Architecture Design Studio: AIR

Vladimir Jokic389 997

Architecure Dis-course

Modern Computa-tional Design

Performance Driv-en Design

Modern Scripting

Matrix of Design Exploration

6 A Brief Outline on the Discourse of Architecture6 A Personal Project (Studley Park Boathouse)7 Blobwall (G. Lynn)8-9 Parametric Apartment Complex Proposal

10 The Advantages of Computational Design11 Innovations in Computational Design

12 The Pinnacle13 Melbourne Recital Hall14 Scripting15 Performative Building Skins and Facades16 EcoTect Analysis17 Comparison of Old and New Design

18-19 CJ R&D Center (Kinetic facade)

20-21 Matrix of Grasshopper explration22 Surface Exploration Matrix23 Boolean Point and Curve Attractor Matrix24 Promising design exploration

Contents

Reverse Engi-neered Case

Fabrication

Design Concept

Reflction

25 Airspace Tokyo- Voronoi Pattern

26 Digital Fabrication27 Gantenbein Winery

28 Design Concept

29 Reflection

Contents

Site Plans

Model Construc-tion

Model

My Goals

Concept Reflection

30 Site Plans And Vector Perspective

31 Model Making Photos

32-33 Model Photography

34 My Personal Goals

35 ConceptReflection

Contents

Fabrication and Construction

Presentation Re-flection

Goal Reflection

Final Words

36 Fabrication, Constructability and Digital Model

37 PresentationReflection

38 GoalReflection

39 Final Words and Summary

Contents

The project for the Wyndham Gateway project needs

to be an innovative and captivating installation that is

to reflect the changing and developing area within the

Wyndham region.

For this project the use of parametric design seems

the only appropriate solution because it represents the

future of architecture which is one of the key points

when ananlysing the region. It has many advantages

over conventional design, and can play a role in creat-

ing an attraction that defines the region.

The project involved designing a new boathouse in the mould of

a certain architect, in this case Alvar Aalto, the renowned Finnish

architect of the 20th Century. The focus of the project was to create

a boathouse which would create a building which would become

a local attraction to the site, whilst capturing key elements from

Aalto’s works (in this case public buildings because of the scale

of the project) and translating those same ideas and elements into

the 21st century. What this project taught me was to how to select

key elements, develop them and use them to drive a design which I

intend to do with the installation in Wynhdam City Council.

Tip!1My first point of fo-cus in creating a work

based on Aalto’s revered architecture was to focus on the interaction with the surrounding environ-ment, using the landscape to shape the design using materials to represent the surrounds. material hon-esty was a key component of his work. He used ma-terials to express structure or culture both local and national.

2The second focus point of my design

was the organisation of space according to impor-tance, especially consider-ing this was a public build-ing.

3The third area of focus was in creating a pub-

lic space which would be both an attraction to non paying patrons as well, ergo be a place of sociali-sation and interaction.

4The form had to rep-resent the building’s

strong public importance, which is why it revised the ‘tun’ form to bring the proj-ect into architecture more indicative of today.

Architecure DiscourseWhat defines Architecture?

My Personal ProjectStudley Park Boathouse

The Blobwall installation is the first internationally

renowned project I would like to ananlyse as part

of my proposal for the use of technology driven ap-

proach to create the roadside installation in Wer-

ribee. The success of the Blobwall and the global

interest in it lies with how Lynn was able to redefine

what ‘building blocks’ could be. Instead of being

rectangular as is the norm, he proposed, designed

and built an installation that uses individually de-

signed ‘blobs’ as the building blocks for construc-

tion.

It’s success also stems from Lynn’s daring and

technology driven approach to architecture, the

building form is computer and software driven to

respond to certain drivers (wall curvature, number

of ‘blocks’ etc.). The process of computer modelling

allows for paperless architecture, one which is not

relaint on people being able to read architectural

drawings but rather have interactive 3D models to

examine and study during construction, it allows for

changes to be instantaneously reflected in the de-

sign/model. It is an adaptive and intitive process .

The installation redefined architecture by chal-

langing people to think outside the norm. it was a

groundbreaking project, but that is so often the case

with new and groundbreaking works when they first

appear. This type of installation creates several

ideas which I hope to recreate with my installation,

the primary being the creation of an installation that

comes to define the region by creating an installa-

tion that creates global and local interest.

The Blob-wallBy: Greg Lynn

1These apartments are made using parametric computer

modelling. Each of these apart-ments is comprised of individual el-ements of ‘blocks’ ala Lynn that are pieced together depending on the needs of the tenants. This design takes great inspiration from nature; natural growth (seed and up), phyl-lotaxis and phototropism.

2There is potential in this design for it to become a dynamic de-

sign, in that the building is able to be adjusted to changes in the driv-ers. The building can update itself in the virtual world to changes in the drivers readily, which poten-tially be realsied in the real world with varying projects, like possibly at Werribee.

Advancing the Archi-tectural Discourse

This building along with Lynn’s Blobwall are mov-ing architecture into a new domain. They are redefin-ing the design process and buildings elements by pio-neering a contraversial de-sign system based in the virtual world.

