ARCHITECTURE DESIGN STUDIO : AIR GUANG XU 387139

JOURNAL CONTENT

Part I. Expression of Interest I.1. Case for Innovation I.1.1. Architecture as a Discourse I.1.2. Computing in Architecture I.1.3. Parametric Modelling I.1.4. Case for Innovation Conclusion: I.2. Research Project I.2.1. Scope of Possibilities I.2.1.1. Input/Association/Output Matrix I.2.1.2. Reverse-Engineered Case-Study I.2.1.3. Material Effects I.2.1.4. Assembly Methods I.2.2. Research Project Conclusion I.3. Expression of Interest Conclusion: Competitive Advantage I.4. Learning Objectives and Outcomes: Interim

Part II. Project Proposal II.1. Project Interpretation II.2. Project Delivery II.3. Project Presentation II.4. Project Proposal Conclusion

Part III. Learning Objectives and Outcomes: Final III.1. Personal Background and Learning Objectives III.2. Learning Progress III.3. Learning Outcomes III.4. Future Work

I.1. Case for Innovation I.1.1. Architecture as a Discourse

Architecture probably is most of the public arts. It is innevitable for our daily lives in a human society. The works of architecture frame our society, meanwhile our society also respond to the works of architecture. Our re-sponds often appear as discussions towards to the works of architecutre with the aim of influencing and hasten the revolution of archi-tectural practice. The following professional projects(by Zaha Hadid and MAD studio) have received huge public and professional attentions. These projects served as a good case study of visu-ally stimulating design and achieved through its specific and suitable innovations. The similar innovations and methods can be used for the Gateway project, as the brief saids “exciting and ey catching design”.

PART I. EXPRESSION OF INTEREST

I examine rather more what has been said about them; in other words, the discourse around them. As win become clear, architecture is as much a philosophical, social or professional realm as it is a material one, and it is through the consideration. Architecture as discrouse that one can engage with it as visual culture. ---------Richard Williams

PERSONAL DESIGN“Bao An” Design competitionService apartmentGuang XuNanning, Guangxi, China.Total floor area: 830 sqm

The design concept is from the urban pressure. Due to the modernization move-ment of human society, we have gave too much pres-sure to our city. The city is like a string, there are lots of things on the string, such as population, pollution etc. We pressed the string hardly, and we never know when the city is going to bounce back.

The structure was designed by Iraq architect Zaha Hadid, its freestanding concrete auditorium set within an audacious exposed granite and glass-clad steel frame took over five years to build. With this building, which includes 1,800 seats in the Grand theatre, entrance lobby & lounge, The dramatic structure was the source of inspiration behind fashion designer Vivienne Tams fall`s 10 collection. Although the function of the building is an opera house, but the meaning of this building is far more beyond an opera house. There is no doubt that this is a visually stimulating design, it challenging the basic language of archi-tectural expression. The form is surprising, it is so smooth and fluent. Meanwhile, the building itself also looks like a huge sculpture, like a piece of art work, it is quite interesting to put a sculpture in such scale at the centre of CBD. That is certainly exciting and eye catching and innovative.

Despite the building itself, it brings us the contrast between it and the surrounding environment, there are all high-rise skycrapers around it. In the context of Wyndham council`s Gateway Project, we can achieve eye catching by create another contrast. This will contribute to the archi-tecture discourse.

GUANG ZHOU OPERA HOUSEZaha HadidGuangzhou, Guangdong, China.Total Cost: approx. US$200 million

Lying low agaist the water against a backdrop of towers, the Opera House has something of the iconic drama of the Sydney Opera House without adopting any such literal device as the “shell“ forms of Utzon. ---------Philip Judidio

A new language of domestic architecture; a new dia-logue between the complex, continuous nature of merg-ing form and textures. A dynamic project to design the 30-room floor of a hotel, driven by new developments. Afluid space, a seamless experience; pushing the boundaries of spatial concepts ---------Zaha Hadid

HOTEL PUERTA AMERICAZaha HadidMadrid, SpainTotal Area: 1200 sqm

With its 12 floors and 342 rooms, the Puerta America is relatively large on the scale of the fashionable “de-signer“ hotels that have sprung up all over the world in the past 15 years. Run by the Silken Group, the Puerta America does pose some question about the nature of the collaboration of no less than 19 internationally recognized architects and designers. As the promotional material for the hotel declares:“At the hotel, the guest discovers the finest cutting-edge design and the architecture almost without even realiz-ing it.” This may or may not be flattering for the talents involved. The first floor, characterized by the fluidity of the spac-es based on new developments in digital design, is the work of Zaha Hadid. Zaha Hadid explains that the client gave her full lee-way to design the floor, including 30 rooms and the common areas. Her aim is quite clear “a fluid space and a seemless experience“. From the elevator area to the rooms, all surfaces are continuous flowing splaces. Within the rooms, the color is all in black or all in white or sometimes orange, all surfaces are continuous. Desk, bed, wall , ceiling are all in one. The amazing fluid and dynamic shape have received huge attentions. The design contributes to the architec-tural discourse by its innovative dynamic shape, fluid splacing and seemless experience. That also provides a new idea of materiality due to the seemless structure. In the context of Wyndham council`s Gateway Proj-ect, we can contribute to the discourse by using similar method, such as dynamic and fluidity.

