS

6 Fundamental stages of model installation in real life Construction:

1. Shovel the nature soil from site

2. In-suite reinforced concrete slab and pipe

3.Fillinthemortartocreateaflatsurface on concrete slab

4. Galvanized steel Plate place on top of the mortarandfixedwithsteelbolt

5.Installthesteelbarandfixedonsteel plate with steel bolt

6.Soilfilledontopofthefoundation

7. Install the panel following the step on the right picture

DESIGN DEVELOPMENTCONSTRUCTION

PART II: DESIGN PROPOSALS CONSTRUCTION IN REALITY

DESIGN DEVELOPMENTCONSTRUCTION

PART II: DESIGN PROPOSALS CONSTRUCTION IN REALITY

FABRICATIONTechniquesDevelopments

PART II: DESIGN PROPOSALS Grasshopper Techniques Application- Problems Solving

ISSUE WITH GRASSHOPPER DEFINI-TION OF FABRICATION TOOL.

Due to the large number of panels (more than 300 panels), we were having trouble with the slow-re-sponse computer, when converting to fabrication model.

Solutions:1. Set toggle to false when editing the surface. The fabrication model will not be shown when set tog-gle off.

2. Use Tag to preview whether the size or location of the number are right or not.

ISSUE WITH LAYOUT PREPARATION.

The fabricated panels are distributed along y-axis, which mean all the panel were overlapping.

The arragement of the fabrication model on the panels was another problem we faced due to gaps created when using fabrication tool.

Anotherproblemwasduetothesizeofindividualpanels.Astherewasa largenumberofvarietyofpanels size, we have to rearrange the location of each piece of panel manually.

Huge gap be-tween panels

3 steps Modellling Process for Physical prototype1.) Joining each fabricated strips according to labels (reinforeced with hot glue gun)

2.) Scoring the site’s base (1:500 & 1:50) for correct positioning of models built.

3.)Setting up wiring in each strips for model lightning 6 LED lights in each strips

PART II: DESIGN PROPOSALS Erecting Physical Models 1. FINAL MODELS ISSUES & CHALLENGES WITH MODEL

MAKINGDifficultyinplacingjointsandweldedbolts(Construc-tion elements) into each interior compartment of mod-el strips before sealing off the surface skin.Sum of model weight is exceedingly heavy in which there will be a need of vertical cardboards and beams built to support the base and thick amount of hot glue gun to ensure strips of model stick to base, however, all these don’t reflect the real practical constructionprocess.1:500 model was challenging to built up to form a con-tinuous long model as each of them was fragile even was strengthened with hot glue gun

Light and visual experienceWewerequitesatisfiedsetupofLEDlightthatdemon-strates the lighting experience during the night driving in the warthm light emerge in darkness of the site

PositioningThestrippositioningonthesitecontourrequirecarefulattention to map each strips to the right position that effectively forms a smooth perpetual change of tex-ture along the model surface

1:500 Models in ContextChanging views PART II: DESIGN PROPOSALS Erecting Physical Final Models 1. MODELS ON SITE

PART II: DESIGN PROPOSALS Erecting Physical Final Models. Shadow and light study- atmosphere & texture

1:50 Models in ContextChanges in texture along surface treatment

DETAILS

Dynamicsensationandflowoflightand shadow

shadow play

Elevations

DETAILStextureandchanging pattern

DAY VIEW

AsstatedonourdesignEOI,wewantedtocreateasculpturethatenablesthedriv-ers to experience while driving thought it. With the design, we successfully achieve it by creating individual dynamic panels that continuously changing as one driving through it.

The sculpture is divided into three main parts. entrance is the half-canopy like struc-ture, middle part of model tunnel-like structure and exit part is the open sculpture.

InENTRANCEpart,thedriversexperienceshadowcastthatcreatedfromthecanopy.Drivers will experience the change of the panels to be more vibrant and intense as driving through it.

In MID part, the panels became more intense and formed a tunnel. Direct experience from driving through the panels will be felt as each panel has each dynamic form that allows the viewers to experience the vigorous changes.

The panels become less intense as progressing toward EXIT part towards Wyndham City, where the sculpture transforms into two separate elements in both side of the road. The transformation from tunnels to part C will allow the drivers to feel the open-ness. This part represents the welcome sculpture to the growing Wyndham city.

