2012 S1 Daniel Hazmy

D E S I G N S T U D I O D A N I E L H A Z M Y 3 7 6 1 8 2

ARCHITECTUREA IR

A spec ia l thanks to my awesome g roup members , Samantha and Rebecca , no t fo rge t ing to Jas and

A l i son , my awesome tu to r s .

CONTENT

PART 1 EXPRESSION OF INTEREST1.1 Architecture as a Discourse

1.2 Computation in Architecture 1.3 Case for Innovation Conclusion

1.4 Notes

PART 2 THE OVERALL PICTURE2.1 Architectural Ornament 2.2 Generative Design 2.3 The Argument 2.4 Notes

PART 3 RESEARCH PROJECT3.1 Case Studies

3.2 Matrix Exploration 3.3 First Exploration

3.4 Second Exploration 3.5 Third Exploration

3.6 Reverse Engineering Project 3.7 Research Project Conclusion

PART 4 PROJECT PROPOSAL 4.1 Project Interpretation 4.2 Project Delivery 4.3 Design Progress 4.4 Project Proposal Conclusion

PART 5 REFLECTION 5.1 Learning Outcomes

5.2 References

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Hazmy, Daniel

This journal is literally a journal.

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PART 1 EXPRESSION OF INTEREST

1.0 CASE FOR INNOVATIONS

Schumacher, Patr ick (2012) . Interv iew: On Parametr icsm, publ ished in Paper-Plat form for Archi tectural Projects , Essays & Research, Issue 4 , Universi ty of Westminster

Parametricism implies that all elements of architecture are becoming parametrically malleable and thus adaptive to each other and to the context.

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A R C H I T E C T U R E A S A D I S CO U R S E

To unders tand why arch i tec ture wi l l be the bes t so lu t ion for th is pro jec t , f i r s t we need to unders tand and know the meaning of arch i tec ture . What i s arch i -tec ture rea l l y about? Arch i tec ture can have var ious def in i -t ions , o f ten incomple te but most o f the t imes conform to the not ions o f des ign-ing and cons t ruc t ing bui ld ings . 1 These def in i t ions sees arch i tec ture mere ly as ar t , an objec t des igned by arch i -tec ts , which are then to be c r i t iqued by the soc ie ty s imi la r to o ther k inds o f ar t i s t s that produces pa in t ings and sculp tures . 2 Wi l l iams however , d isagree wi th th is and sugges t that arch i tec ture should be thought o f less as phys ica l ob jec ts or products in space , but ra ther as a “co l labora t ion between a range of soc ia l and pro fess ional prac t ices that somet imes , but by no means a lways , lead to bui ld ings ” . 3

Schumacher on the o ther hand , p ro-v ided a def in i t ion that wi l l be used throughout th is journal where he des-

c r ibed arch i tec ture as “a sys tem of communicat ions that i s cons tant l y changing and renewing i t se l f th rough co l lec t ions o f a r te fac ts , knowledge and prac t ices ” . 4 In o ther words , a rch i -tec ture can be any th ing that genera tes d iscuss ions or d iscourse , be i t a rch i tec -tura l theor ies , bu i l t and unbui l t bu i ld -ings , , ske tches , d rawings , CAD f i les , render ings , exh ib i t ions , books , maga-z ines , web s i tes , b log pos t ings and many more . 5

Th is def in i t ion o f arch i tec ture as a d is -course i s concur rent to the des ign br ie f where “ The Western Gateway should propose new , insp i r ing and brave ideas , to genera te a new d iscourse ” . And in th is case , I be l ieve that by us ing arch i tec ture as a medium to genera te a new d iscourse i s appropr ia te fo r one very reason .

D iscourse ar i ses f rom the new types o f arch i tec ture genera ted that reac ts to new condi t ions that has never been seen before in the pas t such as new

mater ia ls , new ways o f th ink ing , new technolog ies , e tc . By u t i l i z ing these new condi t ions , i . e . paramet r ic model -l ing , th is could br ing Wyndham Ci ty to be a par t i c ipant in the cur rent d is -course .

However , my in tent i s not only to gen-era te a d iscourse that wi l l las t a long t ime , subsequent ly making a s igni f i -cant impact to Wyndham by s t imula t -ing an ongoing in te res t to th is pro j -ec t fo r many years to come but to a lso focus on the loca l par t i c ipants o f th is pro jec ts ( the users o f th is gateway pro jec t ) and prov ide them wi th exc i t ing and eye ca tch ing ins ta l la t ion that wi l l evoke new k ind o f exper iences .

I w i l l now look a t few arch i tec tura l pro jec ts that have genera ted a d is -course to fur ther prove my argument on how arch i tec ture as a d iscourse i s benef ic ia l fo r Wyndham Ci ty Counci l .

WHY architecture? Why not sculpting, painting or ceramics? What does architecture distinctly have that will benefit the Wyndham Gateway Project compared to the other design disciplines? This chapter will discuss on the reasons and also benefits of using architecture for this project in detail.

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M Y P E R S O N A L P R O J E C TT H E H E A D S P A C E P R O J E C T 2 0 1 0

The br ie f fo r th is pro jec t that was in t ro -duced in the subjec t o f V i r tua l Env i ron-ments was to des ign complex geomet -r i ca l s t ruc tures that wi l l be fabr ica ted us ing paper and can be worn on the head . Th is course run by S tanis lav Rou-vs lak i a ims to in t roduce d ig i ta l des ign th ink ing to f i r s t year s tudents that are s tudy ing in arch i tec ture . 6

In th is per iod where computers and sof tware are increas ing ly used in the arch i tec tura l rea lm; f rom conceptual -i za t ion to the cons t ruc t ion process , i t i s par t i cu lar l y impor tant that s tudents are exposed to th is new shi f t o f th ink-ing and could ut i l i ze the benef i t s o f us ing d ig i ta l techniques in the i r des ign process .

The course was s t ruc tured to g ive em-phas is on ‘g radual , i te ra t ive deve lop-ment that searches outcomes by expos-ing in i t ia l concepts to d i f fe rent media , techniques , cont ingenc ies and mater i -a ls ’ . 7

The phrase ‘g radual , i te ra t ive deve lop-

ment that searches outcomes ’ i s re le -vant to the d ig i ta l des ign process . Th is para l le ls wi th one of the two des ign process def ined by Kalay where th is would be a prob lem so lv ing process in which d i f fe rent so lu t ions are genera ted and tes ted agains t goals and param-eters , unt i l a su i tab le and appropr ia te so lu t ion is found . 8

P rob lem so lv ing , however , i s a process that do not a l lows for h igh c reat iv i t y and innovat ion to occur because th is process mere ly us ing d ig i ta l too ls to accompl ish goals and outcomes that are preconce ived ear l ie r . The o ther de-s ign process def ined by Kalay i s puzz le making where des ign is a process o f d iscovery . Th is enables the genera t ion o f d i f fe rent k inds o f so lu t ions def ined by a se t o f parameters and where the end outcome is unknown. 9

The Headspace pro jec t was unfor tu-nate ly l imi ted to the problem so lv ing process due to l imi ta t ions o f hardware and sof tware that are readi l y ava i lab le to s tudents . 10

S tudents were equipped wi th f ree bas ic so f tware wi th bas ic func t ions that l im-i t s des ign ideas . p rocess and outcomes . The issue o f l imi ta t ions in what d ig i ta l so f tware can achieve versus sc r ip t ing wi l l a r i se repeated ly in th is journal .