I.1.2. Computing in Architecture

Through the entire architecture history, human have developed so many archi-tectural design techniques, such as hand drawing, model making etc. However, since the greates invention (computer) arrived, our lives been changed com-pletely. Now a days, computer has become an essential tools for us, no matter for works or daily life. As well as in architecture design, computer aided design plays a significant role. (Computer aided design is also known as computer-aided design and drafting)

“Computer aided design is the practical art of defining the structure and rela-tionship of the subcomponents of a computer.” As in architecture design, the definition of the design can compromise different layers of information. With the definitions, we can convey the basic design concept to be implemented. By positing the conceptual system into the computer, the design becomes logical and accurate and would always on the right track towards the intended design effects. The use of computer aided design is simultaneous ubiquitous. Especially the construction is increasingly relying on digital techniques. The previous men-tioned Hotel Puerta America achieved the seemless surface by using digital design technology. As the architect said “directly transferred from our computer generated files to CNC milling machines which are used to create wooden(MDF) molds for the thermoforming process of the white LG HI-MACS surface.“

Architectural computer design enables of curvilinear, soft, flowing, smooth, dynamic building. The digital technology provides strong supports to our design, dynamic and complex structure can be achieved easily. In the context of Wyn-dham council`s Gateway Project, we should invite computer aided design tech-niques, and I believe the outcome of the design will be much more accurate and creative, as well as eye catching.

Digital technologies are changing architectural practices in ways that ferwere able to anticipate just a decade ago. In conceptual realm, computational, digital architec-tures of topological, non-Euclidean geometric space, kinetic and dynamic system, and genetic algorithms, are supplanting technological architectures. ---------Architecture in the Digital Age. Kolarevic.

The contemporary digital architectures appear to reject any notion of urban and structural typology. continuity and morphology, and historic style and perspectival framework- they represent an ideological, concept and formal break much like Walter Gropius` Bauhaus in Dessau, Germany. They seem to prefigure and entirely new way of architectural thinking, one that ignores conventions of style or aesthetic altogether in favour of continuous experimentation based on digital generation and transformation of forms that respond to complex contextual or functional influences, both static and dynamic. ---------Architecture in the Digital Age. Kolarevic.

CHINA WOOD SCULPTURE MUSEUMMad StudioHarbin, ChinaTotal Length: 200 m

In the architectural practice, data visulization is never a new thing. By describing the data in particular way, visulising data become achiev-able.

In actual architectural design, data mapping is often used to translate the basic data to visual-able architectural effects. However, this was not easy.

By using computer design technology, we can make the data fully organised. Computers make the design accurate, flexible, fast and creative. The final result is often surprisingly logical as well as creative.

The project showed on the left is the China Wood Sculpture Museum. According to the unique local winter landscapes, the design is intended to make a contrast between the el-egance of nature and the speed of daily life. Its 200 meter long body is shaped as a frozen fluid that reflects and explores the relation between the building and the srrounding landscape.

The China Wood Sculpture Museum was entirely generated by computer aided design techniques. It is innovative by generating the data(based on the properties of frozen liquid) to visualising architectural effect, such as the fluidity and dynamic form. With the techniques, the construction become easier and much more accurate.

I.1.3. PARAMETRIC MODELING

Unlike the normal or traditional design, parametric modeling creates its own new architectural languages. The parametric modeling is normally based on a set of mathmatical equations. The informations of the equation is based on actual project data.

Especially, the scripting is one of the most important parts of parametric modeling process. Scripting is not new to designers, it is always part of the design, it just recently been regarded as an integral rather than a specific tech-niques. By scripting, computer programming becomes integrasl to the digital design process. It enables the opportunities for designers to blaze new trails, it provides an opportunity for designers to customize their software around their individual preference and experience. In other words, by scripting the computer programmes, the user actually become a new software maker.

Scripting makes the design process more sufficient and reasonable, mean-while the whole design process is hastened, and it will bring more economic benefit to us. It also frees the designer from the software, so designers can spend more time on design thinking. Digital fabrication technologies also take lots of advantages from scripting. In the Wyndham council`s Gateway Project, by usgin parametric modeling, we can explore the potential in computational design. I believe the design out-come would be creative, logical, time and cost efficient.