Asstatedinthedesignproposal,wewanttocreateasculpturethatrepresentsthevibrancy of Wyndham city. Throught the intensity transformation of this sculpture, we have successfully captured the current momentum of the Wyndham city transforma-tion.

DETAILSchangingpattern

DETAILSgaps

Changing shadows casted along highway at different time during day

1:50 Models in ContextChangingviews(NIGHT&DAY)

PART II: DESIGN PROPOSALS Erecting PhyFinal Models 2. MODELS ON SITE context

Lighting effect of each panel shines at the gaps of each stripsduring night time make the site bright and iconic

NIGHT VIEWBuilding light to manipulate night condition for driving inside our panels make the sculpture vis-ible during both day and night time , creating a distinct view of the dynamic form of the panels.

The lights are installed inside each panel in consideration of giving the glowing effect from the hollows of each panel. Moreover, installation of direct light (light poles) of the sculpture might not be necessary as the purpose of lighting is to give the sense of experience to the driver dur-ing night time. With direct lighting, it only will make the sculpture visible but no experience while one drive through it. With the internal lights installation, the dynamic form of each panel will be distinguished. Thus, we have successfully created a sculpture that works in any time of the day.

Before this studio, I have not been exposed to any experience with parametric modeling. The closest experience I ever hadwithdigitalmodelingandfabricationwasbytakingasubjectcalledVirtualEnvironmentsinmyfirstyear,firstsemes-ter.Inthisstudioculture,Iwasrequiredtocomprehendthefundamentalprocessofdesign,beganwithideasexplora-tions,client’sbriefrequirement,caseprecedentsforconcepts,physcialmodeling(prototypes),contouring,translatingdrawings and ideas in sketchup, unfolding for fabrication, labelling and model making. Besides, from that studio, I have come to understand the importance of photography which will affect the impression made on models made particularly indepictingsignificantatmosphereaccordingtodesignintent.

However,havingbasicsketchupandfabricationskillsisnotevenclosetopassingthebasicrequirementofthiscourse.I have been facing a great architectual culture shock when I was exposed to new digital tool and new studio culture whichisindeedverydifferentfromEARTHstudioorWATERstudioItookinmysecondyear.Withlimitedtime,slowlearningpace and adaptability in new architectural environment, I come to realise that I have to pick up the technical skills re-quiredtodosufficientlywellinthisstudio.BesidesexpectingtopickupthebasictechnicalskillsuchasGrasshoperScript-ingandRhinodesigning,IknewIneedtoacquiretheskillofdevelopingcasefordesignproposalswithacademicargu-mentsandcriterialearnedthroughcaseprecedents.Thiswaslistedinthecourseoutcome.Also,Iknewmyweaknessin delivering ideas through verbal presentation and explaining printed presentation since my past struggling experience with design studios’ presentation. This studio would be another stage for me to practise to express thoughts and concepts in printed, verbal and digital presentation.

Week1-2:Intruth,“whatisarchitecturaldiscourse”and“howtojustifyitwithspecificcasestudies”isindeedsomethingnew introduced to me. Though I clearly understand that in this course, I am supposed to understand the meanings and viewpointsbyprofessionalsinbothrelatedandnon-relatedfieldsonthetermofarchitectureandformulatemyowncriti-calviewpointreflectinguponreadings.

Week2-4:Architectureisanevergrowingfield.Designpracticewithcomputing-GrasshopperandRhinocerosbecomemore common in nowadays architecture. In this week, I was obsessed in exploring what these tools can perform for the firsttimeandhowthesearegoingtocontributetostudioexperience.Itwasaninterestingstartingpointforbeginnerlikeme to play with slider. In early stage of this semester, we were still heavily rely on the Ex.Lab training tutorials to learn the waysofgrasshopperinprovidingdefinitionsthatdirectandmanipulatebehaviouroflinesandcurveswithdatastructure&flow.However,theultimateaimofthisstudiowasntjustthetrainingofgrasshopperscriptingandmechanism.