They have moved away from an archaic method of architecture towards a more adaptive and collabora-tive process by which the needs of all are taken into consideration. This allows for more responsive and immediate alterations to be visualised, for architecture which is designed to re-spond to drivers, for more flexible modelling allowing multiple designs, for the building to evolve with the changes around it.

The movement away from paper architecture frees the architects to explore forms which cannot be achieved or realised with convention-al methods, for more col-laboration between archi-tects, engineers, occupants, as opposed to a system by which th edesigns are passed on and redrawn as before. It turns concpetual-ised works into realisable projects.

3The image top left illustrates how these buildings rise up

from the ground according to the different algorithms which are de-pendant on the who lives there, their occupation, number of occu-pants etc. This allows architects the freedom to focus on providing an appropriate structure to all stake-holders, which is needed at Wynd-ham Council.

review

ParametricApartmentsLondon

I have chosen this project because

it builds on the princples of Lynn’s

work with the Blobwall installation

but translates them into a design

proposal for an apartment complex

in London.

Whilst the connection between this

and project and that of the Blobwall

is not immediately clear, beside the

obvious use of parametric model-

ling and the futuristic shapes, they

do share the same design princi-

ples and forward thinking.

The building form is driven by the

design influences, problems, re-

quirements or problems, as op-

posed to conventional procedure

or deriving a form and inside it fit-

ting the elements required by the

stakeholders.

The relationships of elements are

the drivers in the form, as can be

seen on the images to the left no

building looks alike, as no combi-

nation of tenants is alike in their

requirement and needs.

The installation in Wyndenham

needs to engage with modern and

contemporary design and digital

culture and use this to create an

installation that becomes synony-

mous with art and culture.

The use of computational software has enabled ar-

chitects and designers worldwide to experiment and

create buildings, installations and fixtures previously

unfathomable.

The ability to transfer computer generated models

straight to a digital fabrication facility has meant that

architects and designers are not limited to ‘off-the-

shelf-components’ but instead allows for complex

forms and geometries (double curves) to be easliy

made and assembled.

Parametric architecture needs to be used for the gateway project because it is symbolic of not only a cul-

tural shift to more performance driven architecture but of a change in thinking of architects. the build-

ings, installations or sculptures are modelled around parameters. The parameters influence the design by

setting restrictions on size, shape, geometry, rotation, etc., however these restrictions on the parameters

should not be viewed as prohibitive restrictions but rather as design opportunities.

The dynamic, growing and thriving area that Wyndham is in need of an installation that will create a cultural

and visual representation of the community, which is why parametric architecture is most appropriate. The

council is provided with a unique opportunity to represent the growth of the area by utilising a design sys-

tem and methodology that is growing in popularity globally, thus positioning the area as a leader in design

and ergo positively portraying the area internationally and nationally.

1The models update al-most instantaneously

meaning they are always accurate reducing the chances of error in design or fabrication in compari-son to paper arch.

2The ability to easily fabricate the models

using custom made pieces increases the scope of de-sign.

3Unlike paper architec-ture there is an error

checking system in place to help diagnose errors in scripting and help to re-solve these issues.

4One of the key posi-tives of 3D architec-

ture is the ability to con-stantly preview what the designed object will look like unlike paper architec-ture.

Advantages of Com-putational Design

Parametric DesignAdvantages of Digital Modelling

One of the most widely used analysis tools by para-

metric designers in Grasshopper is the Geco plugin

which connects to Autodesk Ecotect. The purpose

of this software is to visualise performance data for

easier communication, design feedback enabling de-

signers to make amendments to designs to achieve a

cooler and more energy efficeint building, which in a

world heavily influenced by .

The

The

Scripting allows for designs to be developed from a

bottom up approach, and to be free to derive the form

from aspects of building performance. An example of

this is the Jyväskylä Music and Arts Center in Finland

by OCEAN Design Research Association. The script

follows 3 points to derive the form 1- location, orienta-

tion and density of struts, 2- structural, acoustic per-

formance requirements and 3- design guidelines (i.e.

3 lattice systems, volume of space etc.)

Data simulation and modelling occurs in close to

real time, allowing quicker responses by designers

to problems. This can be seen in the AA Component

Membrane in London, which used software to map

the movement of the sun to guide the design of the

rooftop canopy (to provide maximum shade) whilst

also dealing with wind loads and precipitation. The

response of the canopy to the elements was what

drove the design. The upside of using computation-

al software is that the software derives the data for

manufacturing for the assembly members.

2The building was tested and optimised for wind loads im-

posed onto the building for a number of reasons. It helps shape ventilation design in the building, comfort for occupants, construc-tion costs (materials and amount used), nosie, air quality, position of exhausts and air intakes as well as the surface pressure applied onto the surface by the wind loads.

1One of the main reasons that people do studies on build-

ings early on in the design process is that small changes in this stage can have enormous consequences (both positive and negative in the final built outcome).

This building is a glowing example

of how mathematics and computa-

tional design and optimization can

create buildings to respond to driv-

ers and factors.