“Parametric methods are very useful for subjecting uncertain situations to the rigors of a pre-defined and proven mathematical model. They can usefully embody a great deal of prior experience and are less biased than human thought processes alone”. ---Software Sizing, Estimation, and Risk Management Daniel Galorath and Michael

Soft ImmortalityTobias Klein

In traditional architectural design, the spacing is often defined by boundaries and territory. The con-cept of “inside and outside” is mainly concern during modern architecture. It has tended to to give rise to a surface-driven approach, which is the obsession of facade. Nowadays, with computer aided design techniques, the architect is able to create complex and fluid transition between the inside and outside of a building, and even able to grounding it in a given landscape. However, parametric modeling is pushing the architectural design to a higher level, as well as the contem-porary fabrication techniques. There is no doubt that parametric modeling can make the design more logical, accurate and efficient.

This case study(Soft Immortality) is undertaken by Tobias Klein. The architect was scripting to: “create fan-tastic complex semi-permeable mem-branes and other equally interesting structures to generate a diffuse, responsive surface design.”

By observating the human body, and analyzing the properties first. Then with the scripting techniques, they successfully create a new struc-tural and spacing system, which is very similar to human body in a logi-cal and accurate way.

Scripting was essential in this gen-erating process, no matter in design or fabrication process.

Scripting can also be the antidote to stan-dardisation forced by an ambition to lower production costs, rather than any more sophisticated motivation. --Scripting Cultures, Burry

I.1.4. CASE FOR INNOVATION CONCLUSION

The Wyndham city council`s Gateway Project providing us a good op-portunity and challenge to engaged with innovative architectural design, as well as the powerful scripting parametric design. The techniques of parametric design enable us to break the formal design restriction, in both design and construction aspects. By using such techniques, there is no doubt that the design outcome would be innovative and it will cer-tainly contribute to the architecture discourse.

The major requirements been mentioned in the brief has very similar compatible goal with the aim of innovative architecture. The innovative architecture will certainly satisfied the client`s need.

Digital design(computer aided design, parametric modeling etc) pro-vides us many practical advantages, in both design and construction process. The outcome of the design would be creative, eye-catching and as well as logical; the construction would be well organized, time and cost efficient.

This Gateway project can be seen as development and extention of the identity and reputation of Wyndham city. The using of the progres-sive parametric design technique is absolutely remarkable. This will definitely get enormous attentions.

Design is change. Parametric modeling represents change. It is an old idea, indeed one of the very first ideas in computer-aided design. I believe that, today, the key to both using and making parametric modelers lies in another, older idea. --Design patterns for parametric modeling, Robert Woodbury

Patterns have been covering architectural surfaces since times immemorial - in the same way as such patterns have been spread all over the domain of human artefacts. The human body was perhaps the first surface that received designed patterns. Architectural patterns thus have a broad and deep lineage. With such a widespread practice one should not expect a well-defined, unitary function. As practices evolve they acquire new functions and loose their prior functions, or new functions are superimposed upon older functions. Patterns might serve purposes of decorative enhancement, fea-ture accentuation, camouflaging, totemic identification, semiotic differentiation, or any combination of those. ---Parametric Patterns, Patrik Schumacher

I.2. Research ProjectI.2.1. Scope of Possibilities

This section is the exploration and practice of parametric architectural design as well as the contemporary existing parametric designed proj-ect and techniques.

The aim of the exploration is to investigate the scope of innovative de-sign solutions within the range of the Wyndhum city council`s Gateway project.

I.2.1.1 INPUT/ASSOCIATION/OUTPUT MATRIX

This combination is made by :Arbitrary Point (input)+Attractor Point (association)+Data Driven Rotation (output)

This combination is made by :Curve Intersection (input)+Attractor Point (association)+Data Driven Rotation (output)

These combinations are made by :Surface Normal (input)+Attractor Point (association)+Data Driven Extrusion (output)

Even the defini-tion is exactely the same, but if we just simply modify the number of the slider, the outcome would be quite dif-ferent.

The effect that i looking for is the organic and dy-namic, which can provide an ever changing image when you looking at it from different view points or distance, etc.

SINOSTEEL INTERNATIONAL PLAZAMad StudioTianjin, ChinaHeight : 358m office tower and 95m hotel

Sinosteel International Plaza is designed by Yansong Ma, the head architect of MAD Studio.

The design concept combine shape, structure and cultural sym-bolism in one repeated motif: a hexagonal façade, multiplying and growing across the building.

The facade of the building is the most remarkable element of this design. Five different sizes of hex-agonal windows been used, which is a traditional Chinese architactural element. These windows flow with the irregular and visualstimulating parametric pattern. This device pro-vides an ever changing effect when people looking the building from different perspectives.