Desp i te be ing r ig id ly invo lved in only prob lem so lv ing , th is headspace pro j -ec t wi l l se rve as a s tar t ing po in t to the Wyndham gateway pro jec t where d ig i -ta l des ign process wi l l be used .

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Headspace Project, images taken from : http://www.melbournedesignawards.com.au/MDA2010/entry_details_v03.asp?ID=3347&Category_ID=4539

S TAT E O F T H E A R T P R O J E C TSA R C H I T E C T U R E D I S C O U R S E - S T R U C T U R A L S K I N

One smal l sca le example by Ner i Oxman , the ‘Monocoque 2 ’ c lear l y approaches th is idea . Monocoque means ‘ s ing le she l l ’ in F rench . Th is pro jec t uses Voronoi pat te rn to produce the s t ruc tura l sk in . The dens i t y o f the pat te rns , the d is t r ibu-t ion o f shear -s t ress l ines and sur face pressure i s cont ro l led paramet r ica l l y by vary ing the re la t ive th ickness o f the ve in- l ike e lements bui l t in to the sk in . Wi th-out the use o f computa t ional techniques and paramet r ic des ign , under normal c i rcumstances th is would not be poss ib le .

In Modern ism movement , e f fo r t s have been made to f ree the facade or the sk in o f a bui ld ing f rom car ry ing s t ruc-tura l load . Le Corbus ie r ‘ s Domino House idea was very in f luent ia l and af fec ted modern arch i tec ture great l y in the twent ie th century where la rge g lass windows and s t r ip windows are achievable . That , by i t se l f , has c reated a popular d iscourse a t that t ime and in f luenced many arch i tec ts . Arch i tec -ture are perce ived as l ightweight and f lex ib le .

However , there i s an increas ing in te r -es t in where the facade is be ing s t ruc-tura l and a t the same t ime prov id ing ornamenta t ion to g ive v isual in te res t , de fy ing a l l o f the Modern is t v iew of ar -ch i tec ture that should have f ree facade and not be ing ornamented . In o ther words , a new d iscourse on s t ruc tura l sk in has genera ted .

Many examples can be seen not only in arch i tec ture but a lso in o ther des ign indust r ies such as fashion , pot te ry and ar t that looks in to sk in as a s t ruc ture .

Monocoque 2, Neri Oxman, New York, 2007

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Monocoque 2, Neri Oxman, New York, 2007

The Times Eureka Pavillion, Nex architects, London, 2011

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On a s l ight l y la rger sca le , the T imes Eureka Pav i l ion by Nex Archi tec ts a lso apply the same idea o f s t ruc tura l sk in in the i r des ign . They too , uses Voronoi pat te rn , but us ing the ce l lu lar s t ruc ture o f p lants as a precedent . S imi la r l y in th is case , paramet r ic des ign was used to genera te th is outcome . Another th ing to note , i s that the mater ia l used for th is pav i l ion . The mater ia l that was used is t imber . Th is pro jec t uses t im-ber in an unconvent ional way in which only paramet r ic des ign can achieve .

However , can those examples men-t ioned ear l ie r prove that s t ruc tura l sk in can be used in a la rge sca le bui ld ing? The nex t example by Zaha Hadid dem-onst ra tes the feas ib i l i t y and poss ib i l i t y o f th is idea in the arch i tec tura l rea lm .

The Marsa Dubai res ident ia l tower by Zaha Hadid i l lus t ra ted the potent ia l o f us ing s t ruc tura l sk in in a bui ld ing . Paramet r ica l l y des ign , the fenes t ra t ion o f the sk in is not there fo r decora t ive

e f fec t only but a lso cor responds to the spat ia l o rganiza t ion wi th in the bui ld -ing . The pat te rns that employed here i s I s lamic geomet r ica l mot i f s unl ike the prev ious examples that uses Voronoi pat te rn .

Marsa Dubai Residential Tower, Zaha Hadid, Dubai, United Arab Emirates, 2005

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Kokuggia , a lso t r ies to p lay around wi th th is idea o f s t ruc ture as sk in through one of h is conceptual work the F ibrous Tower . In th is pro jec t , again s imi la r to the res t o f the examples ment ioned , u t i l i zes voronoi - l ike s t ruc tura l she l l that i s load bear ing . Th is a l lows each f loor to be f ree f rom any co lumns . Not only that the use o f s t ruc tura l sk in i s in te res t ing but the use o f paramet r ic model ing ac tua l l y a l low the facade conf igura t ion to fo l low the program-mat ic func t ions in the bui ld ing . For example , b igger aper ture/ less dense to a l low more sunl ight in and smal le r aper ture/dense to b lock the sunl ight .

In h inds ight , th is might be the new ru le fo r arch i tec ture fo r the twenty f i r s t century in cont ras t to the f i ve ru les o f arch i tec ture proposed by Le Corbus ie r . Th is would then c reate new poss ib i l i -t ies by f ree ing up a l l co lumns in the bui ld ing . Composed only o f s t ruc tura l sk in and f loor p la tes th is a l lows for mul t ip le spat ia l o rganisa t ion that can never be achieved before .

Fibrous Tower, Kokuggia, 2008

As we can see , a rch i tec ture i s a f ie ld that i s a lways moving forward in a rap id speed , genera t ing d iscourse as i t goes among the arch i tec ts , c r i t i cs as wel l as the publ ic . I ce r ta in ly be l ieve that by us ing arch i tec ture as the me-d ium and us ing the most la tes t theo-r ies , techniques and technology fo r th is gateway pro jec t , hopefu l l y th is wi l l c re -a te an outcome that i s new , innovat ive , as wel l as genera t ing a new d iscourse that wi l l benef i t Wyndham.

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PAST PRESENT FUTURE

- Load bearing exterior and internal wall- Fixed spatial organization

- Load bearing columns- Limited spatial organization

- Load bearing external wall- Free spatial organization

P R O G R E S S I O N O F S T R U C T U R A L S YS T E M

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CO M P U TAT I O N I N A R C H I T E C T U R E

WHAT are the advantages of computation in architecture? Can Computer-Aided-Design (CAD) improve architectural design? Will the future of architecture solely depend on computers and dismiss the traditional method and process of designing? This chapter will look at both the advantages and disadvantages of using computers in architecture and how these informs a new shift in computer design through scripting.

Al l the prev ious examples that were d iscussed in the prev ious chapter a l l have s imi la r i t ies . Apar t f rom an arch i -tec ture that moves away f rom the con-vent ional s t ruc tura l sys tem, a l l o f them employed computa t ional techniques in order to achieve those outcomes . Un-doubted ly , w i thout the use o f comput -e rs or d ig i ta l technology , those in t r i -ca te fo rms cannot be eas i l y produced .