The architects successfully blend-

ed factors of environmental per-

formance, return on gross internal

floor area, structural and construc-

tional simplicity . The building was

tapered by 2.5 degrees to reduce

mass and for aesthetic reasons.

The building is comprised of two

skins, the external panels provide

the weatherproofing, ventilation

and light, whilst the interior pan-

els provide openable windows for

natural ventilation.

Optimization in this building came

in the form of studies to find the

most suitable window system (in-

terior) such that the gap between

the interior and exterior is reduced

to a minimum thus increasing the

return on investment (greater floor

area as a result of decreased gap).

(Burry)

The PinnacleKohn Peder-sen Fox

This building demonstrates the capabilities of op-

timization in respect to acoustic performance.

Throughout this building are examples of thorough

research and care taken to ensure that the opti-

mum acoustics are present for both performers and

the paying public. The shape of the building has

been chosen based on acoustic performance, the

interior cladding (plywood) has also been chosen

for its acoustic properties. Most interestingly how-

ever is the relief patterns that are applied to the ply-

wood as illustrated top right. The scipt developed

for this particular building mapped the reverbera-

tions around the hall after each change (ornament,

wall thickness, balcony position and shape) thus

that the architects and acoustic technician were

able to ‘tune’ the building to maximum acoustic per-

formance. The relief pattern on the plywood whilst

appearing highly decorative and ornate for a mod-

ern building, is infact there for acoustic purposes.

The pattern selectively diffuses higher frequencies

whilst the varying thickness and recralinear pat-

terns diffuse lower frequency waves (Burry).

This building is an example of a building which has

been optimized for acoustic performance. It is de-

signed with the intent of having only ‘A’ Grade seats

throughout. The hall has to perform perfectly acous-

tically for not only the 1000 audience members but

also the performers themselves. Everything in this

box shaped room (boxes perform very well acous-

tically) has been designed with acoustics in mind,

down to the mathematically derived stage, the thick

revolving stage doors and even the air conditioning

system (Burry).

Melbourne Re-cital HallBy:Ashton Maggatt McDougall

Whilst scripting does allow for buildings to seemingly rise from the ground in re-

sponse to drivers, Kalay questions whether a building can trully ever

be purely a response to drivers, that is form following function.

Form generation with scripting comes in usually 4 steps. First-ly the generation of the build-ing envelope, secondly the creation of the floor plans and spaces, creation of the build-ing elements (windows, facade

etc.), and generation of building details. The barriers to a build-

ing being an ‘optimal’ response to drivers inlcude the conflict that

arises from drivers and the need to adjust paramaters or to create a ranking

system for the drivers like at Jyvaskyla Mu-sic Centre. In some cases it is impossible to quantify or name all the drivers in the creation of the building (cultural values). The final design can be driven by subjective perceptions and feelings as opposed to statistical data when measuring and ranking perfor-mance drivers or criteria. “Nevertheless, it can be ar-gued that computer form generation has significant advantages over traditional design when it comes to a small number of criteria and smaller well-defined problems such as the generation of a building’s en-velope/initial form or the generation of elements in the building.” (Grobman, Yezioro, Capuelto)

The ability to recreate or take inspiration from nature is one of the main advan-tages of digital design as it allows the recreation of complex patterns (Voronoi etc.). The main example of this is The Water Cube in Bei-jing. The architects created an array of digital foam and then subtracted it from the build-ing’s volume. “Computation-al procedures automatically created the building’s geom-etry, performed structural optimization and produced construction drawings” (Rou-davski). It is a key example of the “implementation of a large-scale cellular structure in a project that is acclaimed for its visual impact as well as for its performance.” (Roudavski). What it fails to capitalise on however is the adaptability of cell like structures. It is part of a growing global trend of non-uniform complex structures. Biologi-cal systems are not only capable of just physical organization but are also capable of ‘adaptive self-organization,’ which enable the structures to arrange and rearrange themselves according to the environment in which they find themselves. As Menges writes “form-finding as pioneered by Frei Otto, is a design technique that utilises the self organization of material systems under the influence of extrinsic forces.” (Roudavski).

Script-ing

“The experimentation in form generation is simulta-

neous and identical with the experimentation in the

material that not only will best express the idea, but

will be an inseparable and indistinguishable part of

it. As material is born with the form, its production as

well as its manufacturing and place in the construc-

tion constitute part of the same design process-

question.” (Voyatzaki). What is also adding to more

innovative and unique facade design is the reduc-

tion in cost associated with the production of one-off

buildings. Production is rapid and more affordable.

Data simulation and modelling occurs in close to

real time, allowing quicker responses by designers

to problems. This can be seen in the AA Component

Membrane in London, which used software to map

the movement of the sun to guide the design of the

rooftop canopy (to provide maximum shade) whilst

also dealing with wind loads and precipitation. The

response of the canopy to the elements was what

drove the design. The upside of using computation-

al software is that the software derives the data for

manufacturing for the assembly members.