The ambition of the client is to cre-ate a new organic and eye-catching landmark for the redeveloped city of Tianjin, and this is quite similar to the goal of Wyndham city council. With the dynamic, ever changing parametric pattern on facade, this building will certainly create a new impression of this city.

10 HILLS PLACEAmanda LeveteArchitectsLondon

The reason that I choose this building as my case study is because this building provides us an organic dynamic architectural effect. The frame of is dynamic, due to the curvilinear shape and smooth change; the cladding is also dynamic, due to its reflection of lights, it can provide an ever changing images from different perspectives during the day.

I.2.1.2 REVERSE-ENGINEERED CASE-STUDY Team member: Johnathan, Chelci

Amanda Levete Architects has harnessed high quality ship hulltechnology to create an ingenious sculptural facade for a new officebuilding just off London’s Oxford Street.Lack of daylight in the narrow streets around this major retailartery was a key issue. Inspired by the art work of Lucio FontanaAL_A slashed the aluminium skin with large glazed areas orientatedtowards the sky to maximise and channel natural light intothe office space.

The facade is fabricated using curved aluminium profiles assem-bled on-site. Self cleaning glass and hidden gutters withinthe eyelids ensure the facade remains low maintenance.The fine faceting of the aluminium strips creates beautiful andcomplex reflections of sky and street, making the building highlyvisible from Oxford Street.

At ground level a bespoke glass, mesh and dichromatic filmsandwich is animated with fibre optics to create visual depth offield and a dynamic pattern on an otherwise blank facade.

Perspective section

Smoothy dynamic frame works. The 3 dimensional steel capping is very important.

Perspective section. In order to make the facade smooth enough, the construction should be very detal.

To do the reverse-engine of 10 Hills Place, we start from the major component of that building, which is the frame. According to the current technology we learnt so far, I tried to create two straight curves in rhino first, then modify the two straight curves in grasshopper. By us-ing the graph mapper, I can easily modify the shape of the curves. After that, I tried to loft the two curves together, then I have got the very similar surface to the frame 10 Hills Place.

Rhino and Grasshopper, digital modeling process

After created the surface, by using a waffle definition, the frame of the surface is coming up. To make the structure stronger and durable, I tried to create both longitude and latitude structure frames. In order to make the physical model properly, a notch system is quite necessary. When I doing the notch system, I left 2.8mm space for each slot(0.1mm slightly larger than the thickness of the material that I choosed),as the material is 2.7mm plywood, so there is enough tolerance for the physical fabrication, as the fabrication can not be 100 percent accurate.

I.2.1.3. Material Effects

This is the cladding for the fabrication. The material is 1.00mm polypropylene sheet. I wanted to use alu-minium as the material for the cladding, so it would be more appropriate to the 10 Hill`s Place, but the aluminium is not the standard material for fab lab.

These two cladding is sliced in different way. The slicing in first one is flow with the shape of the sur-face; while the other one is straight slicing, which is exactly the same as the case study example.

frame structure elements 2.7mm plywood

Capping elements 2.7mm plywood

Notch system elements 2.7mm plywood

I.2.1.4. Assembly Method (fabrication process)

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Material ExplorationIn the case study 10 Hill`s Place, the cladding is the most significant element within the entire design. Thus choosing the material for cladding be-come important.

At the end of the fabrication process, I decided to use two different materials for cladding, so it can serve as a contrast. One is polypropolene, the other one is matel sheet.

Polypropolene is clear enough to seem the structure elements, it can provide an refraction ef-fect, but it is hard to glue with super glue, so the double sided tape is better during in fabrica-tion.

Metal sheet is closer to the ac-tual project 10 Hill`s Place. It is a very good cladding materials, can be easily bend or strech. It provides a very good reflec-tion effect. it is also hard to glue with super glue, so the double sided tape is better during in fabrication.

I.2.2. Research Project Conclusion

This reseach project is very helpful, and the techniques been used in this reversed en-gine section is within the range of this project.

The use of the paramet-ric modeling and techniques makes the fabrication faster and more reasonable.This fab-rication is my first attempt to used the laser cutting machine, and the outcome turns out quite good. Thus this section of ex-cercise developing both digital and physical skill, and it is very important for future develop-ment.

Further exploration of dynamic geometry with perspex

The aim of this exploration is to achieve “dynamic”, as well as testing the effect of perspex. We follow the form of our case study, then start testing. The parametricism is designed in the curves, both as the rib profile and also the outline or footprint of the in-stallation.

Generally the techniques we used in the form is mak-ing few curves in grasshopper first, and then loft them. We want it to have a beautiful dynamic form with smooth changes, rather than anything sharp or rapid.