S ince i t s f i r s t in t roduct ion , Computer -A ided-Des ign (CAD) was used jus t as a too l to speed up the cons t ruc t ion draw-ing in the documenta t ion process . 11 I t was not ac tua l l y u t i l i zed to genera te des igns in the des ign process . Chr is -topher A lexander quoted : “A d ig i ta l computer , i s essent ia l l y , the same as a huge army of c le rks , equipped wi th ru le books , penc i l and paper , a l l s tup id and ent i re ly wi thout in i t ia t i ve , but be able to fo l low exac t l y mi l l ions o f pre -c ise ly de f ined opera t ions . ” 12

Over the years some arch i tec ts t r ied to accompl ish more wi th computers and incorpora te i t in the des ign process . However , us ing d ig i ta l technology to

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Natwest Media Center, Future System/Amanda Levette Architecture, London, 1999

aid wi th the des ign process i s a new th ing in arch i tec ture , so they looked a t the sh ip bui ld ing indust ry . Ko larev ic (2003) descr ibed that bui ld ings and sh ips are s imi la r in many ways :

“Both sh ips and bui ld ings are la rge objec ts , w i th s imi la r l y complex serv ice sys tems and in te rconnected spaces inhabi ted by people ( in the case o f passenger sh ips ) and serv ing spec i f i c func t ions . Both have to respond to s imi la r env i ronmenta l in f luences and funct ional requi rements . Both rep-resent s igni f i cant under tak ings that requi re subs tant ia l f inanc ia l and ma-te r ia l resources . Both re ly on s imi la r pr inc ip les , methods and processes o f des ign , analys is and product ion . ” 13

Sh ipbui lders are now work ing only wi th three-d imens ional d ig i ta l models f rom the des ign s tages to the produc-t ion s tages , wi thout re ly ing on conven-t ional cons t ruc t ion drawings . 14

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Th is a l lows arch i tec ts to des ign beyond the l imi t o f the two- d imens ional con-s t ruc t ion drawings . Th is a lso enables arch i tec ture to become more complex and can incorpora te curved geomet r ies that i s d i f f i cu l t to achieve by normal means .

There are a lo t o f examples o f bui ld -ings that used the same techniques and processes s imi la r to the sh ip bui ld ing indust ry today and of them is the Natwes t Media Cent re by Future Sys tem that was comple ted in 1999 . Th is par t i cu lar bui ld ing ut i l i zes the sh ipbui ld ing technology f rom i t s ear l y s tages to i t s fabr ica t ion . The d ig i ta l technology used compr ises o f sophis -t i ca ted sof tware that sh ipbui ld ing and aeronaut ics indust ry have a t that t ime .

Another example that i s appl icab le to th is contex t o f us ing d ig i ta l technology is Gehry ’s Guggenheim Museum in B i l -bao . By us ing CAT IA computer so f tware , Gehry was able to produce the bui ld -ing ’s t rademark o f undula t ing curves

In h is ar t i c le , Bur ry def ine sc r ip t ing as a medium that “a l lows the user to adapt , cus tomise or comple te ly recon-f igure so f tware around the i r own pre-d i lec t ions and modes o f work ing” . 16 Sc r ip t ing thus can be seen to g ive the arch i tec t o r des igner the fu l l cont ro l o f h is des ign process , fo r example , by input t ing severa l ru les or cons t ra in ts on how a des ign could be genera ted . Th is in turn , changes the des ign pro-cess to a bot tom-up approach ra ther than jus t c rea t ing fo rms f rom the pre-ins ta l led too ls that come a long wi th the sof tware .

Sc r ip t ing and paramet r ic des ign of -ten comes together . Through scr ip t -ing , which def ines the parameters , can only a des ign be ing ca l led paramet r ic . And for th is gateway pro jec t , sc r ip t -ing would be one of the too ls fo r the des ign process . Grasshopper , a p lug in fo r the Rhino sof tware wi l l a l low more ind iv idual cont ro l compared to the l im-i ted capabi l i t y o f the Rhino sof tware .

and nonrepet i t i ve geomet r ies . Th is CAT IA sof tware which was c reated fo r a i rp lanes and sh ipbui ld ing indust ry , was used in a la rge sca le arch i tec tura l pro jec t fo r the f i r s t t ime by Gehry ’s f i rm .

Th is immers ion o f sophis t i ca ted d ig i ta l technology wi th arch i tec ture has great -l y increased the product iv i t y and accu-racy o f bui ld ing des ign . The f reedom to des ign someth ing out o f the ord inary geomet r ies was a lso achieved through th is d ig i ta l technology .

Paradox ica l l y , desp i te the advantages and f reedom that could be achieved in des igning , an arch i tec t i s s t i l l l imi ted to the capabi l i t y o f the so f tware . Th is i s because the sof twares that arch i tec ts are us ing to des ign are bas ica l l y pro-grammed by a programmer who pro-v ides jus t bas ic too ls fo r des igning . 15 Th is can be seen as a l imi ta t ion for c rea t iv i t y . Bur ry proposed that in order to take des igning wi th d ig i ta l technol -ogy fur ther , i t ’s t ime that arch i tec ts to be fami l ia r wi th sc r ip t ing .

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I be l ieve that by us ing sc r ip t ing fo r th is gateway des ign pro jec t , i t w i l l be able to produce an outcome that re -f lec ts the ze i tge is t o f a rch i tec ture in th is t ime that wi l l spur d iscuss ions fo r many years to come .

Guggenheim Museum Bilbao, Frank Gehry, Spain 1997

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Guggenheim Museum Bilbao, Frank Gehry, Spain 1997

CASE FOR INNOVATION CONCLUSION1.3

Archi tec ture has not a lways been jus t about a bui ld ing that houses people and ac t iv i t ies , but a lso a medium that re f lec t the soc ia l , po l i t i ca l and economic cu l ture o t the t ime . In th is D ig i ta l Age , a rch i tec ture has a lso pro-gressed to capture the ze i tge is t o f th is fas t moving advancement in technol -ogy . Sc r ip t ing in des igning wi l l be that fo rce to prope l arch i tec ture fo rward .

The reasons on why arch i tec ture should be the r ight medium for th is gateway pro jec t wi l l ensure that the br ie f and expec ta t ions o f th is compe-t i t ion can be fu l l y rea l ized . Examples o f known and success fu l pro jec ts were shown to fur ther demonst ra te the ca-pabi l i t y o f a rch i tec ture to g ive r i se to a d iscourse . Th is i s a lso in l ine wi th the expec ta t ions o f the counc i l to produce not only an outcome that can be expe-r ienced loca l l y but a lso in te rnat ional l y .

I s t rongly be l ieve that by do ing th is , Wyndham wi l l be seen as the fo re f ront o f arch i tec ture and d ig i ta l technology , showing the wor ld exac t l y about Wynd-ham’s in tent ion to move forward and be invo lved in th is D ig i ta l In format ion Age .