One of the main areas for development with regards to digital and Modern architecture stems from the separation of load bearing members and the facade. The separation has resulted in facades being able to con-vey meaning and take the form and design that expresses the architect’s ideas and intentions. Form has to consider ornament, and materiality. This change has opened up a world of possibility in the process of production with new materials arriving on the market at an increasing rate. It opens facades to a “new spectrum of choices and possibilities that will broaden the expressive vocabulary of architects contributing to the generation of increasingly genuine architectural forms.” (Voyatzaki). The elevation in today’s digital design domain becomes not only an expressive and com-municative artefact but a building element that also serves to protect the building from the elements, respond to climate, noise, light or other speci-fied stimuli. Advancements in fabrication and materials enable facades today to be comprised of composite materials such as to ensure optimum performance. Materiality becomes a key design component and one which requires consideration about how the parts join together and how they per-form as a whole. Materiality decisions are interwoven in the design pro-cess. In the new realm the “design of architectural forms is being perceived as the analogous of the genetic process, a morphogenesis that generates siumltaneously forms and their materiality and which gradually transforms into a new architectural paradigm, the digital.” (Voyatzaki).

Perfor-mative Build-ing Skins & Facades

ECOTECTSPORTS STADIUM DESIGNDesign Proposal

1Autodesk Ecotect Analysis is a sustainable environmental

design software. It is a software that allow for stimulation of mu-tiple building analyses. It can cal-culate greenhouse gas emissions, energy usage, building thermal performance, water usage, solar radiation, daylight and shadows as well as many other environmental analyses.

2The advantage of using soft-ware like Ecotect are signifi-

cant. They allow for building op-timisation to occur as a result of a series of data simulations of building performance. Building op-timisation is of great importance in the 21st century because of issues arising from global warming and in-creasing material scarcity.

3The ability to receive feedback on design performance and

subsequently making the necessary adjustments to fix points of concern or make more efficient design deci-sions based around opportunities for better design is another advantaged offered by software like this. It allows for design to be influenced by the opportunites presented by perfor-mance to shape form.

Parametric design does however come with some

downsides. Design can be restricted by the

capabilities of the computer program

and software to compute or analyse

elements. Certain aspects of the

design might be unachievable

in the digital realm because the

software does not have the nec-

essary function to achieve the

desired result, however as more

people are becoming involved in

scripting, problems are being solved

as they arise. However the biggest

hurdle for many to overcome is the initial

trepedation which comes as a result of being ex-

posed to something new, and having to learn and adapt to a

completely new way of design.

One of the biggest advantages of parametric architec-

ture and design is the ability to create complex

geometries like in the example above of ...

The software in the above example was

able to calculate the loads exerted on

each of the individualised members,

such that the structure would be

able to function properly. It allows

for repetetive tasks to be completed

with ease which is important for our

design which features a repeating

pattern over a number of panels.

new vs.old

1Parametric modelling and architecture is more flexible because it allows for the designer’s or ar-

chitect’s true intent to be brought to fruition as the de-signer has full control of all elements and is not reliant on elements which can be bought of the shelf.

2The reason that many choose to design and work with paper architecture is the fear of designing in a

new method, the fear associated with being exposed to an unknown especially one as frightening as computer programming.

Nem cor aligentMod quaspic tecusam et quatus eicabores

Conceptual DesignAt this stage in the design process the team to design a pattern or image which is to guide the design pro-cess, it allows the team to subsequently work on find-ing the conflicts between the design idea and build-ing performance.

ModellingIn this stage, the team uses modelling and parametric techniques to analyse and develop the design to re-spond to the stimuli anal-ysed (sun, wind etc.). These can be done by a variety of methods, either scripting (Grasshopper) or modelling (3Dstudio Max).

Analysis & TuningAt this stage the building performance is measured using software and based on the results the building is adjusted to perform more efficently. It creates a circu-lar process of design by the presence of flexible param-eters.

DocumentationIn the last stage, the desings are presented in documentation draw-ings, the files are prepared for manufacturing, vreate physical models for the cli-ents to visualise the final outcome.

1The biggest advantages that this type of construction provides over

the usual ‘static’ designs is that they enable the architects and clients to set crieria or parameters which allow it to be built in response to those, especial-ly in regards to exterior skins as in this example, it results in design without preconceptions. The building is seen and performs like a living organism.

2One of the biggest concerns when designing buildings as such is that they can be designed

purely to respond to certain conditions and as such the buildings can be impractical, too complex or be-come an eyesore, but this building has managed to create an environmentally firendly building that not only performs well environmnetally but has a focus also has an aesthetic quality provided by the use of long flowing curves whcih are linearly stacked. The horizontality balances the use of rounded towers and curved passageways between the two towers.

4The kinetic facade was modelled using 3D mechanical modelling

software that allowed for the creation of multiple relationships with com-plex geometry. However the design-ers noted that programs like Inventor and Solid Works could potentially in the future be able to run more com-plex problems and identify points of stress and recommend improve-ments in real time.

3One of the areas most where there is room for most improve-

ment with such design comes from the ability to use software to adjust buildings to certain parameters which is key in designing a suitable structure for Wyndham City Coun-cil.

This is a project which uses mod-

ern scripting techniques in order to

create architecture which is both

representative of future architec-

ture as well as architecture which

responds better to environmental

conditions or other facrtors speci-

fied by the clients or architects to

create fundamentally better build-

ings.