Week5-6:Studyingcaseofinnovationsandreformulatethesametechniqueandfurtherrefiningthetechniqueinowndesign is indeed most useful learning process for me to start liking this studio. For example of BenQ restaurant, it could bedoneeasilyusingcontourratherthanloftingmanyrepeatedcurvesusinggrasshopperdefinitions.andthecontourofdifferentoutcomesthatbrings3Dsenseispossibleaswellintheexploratoryactivitiesoftechniques.AsabeginnerofGrasshopper,Iamstillrelyontutorialandgrasshopperdiscussionboardforaidorfindingvbscriptsavailableinboardforfurther learning. So far till the end of semester, though there are many different plug-ins in Rhino, I have only exposed to vb script , v-ray for rendering only, while still trying to learn Lunchbox and Weaverbird for next stage of learning.

Week7-8:Anotherimportantaspectofthecourseismakingarguments,particularlyinthese2weekwhenwehavetofinaliseourgroupeoiwithfewcaseprecedentofdifferentideasandapproaches.Thereinordermakedesignandcaseprecedent decision, we are meant to learn how to argue effectively and constructively to justify complex and interesting ways of architecture work in practical reality.

Week 9-10:In lecture of week 9, I do think that architecture is a responsible career that not only handing with ideas but client;sbudgetsaswell.Itisbecausebesidessatisfyingclientsdesireofadesignbrief,agooddesignprocessandout-comeshouldbereflectedtoointhelabourofarchitecture.Makinganimatedvideosofourmodelsareexcitingafterwatching some aspiring stop motion videos in lecture. Personally, I have experience using Sketch-up in making videos of mymodelinvirtualenvironmentinfirstyear.HowevertherewasanamateurattemptandIamverykeenandambitiousin making one for models set up that demonstrate the erection of each strips of model in real life construction practice.

Week11-12:intheseweek,wewereoccupiedwithpreparationoffinaldesignmodelmakingandphotographyandsolv-ingsolutions.Itisbeneficiarytoinvolveinmodelmakingasitishelpingtounderstandthescaleofmodels,howconstruc-tion of model will work in actual design

PART III: LEARNING OBJECTIVES & OUTCOMES Personal Background & Objectives

Learning Progress

Learning Outcomes

Designing with computing

Aswehavediscussedinthelectureaswellasinthereadings,designingwithcomputersrequirestwowayintegrationsbetweendigitaltoolanddesignconcept.Atfirst,duetoinexperienceandlack of arguments resulted of our own works or projects, we study and learn from case precedents formatrixcombinations’experiment to formdifferentuniquegeometries.Aswestudyand re-search through reverse engineering case of innovations besides exposing to lecture contents, we are able to explored more on our design with increasing complexity and rationality. Like vineyard caseprecedents,Istartedtolearnhowtoscriptanddesignwithsimilargrasshopperdefinitionsofrotation, brick stacking and image sampler. Through journey of adjustment, tutorial advice and groupmatehelps, Iamabletodevelopmoresophisticateddesign likemygroupfinalmodel.Since then, I began to see digital tool and computing technology as a medium of integration with design idea and concepts that produce different interesting forms and structure of model.

Communicating through visual diagrammingAlthoughImightnotbegoodinproducingvisualdiagramsthatexpressmythoughts,inthisstu-dio,Ihaveacquiredknowledgeonexpressingcomplicatedideasanduncleardesignnarrativein simple and comprehensive ways like diagramming and structuring a design narrative with sup-porting text and ideas by other professionals. Not only in this studio, in other studios as well, ex-pressingone’sideafluentlyinlimitedtimeperiodisextremelyimportantindeliverapresentationeffectively.

ArguingconstructivelyAsstatedoutinthesedesignstudiooutcomes,studentsneedtolearnhowtoargueideaswithresearches on case precedents. Besides that, working in group, present some challenges among ourselves to argue our ways of ideas to make our ideas key drivers of design. Of course in this case, rational and critical analytical thinking is needed for oneself to analyse and argue effec-tively. In this studio, argue constructively is particularly important when coming to design decisions as this will inform the design background

PART III: LEARNING OBJECTIVES & OUTCOMES Learning Outcomes

I.) PHOTOGRAPHY & Photomontage

II.) DESIGN NARRATIVE (THINKING & EXPLORATORY)

III.) CASE ARGUMENTS

IN MID SEMESTER STUDIO IN WEEK 12

DESIGNLAYOUT

IV.) DIAGRAMMING (REPRENTATION & COMPOSITION)