Based on the definition of our reverse engineering, throughout the constantly changing of the parameters in grasshopper, our model becomes more flexible and adaptive and aligned with our design intent(dynamic geometry).

Parametric Modeling

Fluidity and curvilinear form is what we wanted to achieve since the atart of the design.

I tried to use the curve as our basic geometry as it pro-vides a better result in continuity and fluidity.

As the site is right next to the road, the dynamic form will helps us to exaggerate the movement of the transportation.

During the exploration, I found out that curvilinear form can easier be achieved parametrically, and it is quite in-novative; meanwhile dynamic geometry can also be inter-preted arbitrarily, and we find this a desirable quality that should be incorporated into the final proposal.

Fabrication

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6We did the light etch as guidelines, so we can put the ribs in a accurate distance. Then starting glue each individual rib to the bottom piece with super glue. Frankly speaking, we were having the difficulty to create the notch system for these ribs, as the ribs become smaller and smaller from the start to the end, it is really complex, but we may find the way to do it in our final design

As the further development of the case study 10 Hill`s Place, some of the key elements been invited into this ex-ploration, such as dynamic and reflection. To achieve the reflection in this exploration, I decided to use black perspex as a reflective material. In both the rib structure elements and the bottom piece. The effect of the bottom piece is better than my original thinking, with the reflective bottom piece, I got the “double spacing” illusion.

As the exploration of the material, I used transparent blue perspex as the material for front ribs, this provide refraction effect, which providing me a contrast between refraction and reflection.

After the fabrication, I started to explore with lighting and shadows, intended to make a more realistic effect when car passing through.

In particular, the positive and negative parts of the curves can create lightness or darkness. During the day, the sun will project the form’s shadows onto the ground in various angles, and during the night, these shadows can potentially be generated from car headlights or tail-lights

I.3. Expression of Interest Conclusion:

Competitive AdvantageBASIC ESSENTIAL CRITERIA:Brief :-exciting & eye-catching-relate to the community-explore the medium within abstraction and accessibility-extend the identification of Wyndham city

Site :-as the site is right next to the high way, and the speed on the highway is approximately 100km/h. So the design should able to be view clearly and understand by driver quickly.-high identification both afar and close.-easy maintenance after buit.

Design philosophy :-dynamic geometry-computer aided design and also engage with parametric modeling and fabrication-engage and contribute to the architectural discourse

COMPETITIVE ADVANTAGE OF DYNAMIC GEOMETRY

Curvilinear form can easier be achieved parametrically, and the parametric technique is quite innovative. Using the pro-gressive parametric techniques can receive huge attention. The fluidity, dynamic form can easily fits the aesthetic of people. Also by using the reflective material, the reflectivity can utilize the constantly moving backdrop of traffic, sun-light, and potentially the service station gives another layer of complexity.

I.4. Learning Objectives and Outcomes: Interim

DESIGNING WITH COMPUTERS

-Developing the ability to design and refine patterns and architectural elements using parametric modelling.

-Developing the ability to understand the implications ofscale, materiality, geometry and physical forces.

-Developing the ability to select, understand and achievespecific design effects through parametric and physical modelling.

-Developing the ability to select and present design out-comes, demonstrating its strengths and weaknesses.

COMMUNIVATING VISUALLY

-Developing the ability to produce high-quality publication-ready content.

-Developing the ability to communicate logical and per-suasive histories of development using line drawings, dia-grams and photographs.

-Developing the ability to situate design decisions in the broader context of the architectural discourse.

ARGUING PERSUASIVELY

-Developing the ability to situate designs in the context of existing discourse and to understand ideas and innovation in core precedent studies and readings.

-Developing the ability to explain persuasively how design explorations satisfy,extend and challenge the gateway-proj-ect brief.

-Developing the ability anticipate criticism.

-Developing the ability to explain how the course’s Learn-ing Objectives informed individual research and matched your Learning Outcomes.

APPLYING TECHNICAL SKILLS

-Developing the ability to utilize Grasshopper as a paramet-ric modelling environment

-Developing the ability understand the basic stages ofdata flow.

-Developing the ability to reverse-engineer existing prec-edents and implement technical solutions achievinganalogous outcomes.

-Developing the ability to rationalise and fabricate paramet-ric digital models.

PERSONAL FEEDBACK

At the start of the semester, the information about the parametric design that I know is barely nothing. After the processing of this half semester, the very basic parametric stuff starting become clear to me. The processing learning is very useful, the general pro-cess from design concept to fabrication and presentation become clear to me as well.

The excercise of reverse-engine and Gateway project is significant, it provides me opportunities and challenges to engage with the parametric design techniques.

So far, parametric design is still mysterous, but starting become clear. Personal thinking that when using para-metric modeling, it never just generate one single model or static design, instead it create an entire design system, which can be modify according to different design condi-tion. This system can generate multiple innovative design solution.