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NOTES1.4

1 Pa t r i ck Schumacher (2011) , “ In t roduct ion : Arch i tec ture as Autopoie t ic Sys tem” , in The Autopoies is o f Arch i tec ture : A New Framework fo r Arch i tec ture , (Chiches te r : J . Wi ley ) , pg . 1

2 Mat thew Rampley (2005) , “Exp lor ing V isual Cul ture ” , (Ed inburgh Univers i t y P ress ) , pg . 107

3 Mat thew Rampley (2005) , “Exp lor ing V isual Cul ture ” , pg . 108

4 Pat r i ck Schumacher (2011) , “ In t roduct ion : Arch i tec ture as Autopoie t ic Sys tem” , pg . 1

5 Pa t r i ck Schumacher (2011) , “ In t roduct ion : Arch i tec ture as Autopoie t ic Sys tem” , pg . 2

6 S tan is lav Roudavsk i and Anne-Mar ie Walsh (2011) , “ The Headspace Pro jec t : Computer -As is ted Fabr ica t ion as an In t roduct ion to Dig i ta l Arch i tec tura l Des ign” , in C I rcu i t Bending , b reak ing and Mending : P roceedings o f the 16 th In te rnat ional Conference on Computer -A ided Arch i tec tura l Des ign Research in As ia . ed . by Chr is t iane M. Her r , N ing Gu , Marc Aure l Schnabel and S tanis lav Roudavsk i , pg . 581

7 S tanis lav Roudavsk i and Anne-Mar ie Walsh (2011) , “ The Headspace Pro jec t : Computer -Ass is ted Fabr ica t ion as an In t roduct ion to Dig i ta l Arch i tec tura l Des ign” , pg . 583

8 Yehuda E . Ka lay (2004) , “Arch i tec ture ’s New Media : P r inc ip les , Theor ies , and Methods o f Computer -A ided Des ign” , (Cambr idge , Mass . : MITPress ) , pg . 14

9 Yehuda E . Ka lay (2004) , “Arch i tec ture ’s New Media : P r inc ip les , Theor ies , and Methods o f Computer -A ided Des ign” , pg .15

10 S tanis lav Roudavsk i and Anne-Mar ie Walsh (2011) , “ The Headspace Pro jec t : Computer - Ass is ted Fabr ica t ion as an In t roduct ion to Dig i ta l Arch i tec tura l Des ign” , pg . 585

11 Mark Bur ry (2011) , “Sc r ip t ing Cul tures : Arch i tec tura l Des ign and Programming” , (Uni ted K ingdom : J . Wi ley ) , pg . 14

12 A lexander Chr is topher (1964) , “Notes on the Synthes is o f Form” , (Harvard)

13 Ko larev ic Branko (2003) , “Arch i tec ture in the Dig i ta l Age : Des ign and Manufac tur ing ” , (New York : Spon Press ) , pg . 8

14 Ko larev ic Branko (2003) , “Arch i tec ture in the Dig i ta l Age : Des ign and Manufac tur ing” , pg . 9

15 Mark Bur ry (2011) , “Sc r ip t ing Cul tures : Arch i tec tura l Des ign and Programming” , pg . 34

16 Mark Bur ry (2011) , “Sc r ip t ing Cul tures : Arch i tec tura l Des ign and Programming” , pg . 8

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Vidler, Anthony (2000) , “Review of Rethinking Archi tecture and The Anaesthet ics of Archi teture by Neal Leach” , Harvard Design Magazine, 11, pp 1-4, pg. 3

Any serious “rethinking” of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject [...].

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PART 2 THE OVERALL PICTURE

2.0 THE ARGUMENT

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A R C H I T E C T U R A L O R N AM E N T

O r n a m e n t i s t h e f i g u r e t h a t e m e r g e s f r o m t h e m a t e r i a l s u b s t r a t e , t h e e x p r e s s i o n o f e m b e d d e d f o rc e s t h r o u g h p r o c e s s e s o f c o n s t r u c t i o n , a s s e m b l y a n d g r o w t h . I t i s t h r o u g h o r n a m e n t t h a t m a t e r i a l t r a n s m i t s a f f e c t s . O r n a m e n t s i s t h e r e f o r e n e c e s s a r y a n d i n s e p a r a b l e f r o m t h e o b j e c t .

”M o u s s a v i , F a r s h i d a n d L o p e z , D a n i e l ( 2 0 0 9 ) , ” T h e F u n c t i o n o f F o r m ” , ( B a r c e l o n a : A c t a r , N e w Y o r k ) , p g 8

2.1

Ornament in arch i tec ture has been exp lored in d i f fe rent ways throughout h is to ry . How ornament i s de f ined a lso changes wi th t ime . Moussav i a rgues that “a rch i tec ture needs mechanisms that a l low i t to become connected to cu l ture . ” 1 And in order to achieve th is , she sugges ted that ornament i s the medium that connects arch i tec ture and cul ture . 2

P rev ious to the Indust r ia l Revo lu t ion , a rch i tec ture was a l l about ornamenta-t ion and decora t ion . For example , in h is to r ic t imes , the Greeks have ap-p l ied decora t ion on s t ruc tures in a fa i r l y l i te ra l manner to spread s to r ies , c rea te power , and increase awareness o f re l ig ion which were concur rent o f the cu l ture dur ing that per iod o f t ime . Apar t f rom that , in a pat r ia rchal so-c ie ty , the Greeks had d i f fe rent orders that have d i f fe rent meanings and rep-resenta t ion . The Dor ic Order i s more mascul ine compared to the Ion ic Order which is more feminine .

The same can be seen wi th Goth ic churches that uses s ta ined g lass , scu lp tures and drawings on the wal ls to te l l s to r ies , a t the same t ime in-c reas ing awareness o f Chr is t ian i t y which prov ide a connect ion between the i l l i te ra te communi ty .

21

The Porch of the Caryatids, Erectheion, Greek, 421 BC

Temple of Hera in Selinunte, Sicily, Italy,

Ornament cont inued to p lay an im-por tant ro le in arch i tec ture unt i l the ear ly o f the twent ie th century . Modern-is t a rch i tec ts t r ies to make arch i tec ture more “s incere ” and by th is ornamen-ta t ion was e l iminated ent i re ly to ex -pose the s t ruc ture and funct ions o f the bui ld ing exp l ic i t l y .

Adol f Loos c la imed that ornamenta-t ion is a c r ime and th is i s apparent in h is bui ld ing , S te iner House , which lack o f decora t ion o f any sor t a t a l l . 3

However , Loos ’ s tand on not us ing ornament a t a l l can be debatable as there were c la ims that the in te r io r o f the S te iner House was fu l l y decora ted wi th animals fur which i s one form of decora t ion . 4

22

Steiner House, Adolf Loos, Vienna, 1910

An example of stained glass in Gothic Churches. Image taken from : http://www.pmb.sg/?p=1377

In the recent per iod , there has been a new take on ornament . Accord ing to Moussav i , o rnament can only ex is t i f i t se rves a funct ion or purpose . She men-t ioned that ornament “has no in tent ion to decora te , and there i s in i t no h id-den meaning . A t the bes t t imes , o rna-ment becomes an “empty s ign” capable o f genera t ing an unl imi ted number o f resonances . ” 5

Most bui ld ings today can be seen to apply th is not ion o f ornamenta t ion . The Dior s to re in Ginza appl ies or -namenta t ion in te rms of per fo ra ted sc reens that b locks sunl ight and v iews o f the in te r io r . The pat te rn o f the per -fo ra ted facade a lso ac ts as an adver -t i s ing brand for that par t i cu lar s to re . The John Lewis Depar tment S tore decora t ive facade a lso funct ions in a s imi la r way . The Aoba-Te i Res taurant in te r io r o f per fo ra ted sur face was used as a spat ia l par t i t ion . Apar t f rom that , the per fo ra ted sur face ’s pat te rn were meant to es tab l i sh a v isual d ia logue between the in te r io r and ex te r io r .