This is a design by Yazdani Studio

as part of Cannon Design research

initiative into individual surface

system components which are

able to better respond to environ-

mental or other local stimuli.

They refer to these systems as

Paratronic surfaces, in reference to

a biological term used to describe

this system whithin plants.

This building is an attempt to cre-

ate a building with a outer skin that

responds in real time to solar radia-

tion by using a scissor mechanism

onto which the membrane would

be placed. The membrane would

filter out direct sunlight and minis-

mise glare whilst also allowing for

natural light to enter when opened.

What this project shows is the ca-

pability of software to design focus

driven fixtures, and the design pro-

cess in general.

CJ R&D Center-Kinetic Fa-cade

This series of Grasshopper experimentations dealt with surface articulation, in order:- Applying a diagrid to a surface.- Applying a pattern (triangular) to a surface and rotating them around an axis.- Applying cut-outs (circular) to surface using surface normal.- Applying geometry to a surface dependant on angle to a vector line.- Making a 3Dimensional lattice structure.- Applying a train of circles along a surface.

This series of Grasshopper explorations is in relation to pattern making using Boolean Points and Image Sampler, they are in order (running down the page):- Boolean combination with curve attractor of True, True, False- Boolean combination with curve attractor of True, False- Boolean combination with curve attractor of True, False, True- Boolean combination with curve attractor with colour- Boolean combination with curve attractor of True, False, True, False, True- Boolean combination with curve attractor of True, True, False, True- Boolean combination with curve attractor of True, False, True- Boolean combination with curve attractor of True,True, False, False

The above exploration in Grasshopper promised to have the

most potential as it was a true representation of parametric de-

sign and surface manipulation driven by a parameter. In this case

the surface “windows” are either populated by a box or another

quadilateral depending on the surface relationship to the sun in

radians (vector)The above exploration in

Grasshopper is of math-

ematical equations (mul-

tiple) and using then and

RUnion to create interest-

ing growth patterns.

The above exploration in Grasshopper is of punched

out circles to a curved surface using surface nor-

mals to ensure that they are aligned with the surface.

The exploration to the right

in Grasshopper is of to do

with creating patterns us-

ing RUnions and Attractor

Points.

The exploration to the left in Grasshopper is ofpattern

creation using Boolean points and Arbitrary points. These

patterns in particular are reflective of changes in the Bool-

ean Pattern (True and False values).

In order to gauge a better under-

standing of scriting and how it has

translated to real world finished

articles of architecture, I have re-

verse engineered a finished project

in Airspace Tokyo.

The purpose of this exercise is to

understand how to translate the

architectural ideas for an installa-

tion into Grasshopper scripts. This

will help in the task of creating the

Gateway project because it will

help us with developing a suitable

script to match our design intent.

For this study I have chosen to rec-

reate the Airspace Tokyo because

our group is interested in pattern

movement and overlays of layers

to create a changing or moving im-

age.

This building utilises different lat-

ers and pattern overlays to create

varying effects with light and shad-

ows within the structue.

Reverse En-gineered Case

Fabriaction process and how it could apply to this

project. We envisage the fabrication process to

involve the creation of tabs, cutouts, clamps and

folds to create curved surfaces of the panels and

louvers.

The joint system could possibly take the shape of

the connections in that of the above image, which

are basically clips from one piece or strip of cutout

material with a similar cutout which is perpendicu-

lar to the other strip.

1The use of laser cutters has become almost com-mon place in both the educational and profes-

sional domain with regards to architecture and design. They provide enormous advantages over non pre fab-ricated models, as they provide incredible accuracy when cutting the irregularly shaped individual complex geometries that often define parametric and computa-tional design. The cost of machines varies significantly and the amount of programming and modes also var-ies, but generally speaking they are easy and intuitive to use.

2The second most common method of digital fabrica-tion comes in the form of 3D printing .This method

prints the models in layers comprised of fine plaster dust. The model is reproduced in high detail, however the practice in the professional world is considerably less in comparison to than that of laser cutters and in the education sector because the cost is considerably higher for professionals. The biggest concern with 3D printing is designing the scale models as opposed to the proposed installation as the models have to be thicker than necessary in full size realised projects.

Nem cor aligentMod quaspic tecusam et quatus eicabores

The process of fabrication using a laser cutter us-

ing with Grasshopper and Rhino is a simple and

intuitive process. The Rhino model has to be flat-

tened into 2 dimensional strips (unrolled from a

3 dimensional form). These strips are labelled ac-

cording to their location within the model, i.e. strip

2, row 3, left etc. The fabrication allows for the

creation of individual pieces which join together

to create smooth and curved surfaces. The fabri-

cation process allows for the creation of complex

geometries through the assembly and cutting of

simpler geometries and shapes which when con-

nected result in the creation of complex shapes.

4We believe that the way this would be fabricated would

be through a series of flat sur-faces with the perforations and then tabbed together to create the curved surface. The louvers would be attached with a locking tab sys-tem to ensure structural stability.