However, the parametric techniques that I`ve learnt is way not enough, shall be further developed in the second half of the semester.

II.1. Project Interpretation

PART II. PROJECT PROPOSAL

Nowaday, Wyndham is the fastest growing municipality in Victoria. The city currently has a population approximately 148,000 and growing 8000 to 10,000 residents per year.

Recent years, it stared to upgrade the condition and aes-thetics of its streetspaces, open land and parks.

As the brief mentioned, Wyndham City is pleased to invite submissions for the Western Gateway Design project to create a Gateway into Wyndham for city bound traffic on the Princes Freeway. This project is an opportunity tocapitalise on the success of “Seeds of Change” Gateway, located at the eastern interchange, and create an equally compelling installation.

The proposed site for the Western Gateway offers a high exposure location to those entering the urban precinct of the municipality, as well as to those travelling along the freeway.

They are seeking responses from design professionals for the design and documentation of an exciting, eye catching installation at Wyndham’s Western Gateway.

KEY CONSIDERATION AND ISSUES :

- Prominent location of the site at the entry to metropolitan Melbourne- Back dropped by a large scale service centre- Consideration of how the installation integrates with and sits in the immediate and surrounding landscape- Iconic feature- Appropriately scaled- Dialogue between sculpture and landscape to compose the Gateway- Original and engaging in form- Object-centred individual sculpture or a more experiential approach- Literal or abstract- Adherence to the regulations imposed by VicRoads in re-lation to siting, view lines, setbacks, materials, colours etc- Daytime and night time viewing- Safety, ease of maintenance, materials and longevity

BUDGET:

Approximately $280,000, including design,engineering, structural certification, construction and installation of sculptural elements and landscape components.

The Princes Freeway provides excellent exposure onto the site, with south-bound and north-bound traffic along the Princes Freeway splitting to create a 90 metre wide road reserve (site-A), measuring approximately 50,000 metres square.

II.2. Project Delivery

DYNAMIC GEOMETRYTeam member : Jonathan, Chelci

Key words :change, movement, energy, fluidity

All the design is based on the initial idea-dynamism. I sum-marise the key words for dynamism, which change, move-ment, energy and fluidity. Then I tried to engage these key words with the still and solid architecture building.

By embedding a geometric characteristic such as dyna-mism rather than a literal representation of something, the design allows for the architecture to remain an “agent of ambiguity” and opens it up to various interpretations. Aside from being unique to Wyndham, this gives it the adaptive capacity to excite and inspire, as well as contribute to the architectural discourse over a long period of time, in antici-pation for the rapidly changing future of Wyndham.

Based on the key words that I mentioned previously. I start-ed to find a proper form of our design.

After the exploration, I found out that “ruled surface” prob-ably is the most appropriate form.

FIRST ATTEMPT

“rule surface is my final decision. It is innovative, because its parametrically designed form. With this concept, a 3-di-mensional structure frame has created.

In order to engage with the landscape, our design cuts into the ground, then coming up and reach a higher hill.

Set flush of the intersection part

But after discussed with the tutor, I just realized that the scale of the model has a big problem. With this scale, in real life construction, I will have rediculous 4-meter-high beams, and that is really nothing but “mission impossible”.

RE-FABRICATION

In order to make the structure able to be constructed and more logical. I decided to increase the length, reduce the width. Double the density of the beams.

Painting the frame

In order to add another layer of complexity, a cladding sys-tem been created. The 400+ polypropylene cladding been cut by laser cutting machine.

Yes! It is not a joke ! Approximately 440 cladding pieces !

SITE A: The site was chosen because of its prime location in between the two main freeways, maximising its exposure.

SERVICE ROAD:Vehicles from the freeway would be seeing the installation from too close to see the overall form. The location of the design gives the traffic on this road the opportunity to appreciate it from afar.

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PRINCES

WESTS

ROADSERVICE ROAD

PRINCES WEST

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FREEWAY

FREEWAY

LANDSCAPE ELEMENTThe design is not limited to the structure that is built up off the ground. It also includes a dynamic pattern on the landscape which is painted and acts as an extension of the visual art.

II.2. Project Presentation

SERVICE ROAD:Vehicles from the freeway would be seeing the installation from too close to see the overall form. The location of the design gives the traffic on this road the opportunity to appreciate it from afar.

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PRINCES

WESTS

ROADSERVICE ROAD

PRINCES WEST

EAST

BOUND

BOUND

FREEWAY

FREEWAY

THE BRIDGE:The bridge on this eastern approach plays a vital role in how the installation is viewed from the freeway, as the form is slowly revealed when vehicles pass through underneath. On top of the bridge itself is also another spectacular vantage point toward site- A, and consequently this design.

