ADS Journal Week 8

MYKEL HAMER 501423

STUDIO: AIRJOURNAL

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STUDIO: AIRJOURNAL

TABLE OF CONTENTSJOURNAL PARAMETERS

PART 1: EXPRESSION OF INTEREST

1.1.0 // CASE FOR INNOVATION 1.1.1 // Architecture as a Discourse 1.1.2 // Computing in Architecture 1.1.3 // Parametric Modelling 1.1.4 // Case study Conclusion

1.2.0 // RESEARCH PROJECT: CUT 1.2.1 // Observations & Design Drivers 1.2.2 // Scope of Possibilities 1.2.2.1 // Definition Matrix 1.2.2.2 // Reverse Engineered Case Study 1.2.2.3 // Material Effects 1.2.2.4 // Assembly Methods 1.2.3 // Research Conclusion

1.3.0 // EOI CONCLUSION: COMPETITIVE ADVANTAGE

1.4.0 // LEARNING OBJECTIVES AND OUTCOMES: INTERIM

PART 2: PROJECT PROPOSAL

PART 3: LEARNING OBJECTIVES & OUTCOMES

PART 4: REFERENCES

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PART ONE:EXPRESSION OF INTEREST

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CASE FOR INNOVATION:ARCHITECTURE AS A DISCOURSE

STUDY ONE: VIRTUAL ENVIRONMENTS // MORPHEMELBOURNE UNIVERSITY // MYKEL HAMERThe Headspace Project, completed as part of the Virtual Environments subject at the University of Melbourne in 2010, required a re-thinking of what we consider as ‘Architecture’ in that the goal was not to design a conventional building, but was instead focussed on designing a structure well suited to a new kind of topography - the designer’s head.

Models of the design were made out of clay, then covered in reference points - these were then used as reference in order to plot the form itself into 3D rendering software, providing a digitized version of the design. In a major departure from the norm, orthogonal drawings of the design were only produced -after- the finalization and completion of the three-dimensional digital model itself, and thus served only as references after the fact, rather than integral drawings that further inform the design process as they usually would.

This unique approach of designing more or less from the top down and purely in three dimensions led to a variety of new and unforeseen challenges in the fabrication process, but also allowed unprecedented flexibility in regards to design alteration at the later stages of the design process. More importantly, this approach allowed context to play a constant and easily referenced part of designing the headpiece.

The design was altered several times, but each revision was assessed by placing it on a three-dimensional model of a human head - in this case, the site and surrounding environment - and seeing how it performed and communicated in relation to this context. Following from this, a final design was achieved that not only made its own statement, but integrated smoothly and pleasantly with the site itself as intended.

Initial inspection reveals that this kind of approach could be supremely beneficial for the Wyndham Gateway Project, as the proposed site of the design is an area both filled with an abundance of natural elements as well as bordering a large suburban development. Any projects built here should reference this contradictory environment - the wealth of flora and fauna is a source of pride to the local area as well as an important part of the overall regional ecosystem as a whole, but the needs and wants of the large urban hub also present should not be underestimated or forsaken. Such a holistic approach should serve to benefit all stakeholders as well as the local community, and consistent effort should be made to approach the design process with these factors in mind at all stages and revisions.

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WEEK01

Constructed in 1972, the Nagakin Capsule Tower is an example of truly progressive and innovative design - the tower is composed of a number of ‘capsules’ measuring 2.3m x 3.8m x 2.1m ‘plugged into’ a central concrete access shaft. These capsules were designed to comfortably accommodate single businessmen, are replaceable, and can be at-tached to the shaft with differing orientations in as per the resident’s desires. The capsules are also designed to be capable of being joined together to form larger living spaces (Ouroussoff, 2009).

This design is perhaps the most famous example of ‘metabolist architecture’- a movement begun in Japan in the 1950s that aimed to harness cutting edge technology in order to create structures or cities that were flexible and/or expandable in application and scope (Ouroussoff, 2009) - and defies generally accepted ideas of buildings as an im-mutable, colossal ‘box’ that does not change - or even need to change - once constructed. The possibilities presented by this flexibility broaden the scope available to architects, and force one to rethink their preconceived ideas of what is possible when designing a built environment.

This is a structure that is capable of being what the designer or tenants want it do be, evolving and changing over time - and this coupled with its modular nature is what makes it a worthy exploration in regards to the Wyndham Gateway Project. The architecture critic Nikolai Ourrossof referred to this building as “gorgeous architecture; like all great buildings, it is the crystallization of a far-reaching cultural ideal. Its existence also stands as a powerful reminder of paths not taken, of the possibility of worlds shaped by different sets of values”. (Ouroussoff, 2009). This best sums up the appeal of it’s design - the Wyndham Gateway Project could be the one to take these untrodden paths, and help shape future considerations of design as well as perception of the city itself.