F rom the few examples above , i t i s c lear that apar t f rom be ing decora t ive , there must be a reason for i t to be there i f not i t i s not acceptable . Th is i s a lso t rue in a l l a rch i tec tura l educat ion nowadays where every des ign moves that are taken must have a reason , and “pure beauty ” i s jus t not one o f them.

23

Dior Ginza, Office of Kumiko Inui, Tokyo, Japan, 2004

John Lewis Department Store, Foreign Office Architects, London, 2008

Aoba-Tei Restaurant, Hitoshi Abe + Atelier Hitoshi Abe, Sendai, Japan, 2005

Jones, Owen (1856) . The Grammar of Ornament (London: Day and son) , p . E13

From universal testimony of travellers it would appear, that there is scarcely a people, in however early a stage of civilizations, with whom the desire for ornament is not a strong instinct.

”

“

24

G E N E R AT I V E D E S I G N2.2

W h a t i s e x a c t l y m e a n t by g e n e r a t i v e d e s i g n ? S i m i l a r t o h o w o r n a m e n t h a v e g e n e r a t e d a l o t o f d i s c u s s i o n s , g e n e r a t i v e d e s i g n i s a l s o r e l a t i v e l y n e w a r e a i n a rch i t e c t u r e . B e f o r e a rch i t e c t u r e , g e n e r a t i v e d e s i g n h a s b e e n u s e d w i d e l y i n t h e I n f o r m a t i o n Te ch n o l o g y a n d S c i e n c e d i s c i p l i n e s . T h i s ch a p t e r w i l l t r y t o l o o k a t t h e d i f f e r e n t d e f i n i t i o n s o f g e n e r a t i v e d e s i g n by d i f f e r e n t p e o p l e a n d a t o f t h i s ch a p t e r, h o p e f u l l y a n u n d e r s t a n d i n g o f w h a t g e n e r a t i v e d e s i g n r e a l l y i s c a n b e a ch i ev e d .

Genera t ive des ign d i f fe rs in meaning in d i f fe rent d isc ip l ines . I t has only been ex tens ive ly used in arch i tec ture as a des ign too l in the recent decades . Be low are some of the def in i t ion that re la tes to arch i tec ture : 6

“Generative design is not about designing the building - It’s about designing the system that

builds a building.” - Lars Hesellgren

“Generative design systems are aimed at creat-ing a new design processes that produce spa-tially novel yet efficient and buildable designs through exploitation of current computing and

manufacturing capabilities”. - Kristina Shea

“Generative design approach works in imitation of Nature, performing ideas as codes, able to

generate endless variations.” - Celestin Soddu

“A basic form, pattern, or object is automatically modifies by an algorithm. The result: infinite random modifications of the starting solution

(within a solution space set by the designer).” - Frank Piller

“Generative Design Process is about the modeling of initial conditions of an object (it’s “genetics”) instead of modeling the final form. “

- Paolo Fontana

“An over aching computational method; in essence an incremental specification of design logic in a computational form that eventually yields with a design space open for exploration

of alternatives and their variations.” - Halil Erhan

“On the other hand, as the digital method becomes capable of applying computer language to design, an object can change the range of influence and apply diverse variation. One of the phenomena which apply this technological progress systematically to a design

process is what we call “Generative Design”.” - JUNGLIM Architecture Korea

As we can see f rom the above def in i t ions o f genera t ive des ign , i t somehow inev i tab ly must re la te e i ther to nature or computer programming language .

However , a l l o f them also have common ideas on how genera t ive des ign work .

I t i s essent ia l l y a bot tom up approach us ing most o f ten than not sc r ip t ing language to genera te endless var ia -t ions and poss ib i l i t ies . Apar t f rom that , ins tead of making forms , th is whole process i s about f ind ing forms . The resu l tant fo rms that are then def ined as “genera ted des igns ” . There are many ways to achieve a genera t ive outcome .

One can s imply use genet ic a lgor i thms , swarm mat te r , agent based , and many o ther d i f fe rent processes to genera te a des ign .

How is th is re levant to the Wyndham gateway Pro jec t? I th ink that genera-t i ve des ign i s one o f the technolog i -ca l advances in arch i tec ture that can ac tua l l y re la ted to the cur rent cu l ture and ze i tge is t o f our t ime . Th is wi l l be exp la ined fur ther in the nex t chapter .

25

Pa r a m e t e r s

C i r c l e s

M u l t i p l e p o i n t s o n t h e c i r c l e

I n p u t s

M i n i m u m a n d m a x i m u m o f f s e t o f c i r c l e

M i n i m u m a n d m a x i m u m n u m b e r o f p o i n t s o n c i r c l e

M i n i m u m a n d m a x i m u m d e g r e e o f r o t a t i o n

O u t p u t

E X A M P L E O F G E N E R AT I V E D E S I G N

26

T H E A R G U M E N T

T h e ch a n g e s b r o u g h t a b o u t by t h e I n f o r m a t i o n A g e a n d g l o b a l i z a t i o n , a s i t s m o s t r a d i c a l m a n i f e s t a t i o n , a r e h a v i n g a d r a m a t i c a n d p r o f o u n d i m p a c t o n s o c i e t i e s , e c o n o m i e s a n d c u l t u r e s w o r l d w i d e . A rch i t e c t s , a s t h ey h a v e d o n e f o r c e n t u r i e s , a r e t r y i n g t o i n t e p r e t t h e s e ch a n g e s a n d f i n d a n a p p r o p r i a t e e x p r e s s i o n f o r a n a rch i t e c t u r e t h a t c a p t u r e s t h e z e i t g e i s t o f t h e d a w n o f t h e I n f o r m a t i o n A g e , w h i ch b e f i t s t h e i n f o r m a t i o n r ev o l u t i o n a n d i t s e f f e c t s .

”K o l a r e v i c . B r a n k o ( 2 0 0 3 ) , “ A r c h i t e c t u r e i n t h e D i g i t a l A g e : D e s i g n a n d M a n u f a c t u r i n g ” , ( S p o n P r e s s : N e w Y o r k ) p g 2 7

“

I to ta l l y agree wi th the quote above by Kolarev ic that arch i tec ture have a l -ways been about t r y ing to capture the ze i tge is t o f that t ime . We are now l iv ing in the In format ion Age where complex data and in format ion t rave ls across over the wor ld every second .

Moussav i a lso agrees that “many bui ld ings o f the twent ie th century con-t inue to e f fec t ive ly re la te to cu l ture ” . 7 And arch i tec ts achieve th is through ornamenta t ion as exp la ined ear l ie r in the ornament chapter .

However , w i th th is complex i t y and the need to organize a l l the random data in to someth ing more usefu l , a new k ind o f ornamenta t ion has ar i se which is data v isual iza t ion .

Accord ing to F r iedman (2008) , the “main goal o f data v isual iza t ion is to communicate in format ion c lear l y and e f fec t ive ly through graphica l means . 8 He a lso ment ioned that someth ing doesn ’t have to be bor ing to be func-t ional . Th is has change the v iew on

ornament to a whole new leve l .

I a lso be l ieve that th is new k ind o f or -nament re f lec ts the cu l ture o f our t ime and arch i tec ts should t r y to por t ray th is in the i r a rch i tec ture .