LANDSCAPE ELEMENTThe design is not limited to the structure that is built up off the ground. It also includes a dynamic pattern on the landscape which is painted and acts as an extension of the visual art.

The design follows the shape of the landscape, it start from a lower hill, and ends at a higher hill.

This form creates a visual break that contrasts the site’s pre-dominantly flat and open landscape, thus meeting Wyndham City Council’s desire for the design of an exciting and eye-catching installation.

1. CONCEPT -

Two three-dimensional curves were created primarily to determine the plan and the extents of the design in relation to the site.

2. DEVELOPMENT -

The curves were then lofted to create a curvilinear surface as its form, and then intersected with the ground plane to create a sense of discontinuity and perceived dynamism.

2. DEVELOPMENT -

The curves were then lofted to create a curvilinear surface as its form, and then intersected with the ground plane to create a sense of discontinuity and perceived dynamism.

3. RATIONALISATION -

The ruled surface was created by dividing the surface into longitudinal and latitudinal frames, thus making it feasible for fabrication - for both the concept model and real-life construction.

FORM: The form of our design is dynamic, not overly complex, but elegant. Especially for the cladding, we clad it in a specific di-rection, so it provides different images when looking at it from different perspectives.

DIMENSION: Big enough to be awe-inspiring, yet quite efficient in the amount of materials it takes.

MATERIALS: Steel been choose for the frame structure, it provides high strength and durability, it is much cheaper than aluminum, ti-tanium and other metals with such a high strength; for a better stainless we can simply like what we did with our model, paint it.

Cladding, we choose the fibreglass. Fibreglass arrives ready to install, when the site is prepare, the installation will be very fast, not like in-situ concrete or other material which can take a long time. The surface is very smooth, it is also stain and chemical resistant and easy to be clean. It is flexible and du-rable.

INNOVATION: Ruled surface make the structure lighter, we can easily achieve three dimensional curve.

PAINT: The paint on the ground is the continuation of the volume of the building itself and also the exaggeration of the movement.

EAST ELEVATION

NORTH ELEVATION

SOUTH ELEVATION

WEST ELEVATION

CONSTRUCTION PROCESS DIAGRAM

-1. Firstly, the site would have to be closed off, leveled, and prepared for the construction. For this installation, it may be appropriate to use deep pile footings to support the large struc-ture.

2. The next step would be to deliver the individual components that have been fabricated off-site. They have been split up into small pieces and hence are manageable in terms of transpor-tation.

3. The frame would be built from the bottom to the top, starting from multiple areas on the ground. This would require a high degree of accuracy to make sure the middle of the structure (the highest point) can join.

4. After the whole frame is done, the cladding would be at-tached to the skeleton with the process as described below in the detail diagrams. - everything is prefabricated, little pieces are easier to construct - the joint detail may be appropriate as it allows the use of one universal connector for all the cross joints throughout the installation. This way, it can be manufactured off site quite eas-ily and assembled on site in a simple and timely manner. - cladding element the reflected plan detail diagram of the cladding element shows the connections will be resolved by bolting each piece to the frame using steel brackets. this method should be suffi-ciently rigid to counteract any uplift.

Beam joint

Reflected plan of cladding

Section drawing

DETAIL DRAWING

This joint detail may be appropriate as it allows the use of one universal connector for all the cross joints throughout the installation. This way, it can be manufactured off-site quite easily and assembled on-site in a simple and timely manner.

This reflected plan detail diagram (and the detail section diagram below) of the cladding element shows that the connections will be resolved by bolting each piece to the frame using steel brackets. This method should be sufficiently rigid to counter-act any uplift that the cladding may experience during its life.

II.3. Project Proposal conclusionThe basic form of our design looks simple but dynamic. The design is unique to Wyndham city, because we efficiently uti-lises key elements of the site, such as landscape, key views.

As I mentioned previously, the shape of the design flow with the landscape. It provides ever changing images from different perspectives. Drivers can have different experiences as the distance getting closer. This again emphasises our concept of dynamism.

According to the brief, it required exciting and eye-catching, we achieved that by using the progressive parametric tech-niques to create a fluid and seemless structure(as fluidity become one of the major aesthetic standard to people nowa-days); by adding the huge amount of cladding, we created another layer of complexity to our design.

It is also fairly easy to construct as all the pieces are prefabri-cated and installed onsite. and we believe it is quite cost-effec-tive. And the council can easily achieve their goal by installing our design within their budget.

The brief says the installation need to be viewed by motor-ists travelling at high speed , provide first indication and arrival experience, create a focal point of iconic scale and presence and encourage a sense of pride within the local community. We believe we have achieved that with our new, inspiring and unique design.