3The above image above is of the Gantenbein winery in Swit-

zerland. The brick facade was fabri-cated by a specialy designed robot. It individually placed all the bricks, cut them to size and applied a spe-cially designed bonding material to the bricks to join them. The panels were transported and lifted onto the site.

As discussed previously one of

the biggest advantages to a para-

metric and computer based model-

ling approach is the ability to build

using digital fabrication methods

such as lasers cutters, 3D printers,

and construction facilitated by the

use of robots.

The advantage of these methods

to other regular construction meth-

ods is that they provide a more effi-

cient and accurate realised project

whcih are often comprised of irreg-

ularly shaped complex geometries

which have many complex con-

nections and joints based around

the unique and irregualr patterns

which would be non realisable

without these technologies.

Architects tend to draw what they

can build and build what they can

draw. This stems from architects

being limited to design with ele-

ments like steel and bricks that

come in size and shapes provided

by the manufacturers but the abil-

ity to create individual non uniform

buildings elements opens up a

whole new world for designers by

releasing them from the confines

of regular forms to one where they

are free to experiment and design

and build as they envisage.

Digital Fabri-cation

CONCEPTCultural Bridge

1The thinking behind our con-cept design was that we want-

ed to create an installation that would create a cultural bridge be-tween modern scripting and archi-tectural techniques with the exist-ing indigineous culture of Australia and in particular the Werribee area.

2Our concept was to create a moving/morphing image or

roadside flip book that would show a transition between a series or images (possibly with cultural ref-erence) seperated by large verical louvers to create a visually stimu-lating design, and feature. The de-sign would create a moving image as people would drive by.

3We hope to integrate indigin-eous Australian dot painting

techniques and colour schemes into the panels to create a cultural link to the past inhabitants of Wer-ribee region. We were inspired by the geometric shapes and colours of the Spanish pavillion of 2005 and of course dot paintings by na-tive Australian inhabitants.

2The biggest concern we have with this design concept pro-

ceeding forward is the possibilty of being racially insensitive which was brought up as a possible outcome of trying to create a monument which attempts to bridge two societies which do have animosity between them, which is we need to focus on creating a less polarizing and less so-cially sensitive installation.

1Digital design is superior to archaic paper architecture be-

cause it is able to produce complex geometries, is a more efficient and streamlined form of design and is something which is being increas-ingly used whcih very much makes it a style and way of thinking for future architecture, which presents Wydnham a unique opportunity to get ahead of the curve.

On reflection the development

process of design facilitated by the

use of parmetric architecture and

modelling is undeniably more ef-

ficient and appropriate than paper

architecture when it comes to de-

sign of the roadside installation at

Wydenham.

The process of design is more

streamlined, and quicker because

the manipulation of surfaces and

patterns in Grasshopper and Rhino

are almost instantaneously reflect-

ed in the model and the result of

this is that there is more explora-

tion of design and the outcomes

which will result in better architec-

ture.

The fabrication process of laser

cutting has many superior quali-

ties to that of hand made models,

installations. The precison in cuts

is unmatched, the speed of fabrica-

tion and cost are further advantag-

es, but perhaps the biggest advan-

tage lies in the ability to fabricate

unique and complex geometries

which without the use of digital

fabrication methods would be im-

possible.

Digital design and fabrication is

the future and Wyndham Council

needs to choose this method to

demonstrate that it is one of the

main centres of future growth, de-

velopment and modernity.

Reflection

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Going into a subject that had such a focus on both model making and digital design (using pro-

grams of which I had no previous experience in), I thought I would struggle immensely as these are two

of my pet hates when it comes to design. Previous to this subject I had never designed with the aid of

computer software and had struggled with model making. I had severe reservations about this subject as

a result of this, but soon realized it was as an opportunity to improve these skills which could be useful in

the immediate (university) and not so near (employment) future. Both these skills are incredibly important

in the field of architecture as they can aid design documentation, visualization, experimentation as well as

design development. Model making is a great tool in visually representing the design ideas and as such

model making is of great importance in the architectural and other design orientated professions. Digital

fabrication was something I was interested in before, but never had the opportunity to try, as it was never a

core requirement and the process seemed difficult which along with the cost seemed off-putting.

My personal goal for this subject was to develop certain skills which I personally have struggled with during my tertiary studies. These have been lack of experience and unwillingness to experi-ment with digital design techniques as well as digital fabrication. I have always been cautious and proceeded with the road I have always used - hand drawn, and for this reason I want to use this subject to gain valuable experience in the realm of digital design. Digital design offers many ad-vantages over paper architecture but equally it is a difficult skill to grasp, which is why I wanted to develop a knowledge of basic Grasshopper scripts and mainly model making experience.

Tip!1The first point of focus in this subject for me was to become more comfortable and proficient with 3

dimensional and parametric design. My aim was to be-come comfortable enough with the programs (Rhino and Grasshopper) that I could possibly use these skills in the future to aid design development and visualization. My aim was to be comfortable enough with parametric de-sign (Grasshopper) such that I could possibly animate some design elements which would otherwise be not only repetitive but also time consuming, but also to pos-sibly experiment with designs in Rhino and Grasshopper before choosing a design to proceed with. As this is one of the main benefits of digital design- the ability to quick-ly visualize and experiment, it could be a useful tool to have when designing in future projects.