In te res t ing ly , da ta v isual iza t ions are o f ten achieved through scr ip t ing by wr i t ing codes that l inks s imi la r in for -mat ion together to fo rm someth ing that i s not only unders tandable but beaut i fu l a t the same t ime . Data v isu-a l iza t ion can a lso be ca tegor ized un-der genera t ive des ign . Th is v isual lan-guage is a lso s lowly be ing unders tood by the publ ic .

How does these a l l re la tes to the Wyn-dham Gateway pro jec t? The proposal i s to l ink the two cont rovers ia l d iscourse ; o rnament and genera t ive des ign to -ge ther , as both re f lec ts the cur rent cu l ture o f our t ime .

Wi th the urban fabr ic be ing conges ted wi th ta l l func t ional towers , o rnament would cer ta in ly br ing a sense o f ind iv i -

dual i t y to d is t inguish d i f fe rent bui ld -ings f rom each o ther . The same is pro-posed for Wyndham, to c reate a des ign outcome that i s not only beaut i fu l but a lso can be an icon that puts Wynd-ham on the wor ld map .

Th is rad ica l approach wi l l cer ta in ly c rea te a new d iscourse by i t se l f and hopefu l l y a new genre o f arch i tec ture . Wi th the language of v isual ornament be ing unders tood by the wider publ ic , an appropr ia te response in arch i tec -ture should a lso fo l low , to fo rm some-th ing that i s beaut i fu l and meaningfu l .

2.3

27

28

An example of data visualization. Image taken from: http://www.rethinking-architecture.com/introduction-parametric-design,354/

29

1 Farsh id Moussav i (2006) , “ The Funct ion o f Ornament ” , (Barce lona : Ac tar ) , pg . 5

2 Farsh id Moussav i (2006) , “ The Funct ion o f Ornament ” , pg . 7

3 Adol f Loos (1908) , “Ornament and Cr ime” , ( repr in t V ienna : InnsBruck)

4 T im Schork (2012) , ment ioned dur ing the f ina l c r i t on May 31st 2012


6 A l l o f these def in t ions were taken f rom th is s i te : h t tp : / /genera t ivedes ign .wordpress . com/2011/01/29/what - i s -genera t ive -des ing/ , accessed 15 th May 2012


8 V i ta ly F r iedman (2008) , “Data V isual iza t ion and In fographics ” , in Graphics , Monday Insp i ra t ion , January 14 th, 2008

NOTES2.4

If architecture is to remain convergent with culture it needs to build mechanisms by which culture can constantly produce new images and concepts rather than recycle existing ones.

”

“

Moussavi , Farshid (2003) pg 9

30

PART 3 RESEARCH PROJECT

3.0 THE RESEARCH

Hazmy, DanielHazmy, Daniel

This is where all the fun starts.

””““

34

C A S E S T U D I E S

Hence , to s ta r t o f the research pro jec t , we dec ided to look up a few d i f fe rent genera t ive des ign works by var ious people . Apar t f rom arch i tec tura l pro jec t , we a lso looked a t genera t ive ar t by a few ar t i s t s . The reason why we chose to analyze those works i s to ident i -f y the s imi la r i t ies in outcomes that were produced through genera t ive process e i ther manual ly or compu-ta t ional l y .

F ive works that were examined cons is ts o f Jackson Pol lock , Har -o ld Cohen , Gustav Metzger , B io th-ing and Kokuggia . Upon analyz ing these case s tud ies , there were s ix common s imi la r i t ies that can be ident i f ied .

3.1

Jack

son

Pollo

ck A

utum

n Rh

ythm

,1950

Gusta

v Met

zger,

Acid

Acti

on

Paint

ing , 2

006

Swarm Matter, Kokuggia, ongoing research

Harold Cohen,New

Digital Im

age by AARON, 2007Biothing, Fabware, 2008

35

KOKUGGIA

GUSTAV METZGER

HAROLD COHEN

JACKSON POLLOCK

BIOTHING

SIMILARITIES SHOWS USING

ORGANIC

LINEARITY

INTERSECTING LINES

POSITIVE AND NEGATIVE SPACE

DYNAMISM AND MOVEMENT BOTTOM UP APPROACH

A N A LY S I S O F C A S E S T U D I E S

36

MAT R I X E X P LO R AT I O N

3.2

The s imi la r i t ies that we have ident i -f ied then became our cons t ra in ts and parameters fo r our research pro jec t . We exp lored these parameters wi th in a mat r ix to t r y and produce as many var ia t ions o f des ign outcomes as pos-s ib le .

We managed to genera te a range num-ber o f in te res t ing des ignn outcomes . One of the most in te res t ing outcomes we had was the three-d imens ional i t y o f some of the des igns but in fac t they were a l l jus t two-d imens ional .

The nex t s tep is then to conf i rm i f our mat r ix exp lora t ion s t i l l conta in the not ion o f a l l the s imi la r i t ies that we have analyzed ear l ie r .

However , ins tead of t r y ing to focus on a l l o f the parameters , we dec ided to jus t focus on one , which is the dyna-mism and movement . We be l ieve that i t was the most re levant one to Wyn-dham, because th is gateway pro jec t i s a l l about represent ing the dynamic change of the Wyndham Ci ty and the fo rward movement o f i t s communi ty .

38

STATIC DYNAMISM AND

MOVEMENT

M AT R I X E X P LO R AT I O N A N A LY S I SL I N E A R I T Y

39

DYNAMISM AND MOVEMENT

STATIC

M AT R I X E X P LO R AT I O N A N A LY S I SP O S I T I V E A N D N E G AT I V E S PA C E

40

F I R S T E X P LO R AT I O N3.3

Af te r analyz ing a l l the var ie ty o f de-s igns f rom the mat r ix , we came to the conc lus ion that l ines that have not only a h igher degree o f curva ture but a lso have a var ie ty o f undula t ing shapes in the same length o f l ine shows more dynamism and movement .

We a lso d iscovered that when the pos i -t i ve space is th inner and more organic in shape than the negat ive space , that wi l l a lso produce more dynamism and movement .

By us ing a l l o f th is in format ion , we se lec ted the des ign above for fur ther exp lora t ion . The reason we se lec ted th is des ign is because not only i t does por t ray s igni f i cant movement and dy-namism, i t a lso g ives the i l lus ion o f three-d imens ional i t y which we qui te l iked .

However , we a l l agreed that the in te r -sec t ing l ines on the des ign was go ing to very hard to fabr ica te . We then de-c ided to modi fy the l ines to make sure that they were not over lapping on each o ther .

Once we have the modi f ied the des ign , we wanted to exp lore on ways on how to make the l ines more three-d imen-s ional and not jus t on a s ing le p lane . So we ex t ruded the l ines upwards and us ing assoc ia t ive technique to cont ro l how much the l ines are ex t ruded .

Then we send the des ign to be fabr i -ca ted . When the model was in f ront o f our eyes and not in the model space in the sof tware , we can analyze that model fur ther to see how we could im-prove i t on the nex t one .

41

What we f ind out was that the model genera ted an unexpec ted outcome : moi re e f fec t when the we move the model aorund in re la t ive to the v iewer and v ice versa . We thought that th is was in te res t ing as we managed to genera te an unexpec ted outcome which is in l ine wi th the process o f genera t ive des ign .

Desp i te the exc i tement f rom the unexpec ted i l lus ion e f fec t that was genera ted , we ident i f ied that the model was jus t in te res t ing when looked a t the top but not so much f rom the s ides .