Key view from service station

Key view from the bridge

Key view from underneath

Favourite perspective view

Translucent effect

III.1. Personal Background and Learning Objectives

PART III. LEARNING OBJECTIVES AND OUTCOMES: FINAL

PERSONAL BACKGROUNDBorned in 1990, China. Got into the University of Melbourne in 2010. Major in architecture. Worked as a internship in a Chi-nese architecture firm for few months. Favourite architect is Louis Kahn and Zaha Hadid. Familiar software: Sketchup, Au-tocad, Revit, 3dsMax, V-Ray and recently getting fimiliar with Rhino and Grasshopper.

LEARNING OBJECTIVES

-Interrogating a brief by considering the process of brief forma-tion in the age of optioneering enabled by digital technologies.

-Developing “an ability to generate a variety of designpossibilities for a given situation” by introducing parametricmodelling with its intrinsic capacities for versioning.

-Developing “skills in various three-dimensional media” and specifically in dynamic 3D modelling, digital fabrication, dy-namic diagramming and so on.

-Developing “an understanding of relationships between ar-chitecture and air” through interrogation of design proposal as physical models.

-Developing “the ability to make a case for proposals” by en-gaging with the controversies and contradiction of contempo-rary architectural discourse on digital architectural design.

III.2. Learning progess-Week 1: Develop Case for Innovation /Modelling in Rhino.Select one personal and two state of the art projects and explain how they are (could be) advancing architectural dis-course.

-Week 2: Develop Case for Innovation /Parametric Design in Grasshopper.Using suggested readings and independent research present the unique innovations presented by contemporary computa-tional design techniques.

-Week 3: Develop Case for Innovation /Geometry, Data Types, Parameters and Objects.Select one project that expresses contemporary scripting/programming cultures and defend/critique the author’s design philosophy.

-Week 4: CUT/DEVELOPUsing the CUT definitions provided produce a matrix of com-binations. Each parametric model in the matrix should use a different combination of definitions for the Input, the Technique, and the Output.

-Week 5: CUT/DEVELOPMaking reference to a chosen case-study project, combine two or more of the provided definitions to produce an intended ar-chitectural effect: texture, layering, gradients, repetition, over-lap, camouflage, depth, speed... Consider and explain how this effect will change with time.

-Week 6: CUT/DEVELOPConstruct a physical model making reference to case study projects and provided CUT definitions. Materialise the most interesting explorations as detail models anticipating the use of standard-size material elements. Explore texture, materiality, light, atmosphere, distortion, overlay, etc. Document the models’ performance under designed condi-tions (stretching, bending, sagging, dissolving, growing, chang-es in lighting, shifting perspective, etc.) using time lapse/stop motion photography techniques.

-Week 7: CUT/FABRICATEPrepare and rehearse a clear verbal presentation that explains the Expression of Interest panels. -Week 8: CUT/FABRICATEChoose the direction for the design proposal. Consider how a single technique derived from individual research and provided definitions could support your proposal, and how this tech-nique could be extended to produce a structure incorporating a complex tectonic system.

-Week 9: Gateway ProjectProduce vector drawings of the evolution of construction detail and design.

-Week 10: Gateway ProjectProduce physical model

-Week 11: Gateway ProjectPrepare for presentaion, 2 x A1 panels.

-Week 12: Final presentation

III.3. Learning outcome

III.4. Future work

Even though the guidline said 6 hours of independent working time for each person, however 6 hours is apparently not enough. There is no doubt that parametric design technology is attrac-tive, but it is not easy to learn.

I barely knew anything about the parametric techniques before this semester, but through the practise and rigorous commitment to the assigned tasks, I started become a bit more clear of what am I doing with grasshopper and what I can do with parametric techniques.

The group work is very good, that provide us an opportuni-ties and challenge to work with other people, as architecture is always a group work, no one can handle the entire process by himself.

3dsMax was my favourite and most familiar software to gener-ate the digital model, it is very good for interior design. However I was always trying to create dynamic building, but it is very hard to create curvilinear form with 3dsMax.

As this semester engaging me with the parametric modeling (rhino and grasshopper), I just realise that creating a dynamic shape and complex facade is not that hard. I will continueing develop my grasshopper skills in the future, and use rhino as my major 3D-modeling software.

Reference:

- Richard Williams, ‘Architecture and Visual Culture’, in Explor-ing Visual Culture : Definitions, Concepts,Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh Uni-versity Press, 2005), pp. 102 - 16.

- Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture(Chichester: J. Wiley, 2011), pp. 1 - 28.

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

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

- Mark Burry, ‘Scripting Cultures’, in Scripting Cultures : Architec-tural Design and Programming (J. Wiley,2011), pp. 8 - 71.

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

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THANKS FOR TEACHING: STANISLAV ROUDAVSKI GWYLLIM JAHN ANDY YU