2Secondly I wanted to experiment with digi-

tal fabrication as the mod-els that are produced us-ing this method are more accurate, precise, clean and professional.

3Lastly I wanted to use this subject as a one

for exploration of digital design and the capabili-ties (benefits and draw-backs) of it. This subject has provided students a unique opportunity to ‘play around’ with digital design and fabrication which many would have not had the opportunity to do in other design subjects or even in the professional domain.

My Expectations Of The Subject

My Personal GoalsWhat I Had Hoped To Learn

2We wanted to link the project to the other famous roadside

gateway in the region - The Seeds of Change. The connection between the two gateways is readily visible - from taking a similar feather/leaf like panel, to having panels with dif-ferent articulations. Perhaps most importantly they both use a number of planar panels to create an image. The link is important because it ties the projects and area together as one, almost as signifiers of the start and end of Wyndham.

1The size and location of the project were key consider-

ations when designing this gate-way. We wanted to position it such that the ‘hero’ view would be from Geelong on the way to Wyndham, thus that this would be seen as the point at which to turn off and enter Wyndham. It is located in the high-est and most central section thus it can be seen from miles away. Standing at over 12m in height and spread over 100m it has a sense of monumentality and iconicism about it.

On reflection our final design varied significantly from the initial concept

idea we had for the first crit. We took onboard the criticisms from the panel

(dot paintings, cultural bridge) and focused on the positives which were the

sense of movement and explosion specifically in the creation of an image,

and looked to build on that along with some other helpful advice like making

the feature not only an ‘image’ but rather as also a sculptural element which

can be enjoyed by all for miles.

What we focused on in the design stage was in making a sculptural element

which would capture the imagination of the residents and road users. It would

be something that would be layered or multi faceted. We tried to expand upon

the ‘explosion’ and appearing image idea by creating a roadside gateway

which from afar would look like a series of what appear to be random sculp-

tural panels that would slowly converge into a symbolic and iconic image of

the Brolga wings spread over the highest point on the way to Wyndham as an

iconic welcome post for visitors and residents alike.

After the image would converge for a fraction of a second it would proceed to

‘explode’ into a series of random panels with a series of punched out holes.

We tried to create a roadside gateway which would be appreciated by as

many people (through layering - pattern, image and panels) as possible and

would create local, national and possibly international discourse.

Reflection On Concept

The fabrication process was not as simple as we first

imagined it to be. The biggest issues however sur-

rounded the laser cutting of the panels themselves.

On the first attempt at fabrication, the smaller more

intricate and detailed panels either melted and shriv-

eled up or morphed into one shape. We then trialled to

fabricate with fewer holes but this was to no avail as

the panels melted again. We trialled fabricating with

cardboard, and different plastics but to the same result.

This is one of the inherent problems with digital fabri-

cation: the conundrum of designing for scale models or

for full scale projects. As suggested by Seeley 2004,

the best option is to fabricate full scale models to the

best capabilities of the fabrication process.

1The issues we had with this process was that we tried to bend the panels such that they would be

slightly curved however we decided in the end that this was unnecessary as they were to be positioned at an angle to the road and the road itself was curved such that the effect we were trying to create was already be-ing created by the road itself.

2With real life constructabilty of this project, our group proposed that the panels (in proposal made

from acrylic or other plastic) featuring the cutouts of Brolga feather cutouts be surrounded by a galvanised portal/welded steel frame. The cutouts not only serve to create interest and detail within the Gateway, but also to reduce the windloads imposed on the large panels that sit atop a hill. The steel frame would be placed into a con-crete base (unreinforced) to prevent the panels from fall-ing over from the wind loads and self weight (for panels inserted at angles other than 90˚ to the ground).

The process of making the digital model was one

which relied heavily on where we were to position our

structure, how many panels we needed/wanted and

what general shape they were to take, and finally the

point at which we wanted the image to appear and

subsequently explode. Once these points were agreed

upon it was just a matter of finding a suitable image of

a Brolga and scaling it to the desired size, and tracing

the wings to feather like panels (3 size variants) and

projecting these panels to a point 300m away from the

panel at the rear of the structure. The panels were then

moved equally along a 100m path. Finally the panels

were given a feather like appearance with a feather pat-

tern in Grasshopper.

2The other big criti-cism came in the

form of materiality in the final realised proj-ect. The panel did not see that acrylic or an-other plastic material should be used when constructing this struc-ture.

1The first and most important critique of the presentation came in the form of criticism of

the presentation panels themselves. They lacked clear images (contrast between black and white was off-putting), images lacked borders, there were no comparative images of the inspiration/ source material (Brolga wing) and the final out-come, most importantly however was that there were no vector images of the ‘explosion’ as im-ages using the model to communicate this ‘ex-plosion’ did not illustrate this clearly enough.