We then proceed by put t ing th is feedback onto the nex t des ign exp lora t ion s tage .

42

F I R S T E X P LO R AT I O N D E S I G N P R O C E S S

43

Kalay, E . Yehuda (2004) . Archi tecture’s New Media: Pr inciples, Theories, and Methods of Computer-Aided Design, pg 25

Much like other design methods, the use of prototypes, precedents, and metaphors is intended to provide the designer with a starting point from which to develop the new design.

”

“

44

S E CO N D E X P LO R AT I O N

For the second model we were in te r -es ted in exp lor ing fur ther the moi re e f fec t , thus we e longated the sur face hoping that the v isual e f fec t i t p ro-duces can be exaggera ted compared to the f i r s t model we made .

The l ines are more regular and s t i l l t r y ing hard not to in te rsec t wi th each o ther . Compared to the f i r s t model , th is one g ives more o f a c lo th l ike e f fec t which was qui te in te res t ing .

Form the prev ious model , we have ident i f ied that there was a lack in v i -sual power f rom the s ides , and to so lve th is , we dec ided to ex t rude the l ines in both d i rec t ions .

When we fabr ica ted th is model , we were d isappoin ted as the moi re e f fec t was not as s t rong as the f i r s t model . The ex t rus ions on the both s ides were not very success fu l in my opin ion , as i t doesn ’t look beaut i fu l a t a l l . I f th is model i s to represent ornament , I th ink a lo t o f people would d isagree .

3.4

45

However , i t i s wor th not ing that we a lso genera ted another unexpec ted outcome f rom th is model . We found out that i f we move the po lypropy lene sheets in one d i rec t ion s imi la r to a wind mot ion , the po lypropy lene sheets c reated a some k ind o f k ine t ic mot ion that i s s imi la r to Ned Khan ’s Ar t i cu-la ted C loud pro jec t .

No mat te r how exc i ted we were about both the genera ted opt ica l i l lus ion and the k ine t ic movement , we had to go back and t ry to analyze our case s tud-ies and our mat r ix exp lora t ion again to proper ly represent our ideas in our f ina l outcome as we were def in i te ly o f f t rack wi th our des ign concept .

In the end , i t looked more or less l ike a contour model . F rom both o f these exp lora tory models , we learned that the l ines by i t se l f on the two-d imen-s ional p lane were fa r more in te res t ing and ornamenta l when i t i s ex t ruded to fo rm a three-d imens ional ob jec t .

Some of the feedback we got subs tan-t ia tes fur ther what we have analyzed as wel l , tha t i t i s no way near a beaut i -fu l ob jec t . Th is was because we were engrossed in t r y ing to achieve the moi re e f fec t which was not our main focus . Our main focus is genera t ive ornament and c lear l y in both o f our ear l y models , we haven ’t exp lored that concept enough .

46

T H I R D E X P LO R AT I O N3.5

Th is t ime , rev iewing our mis takes f rom the f i r s t two exp lora t ions , we were de-te rmined to come up wi th a bet te r de-s ign that would fu l l y encapsula te our whole concept fo r th is gateway des ign compet i t ion .

I t was tough , to be hones t , we s t rug-g led to come up wi th a good des ign . However , w i th the he lp f rom our tu tors and f rom rev iewing again our in i t ia l analys is and compared them to our mat r ix exp lora t ion , we managed to de-f ine more parameters on how to make a des ign that i s more ornamenta l .

What we have known so far i s that our f i r s t two in i t ia l exp lora t ion models do not resemble any o f the genera t ive des ign works that we analyzed in the ear l ie r s tage . Ours were too s imple and d id not show the complex i t y and in te r -ac t ion between d i f fe rent e lements .

Bes ides , we a lso rea l ized that our de-s ign have to s tay as l ines on the two-d imens ional p lane and t ry to f igure a

pushed i t se l f upwards s l ight l y when we p inned them down on a sur face . Th is then turns the whole des ign three-d imens ional .

So , we dec ided to use th is s imi la r tech-n ique and process fo r our f ina l des ign for the gateway pro jec t whi le t r y ing to f i t in wi th the s i te contex t .

The photos o f the model taken were able to i l lus t ra te much of our argu-ment .

way to make i t th ree-d imens ional fo r people to exper ience .

We looked again a t the f i r s t in i t ia l de-s ign that we chose f rom the mat r ix and we reconf igured the des ign a b i t more . Th is t ime we leave any l ines that were in te rsec t ing as i t i s so as to preserve that ornamenta l and complex qual i t y o f the des ign .

Before we nes ted the l ines and get i t to be fabr ica ted , we f l ipped the d i rec -t ions o f the l ines in Grasshopper in hope to ge t some unexpec ted resu l t . And t rue enough , a f te r we bui ld the model , we managed to c reate some-th ing that what we thought represents someth ing that i s beaut i fu l .

The model possess s imi la r qual i t ies o f the genera t ive des ign works we ana-lyzed . We were very happy when we managed to achieve th is .

One of the resu l t f rom f l ipp ing the l ines in Grasshopper was that the l ines

47

At the same t ime when we were exp lor -ing the mat r ix , we a lso t r ied a reverse engineer ing pro jec t by look ing a t the Hi l l ’s P lace pro jec t by Amanda Levet te .

Even though the whole idea behind th is bui ld ing is re f lec t ion , which is one form of ornament to d is t inguish a bor -ing bui ld ing f rom the res t , i t i s s t r i c t l y out o f contex t f rom our analys is . Not only our ornament must be genera t ive , they a lso have to be cons t ra ined to the parameters that we have ident i f ied f rom ear l ie r .

Th is pro jec t , however , d id benef i t us in te rms of learn ing new techniques in Grasshopper and cer ta in ly th is could be usefu l when the t ime comes to use i t .

Thus , we concent ra ted on the mat r ix to look fo r so lu t ions to the gateway des ign pro jec t .

R E V E R S E E N G I N E E R I N G P R O J E C TH I L L’S P L AC E BY AMA N DA L E V E T T E

3.6

49

10 Hills Place, Westminster, Future System/Amanda Levete Architects, 2009

R E S E A R C H P R O J E C T CO N C LU S I O N

I th ink our research pro jec t went abso lu te ly wel l . Through pro to typ ing and keep improv ing the des ign , we managed to ar r ive to where we are a t th is po in t . Th is i s one va luable lesson , apar t f rom the research and analys is s tages . Th is taught me that we need to keep tes t ing in order to know what ’s wrong and how we can cont inue moving forward .

In regards to the pro jec t proposa l , we have a l ready ident i f ied the technique and process that we want to use to genera te our f ina l des ign . Th is process wi l l then be use to f i t w i th the s i te contex t and le t the outcome to surpr ise us .

Wi th the f i r s t two exp lora t ions , th ings d idn ’t go as wel l , but that d idn ’t s top us f rom going forward . Ins tead , wi th a l i t t le push and he lp , we managed to ident i f y what went wrong and work on them .

The nex t par t wi l l look a t how we put our des ign on s i te and f ina l l y ar r ive to the f ina l des ign .

3.7

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PART 4 PROJECT PROPOSAL

4.0 THE PROPOSAL

P R O J E C T I N T E R P R E TAT I O N4.1

The br ie f ment ioned that Wyndham Ci ry had been t ry ing hard to improve the aes thet ics o f i t s sur roundings which is in l ine wi th our concept o f genera t ive ornament .