Design Idea development

Group EOI Finalisation

Exploring numerous of experinments and re-searches, personally, we have seen the potential design outcomes of digital tools and computer aided design such as the use of Rhino, grasshop-per, illustrator, photoshops and photography our-selves. At current stage, we are quite satisfiedwith the latest existing model which I would say have demonstrate all our ideas such as display of light and shadow through gaps between mod-els (might have to consider to reduce distance between each curving poles), gradual change of rotation grips, density of nodes and height as symbolic representation of urban sprawl towards Wyndhamcityanddynamicandfluid formandappearance

EOIREFINALISATION“Apurposefullydesignedmonuments, inbuiltform will never separated from ornamentation because a building itself is essentially a careful and deliberate assembly of chosen materials.” (Massavi and Kubo, 2006)

Therefore, it can be argued that all buildings are ornaments in a city in this article. In explor-ing the purpose of ornamentation in contrib-uting towards this western gateway project, we believe that ornaments in sculptural form, builtinsiteaspartthatdefinesWyndhamcity,is meaningful mechanism that allow architec-ture becoming a bridge that connect culture and the city.

Vague Argumentswith no support

Argumentswithdi-rection

PART III: LEARNING OBJECTIVES & OUTCOMES Future Learning & Utilization of Acquired Competencies:

To be honest, this studio has allowed myself to escape from my own zones of com-fort in term of using different designing tools to express, explore, experiment and testing different studio cultures and design approaches. This studio is not just about skills learning, but it is more about preparing future “may-be” architects to accept and adapt to new and updated architectural enviromnment and discourse with critical exploratory and analytical thinking through making case for proposals, creative design documentation and logical and specified design narratives. Even though I might not continue to go after parametric modelling in the next studio or future architectural career, the skill I picked up such as basic grasshopper scripting to define and manipulate for complicated design behaviour or Rhinoceros (V-ray plugin) during this studio will definely comes to handy and perhaps more efficient rather than the antique way of architectural practice- hand drawing and render-ing. For instances, it is more practical to produce a series of lines or curve with ac-curate positioning using Grasshopper definition rather than drawing one by one or inaccurate hand drawing. Besides, the thinking and manner of argue and research for case of innovations specifically to solidify arguments and concepts are undoubt-edly practical. This experience and sets of thinking, I believe, will definitely useful and will not be outdated throughout my practice of architecture.

COMPETITIVE ADVANTAGE: GROUP EOI

TheSeeds’ProjecthassuccessfullysatisfiedtheWyndhamCityGatewayProject Brief. We believe it is an iconic and eye catching sculpture that let the viewers experience while viewing it in motions.

Furthermore, with the grasshopper scripting, we are able to design dynam-icpanelsthatallowsflowofchangewhenoneisdrivingthroughit.Thus,ascontemporarydesigntechniquewasused,itcouldbeanarchitecturaldiscourse in future discussion.

Through the translation of Wyndham perpetual change in development, our design has the message to the viewers about Wyndham municipality. Unlike the ‘Seeds of Change’, our design allows viewers to experience the ‘message’ of growing city.

Ben. P, ‘Gantenbein Vineyard Facade’, in The Articulate Surface : Ornament and Tech-nology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 178 - 183

Burry.M (2011). “Scripting Cultures: Architectural Design and Programming (Chichester: J.Wiley). pp. 8-71

Hill, J (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quar-terly, 10, 1, pp. 51-55

Kolarevic, B, Architecture in the Digital Age: Design and Manufacturing (New York; Lon-don: Spon Press, 2003), pp. 3 - 62.

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

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Com-puter-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

References:

FUTURE PROJECT IMPROVEMENTS.

1.Alternativeconstructionmightbenecessarytobeexploredfurtherasthe panels need to be as light as possible. Steel truss construction might be one of the alternatives as it can form a much rigid and light weight structure.

2. Instalment of the electricity on the site has not put into much considera-tion since the current site has no electricity connection. Fix amount of light ineachpanelneedtobecountedcarefully,especiallyinthetunnelpart;as to prevent the sculpture of being too bright at night (only glow effect that we want to achieve).

3. Rainwater might be a problem in actual sculpture, as there is no proper gutterandnowaterproofinginthemodel.Currentlythemodeljustrelyingon ‘overlapping’ technique toprevent the rainwater fromdripping intothe road.