The overall impression from the pre-

sentation was that the idea was well

received as the concept was both

interesting and appropriate for both

the context (roadside sculpture) and

as a representation of Wyndham. The

models were constructed to a high

standard (laser cut, to a scale which

represented the design idea and in-

tent). The structural model showed

clearly how it would be put together

and assembled on site.

The criticisms of the project were first-

ly that the panels should not be con-

structed from acrylic or similar plastic

material as it is prone to weathering

and staining as well as not being

appropriate as it goes against the

environmental and nature concept

from our design. To remedy this, the

panels could be made using coloured

metal sheeting (galvanised). Second-

ly and perhaps most importantly; the

presentation panels were not as well

received as the idea and models. The

photography did not capture the mo-

ment the project ‘exploded’ so vec-

tor drawings or 3D renderings could

have been served to demonstrate

this more appropriately. The images

didn’t have borders around them,

and the combination of images that

were a mixture of dark and light did

not work well enough as it had too

much contrast and became confus-

ing and distracting. Finally an image

of the Brolga wings would have been

useful in allowing people to compare

the final realised project against that

of the source material.

Presentation Reflection

WINGS FOR WYNDHAM

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I set out at the onset of this subject to gain experience

with new professional but mainly tertiary model mak-

ing practices; that is laser cutting or 3D printing. This

was something I had wanted to experiment with in

earlier subjects but did not have the necessary skills

or endeavour to attempt fabricating using digital meth-

ods. The allocation of marks in this subject for models

was something which highlighted the importance and

need for professional, crisp and detailed models, which

is why digital fabrication was seen as the only viable

choice.

1 Throughout the semester I had to adjust my goals in terms of how much I had expected to know

about both Rhino and Grasshopper to gaining knowl-edge about surface manipulation (for facade work), and some basic parametric work. In the end I gained valuable experience and knowledge of facade manipu-lation and process automation which I will hopefully use in the future.

2 In regards to model making, I am very satisfied with what was achieved by the end of this subject. We

collectively were given the knowledge and tools (scripts) to fabricate our models, giving us valuable experience in the realm of digital fabrication. I was very satisfied with the models that my group made, as they were a signifi-cant improvement on previous models, such that I will continue to digitally fabricate models in the future.

At the beginning of the semester I had set myself un-

realistic targets in regards to how much I wanted to

know with digital design. Learning two new programs

is a challenge at the best of times and this being some-

thing I was very apprehensive about contributed to me

learning less than I ideally wanted. The problems I had

ranged from Rhino and Grasshopper having differing

names for the same things or Grasshopper having la-

bels on script tools that did not match what they did

or what they were actually called, brep components /

explode springs to mind. In the end I was satisfied with

the knowledge that I did accrue as it did cover the ba-

sics and tools which are useful in new projects.

This subject has been a great oppor-

tunity to experiment with programs

and tools I would otherwise had not

had the chance to if it was not for this

subject.

This subject has put me squarely out

of my comfort zone as is the case for

many who are tasked with learning

computer programming and script-

ing (Burry, 2011).It is very much to

do with the fear of the unknown and

something as foreign and ‘unnatural,’

as digital design makes people ap-

prehensive and uneasy about it as it

is not like second nature to people.

This is the reason that this subject

overall has been a success in my

view, students have been asked to

experiment with a practice which is

becoming more commonplace and

offers countless advantages over

previous design methods (flaws too:

programs may be limited in what

they can do, long time to familiarise

yourself with the program and its

tools and capabilities).

Obviously the workload was very

cramped as students were not only

required to achieve a final design but

also learn to use two new pieces of

software, which is a challenge at the

best of times. However the teach-

ing staff has been incredibly helpful

throughout and have made them-

selves available at all hours to help

students out.

One major criticism for this subject

is that the fab lab is often backed up

for long periods of time which means

students have to fabricate off site at

great expense.

Final Words

1 Questions about how relatable this exercise is to practical real life architectural practice were raised at the outset of this course and

even throughout. Many including myself struggled with the notion of designing buildings and structures through Grasshopper scripts, and the scripting part in itself was confusing, like any computer program-ming. As someone who struggles with digital design it was especially difficult to have enough knowledge to translate some of the design ideas my group and I had in our heads and on paper into the digital realm through scripting. What I did pick up on and will possibly use in future projects was surface articulation and transformation espe-cially with regards to facades; be it applying patterns, shapes and im-ages and even openings and closings that are designed to respond to a vector (symbolic of the sun). These were very interesting projects which could be simply applied to create interesting facades to future designs. What also could prove to be useful in the future is how Grass-hopper can automate process (ie updating – parametric) such that the whole design process is sped up.

2I went into this subject thinking it was going to be in large ex-tremely unhelpful and one which caters to a very niche market or

sector. Scripting was something I envisaged as completely irrelevant in architecture and design but over the course of this subject through researching and exploring computational techniques, projects etc., I found it to be interesting area in design and one which may not en-tirely apply to me but one which is definitely growing in popularity and influence in architecture. what was annoying however was that Rhino and Grasshopper have conflicting names for some items and the la-bels on the Grasshopper don’t match what had to be searched for and the whole notion of writing a script to build a building is still hard to wrap my head around.

Architecture Design Studio: AIR