Our proposa l in tends not only to c re -a te someth ing beaut i fu l to the eye but a lso someth ing that can be exper i -enced by the users . Apar t f rom that , we are a lso propos ing that our methodol -ogy , p rocess and our unders tanding of genera t ive ornament wi l l capture the cur rent ze i tge is t .

By u t i l i z ing the cur rent technology , in th is case , sc r ip t ing in arch i tec ture , f rom the des ign s tages to the fabr ica-t ion s tages , th is ac t by i t se l f a lso put Wyndham in par wi th the cur rent ze i t -ge is t .

Fur thermore , our proposa l wi l l de f i -n i te ly genera te a new d iscourse by i t -se l f as we are de l ibera te ly us ing two most cont rovers ia l words in arch i tec t -

Wyndham C i t y had been address i ng the i ssue o f i t s i mag e b y under tak ing s ign i f i can t wo r k s to up g rad e the cond i t i on and aes the t i cs o f i t s s t re e t sca pe s , op en sp aces and p ark s . As par t o f th is pro gram , i t ha s e s tab l i shed th i s Ga teway Pro jec t .

”

“

ure : genera t ive des ign and ornament .

We a lso be l ieve that our des ign should not only capture the moment o f the t ime but a lso t r ies to have the sense dynamism and movement , repre-sent ing the ac t ion o f how the wor ld keeps changing and how Wyndham is changing .

We hope that our des ign wi l l bear mul t ip le meanings and representa t ion to d i f fe rent people which wi l l keep everyone on ta lk ing about i t . We be l ieve our des ign is the so lu t ion that Wyndham is look ing for to represent i t s growth and prosper i t y .

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P R O J E C T D E L I V E RY4.2

54

SITE

PROPOSED DEVELOPMENT

PROPOSED DEVELOPMENT

CITY CENTRE

MAIN ROADAGRICULTURE

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D E S I G N P R O G R E S S I O N4.3

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P R O J E C T P R O P O S A L CO N C LU S I O N4.4

Form the images, it could be seen that our de-sign fulfills most of our constraints and definitely shown dynamism and movement. We strongly believe that this large scale project that covers the whole site will be not only the talk of the town but also in the world.

Imagine yourself driving under and through the installlation, imagine what kind of experience will you get from the images that were shown previously. We believe that those experiences will change every single time. It is to our opinion as well, that this design is beautiful and orna-mental.

If Wyndham proceed with our design , there will be no doubt that Wyndham City gets what they have asked for in their brief and at the same time create an identity of their own.

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PART 5 REFLECTION

5.0 THE REFLECTION

L E A R N I N G O U TCO M E S5.1

Parametric modeling is not something new to me. I have read, heard and seen about para-metric modeling however, never had the chance to really get into it and apply in my design studio project. I find that the introduction of parametric modeling in this studio was the best decision. Not only to prepare us for the Master’s Studio, but also to be in par with the current trend in the architectural world.

Over the period of this semester, I have defi-nitely learn and grow so much as a designer. I have managed to improve my presentational and layout skills. Furthermore, I am very proud with myself to learn and improve myself with few different software like Rhino, Grasshopper, Illustrator, and InDesign. My illustration skill is also improving and I did manage to learn how to render with V-Ray sometime in this semester. I hope to take my rendering skills further in the future. I was also very pleased when the crits all loved my photography.

The learning curve for Grasshopper was hard as first but after I had the understanding of data structures and how to manipulate them, design-ing with Grasshopper had become much easier. I am looking forward to learn more about Grass

hopper and it’s potential. I also hope to expand into scripting after the exams.

I am also very grateful to have hardworking group members as well as dedicated tutors to provide help and guidance. This was one reason that helps to push and propel me forward with the supports given. Without a doubt, I am very pleased with the quality of our works through-out this semester and certainly we have learn so much from each other. My group and I divided tasks according to our interest and specialty, and we find that this method works the best for us as we enjoy doing what we like. However, we do share and teach each other about everything that we have done and I think this complements one of the learning objectives, to work together as a team.

The method that my group uses to tackle this deisgn project was something new to us, but we find it very useful as a design tool. By research-ing and backing up our argument and design intent by scholarly articles and opinions, we made our proposal more convincing. I will defi-nitely will use this method again in the future to support my design ideas and intent. Besides, all the readings that were provided were all very

interesting and eye opening.

This studio is honestly a very tough one, espe-cially it is only first introduced in this semester, but I enjoyed it completely. Nothing beats more than having your design fabricated. I still re-member the first model that we fabricated, and once we got it we were like a bunch of kids who just got a new toy. The fabrication process also allows me to learn the protocols on what we should do to fabricate our design effectively without having any errors.

This studio has provided me with a kick start to continue in parametric architecture and rein-force my passion for architecture. I hope to im-prove and use the skills and techniques that I’ve learned for a real building project. I would love to see how parametrics can be used in that context.

All in all, I have learned so much within this short period of time and I am not planning to stop using and improving what I’ve learned. I hope to be able to use the skills I have for the next studio.

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R E F E R E N C E S5.2

Branko , K . (2003) , “Arch i tec ture in the Dig i ta l Age : Des ign and Manufac tur ing” , (New York : Spon Press ) , pg . 3 -62

Burry , M . (2011) , “Sc r ip t ing Cul tures : Arch i tec tura l Des ign and Programming” , (Uni ted K ingdom : J . Wi ley ) , pg . 8 - 71

Chr is topher , A . (1964) , “Notes on the Synthes is o f Form” , (Harvard)

F r iedman , V. (2008) , “Data V isual iza t ion and In fographics ” , in Graphics , Monday Insp i ra t ion , January 14 th, 2008

Kalay , Y .E . (2004) , “Arch i tec ture ’s New Media : P r inc ip les , Theor ies , and Methods o f Computer -A ided Des ign” , (Cambr idge , Mass . : MITPress ) , pg . 1 -25

Loos , A . (1908) , “Ornament and Cr ime” , ( repr in t V ienna : InnsBruck)

Moussav i , F. (2006) , “ The Funct ion o f Ornament ” , (Barce lona : Ac tar ) , pg . 5 - 14

Rampley , M . (2005) , “Exp lor ing V isual Cul ture ” , (Ed inburgh Univers i t y P ress ) , pg . 102-116

Roudavsk i , S . and Walsh , A .M . (2011) , “ The Headspace Pro jec t : Computer -As is ted Fabr ica t ion as an In t roduct ion to Dig i ta l Arch i tec tura l Des ign” , in C I rcu i t Bending , b reak ing and Mending : P roceedings o f the 16 th In te rnat ional Conference on Computer -A ided Archi tec tura l Des ign Research in As ia . ed . by Chr is t iane M. Her r , N ing Gu , Marc Aure l Schnabel and S tanis lav Roudavsk i , pg . 579 - 648

Schumacher , P. (2011) , “ In t roduct ion : Arch i tec ture as Autopoie t ic Sys tem” , in The Autopoies is o f Arch i tec ture : A New Framework fo r Arch i tec ture , (Chiches te r : J . Wi ley ) , pg . 1 -28

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2012 S1 Daniel Hazmy

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