The malleability of the design is the key feature which was identified as being applicable to the Wyndham Gateway Project, though not in an entirely literal sense. The ability of users to directly manipulate and control the form of a structure much greater than the portion they had ownership of was an intriguing facet of the design that warranted further investigtion. The inclusion of user participation was seen as an innovative and unque benefit that is often not considered in projects akin to the gateway project - these are often seen as purely monumental or decorative - and an approach which defied this convention could not only greatly benefit the strength of the design itself, but also ensure a strong linke between users, locals and the Wyndham area itself.

This aspiration fuelled the direction fo further case study investigations, as will be seen in the following entries.

STUDY TWO: NAGAKIN CAPSULE TOWERTOKYO, JAPAN // KISHO KUROKAWA

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STUDY THREE: THE DANCING HOUSEPRAGUE, CZECH REPUBLIC // FRANK GEHRY & VLADO MILUNIC

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The Dancing House - Commonly referred to as ‘Fred & Ginger’ as it was designed to evoke the image of Fred Astair and Ginger Rogers intertwined in dance - was a controversial design during it’s construction, as it contrasts starkly with the surrounding Neo-Renaissance, Gothic and baroque designs. The project received huge support from the then-president of the Czech Republic, Vaclav Havel, whose house was on the adjacent lot. Havel envisioned the final purpose of the structure as a grand ‘cultural centre’, as well as a statement declaring the changing nature of the republic itself as it broke free from communist rule and began to forge a new path. The generally conservative Czechs were at first uncomfortable with this intrusion, but have grown to accept it since it’s completion in 1996 (Muller, 2012).

This design is an example of deconstructivist architecture, the most famous examples of which are generally also designed by Gehry himself. The odd, curved shape of the structure required 99 concrete panels, each with unique shape and dimensions, and the technical aspects of the design’s stability could not have been resolved without reliance on computer software. In this regard, the Dancing House pushes against the limits of what was formerly considered standard architectural discourse by taking a curved outer shell - traditionally a design feature that generated wasted space and resources - and integrating it so wholly into the design that it does not impede the function or use of the structure (Muller, 2012).

This curved form creates a unique aesthetic, wherein the order of the stately buildings surrounding it is sharply broken, but at the same time the Dancing House reacts wth and integrates between these forms and the surrounding area in order to become an unusual but coherent part of the streetscape. A result of this is an apparent fracture from the prevalent aesthetic of a standard Prague street when viewing the design from nearby, but a respectful continuation and celebration of it’s surroundings when viewed from a farther distance. The house itself becomes an active participant in the city, rather than a monolithic passive component, tying together the classical architecture with the lives and activities of the contemporary population as they go about their daily business.

It is this integration and participation by the building that serves as one of its greatest strengths, highlighting the Dancing House as a forward-thinking and progressive approach to revitalising an ageing and somewhat stale city street, and helping carry the historically rich Prague into the 21st century.

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CASE FOR INNOVATION:COMPUTING IN ARCHITECTURE

INNOVATION ONE: QUEEN ELIZABETH II GREAT COURTWEIMAR, GERMANY // LONDON, UNITED KINGDOM // FOSTER & PARTNERSThe Queen Elizabeth II Great court occupies a space in the center of the British Museum in London, a space that contained the British Library until it’s relocation in 1997 (Stonehouse, 2007). Due to the presence of an external body within the courtyard, this area was more or less ‘lost space’ to the museum, and the possibility of reclaiming and using it was approached with great enthusiasm (Brtish Museum, 2012). The brief for redesigning this area and integrating it into the overall museum demanded three key features: revealing hidden spaces, revising old spaces, and creating new spaces (British Museum, 2012)

These ambition were realised by Foster & Partners in their winning design, which most importantly integrated the courtyard into the overall museum as an interstitial space between diferent areas and exhibitions - this in tself opened or revealed a space that had previously been hidden from the public as well as provoding access to new exhibition spaces that had previously been inaccessible. The revision of old spaces was realised through the installation of several new educational facilities in additin to the courtyard itself - the element of most interest in this case study for a variety of reasons (British Museum, 2012).

The courtyard is an enormous open space, used primarily for transition betwen different exhibitions, and the design ensures that this movement is not a sterile or dull experience by enclosing the area below a colossal dome-like sky light, comprised of over one and a half thousand uniquely shaped pairs of window panes. This ceiling transforms an enclosed area in a massive stone building into a well lit space wherein one feels extreme freedom due to the amount of open space and exposure to natural daylight. The scale of the ceiling also transforms the courtyard into an interactive space, where one can watch the changing weather above, or move through a space of constantly changing light amounts and quality as it does so.

As in prior case studies, this design exhibits the hallmarks of an interactive and participatory experience which not only happens before users but also includes them. This distinction takes what could have been a very sterile or oppressive space, and re-imagines it as a constantly moving phenomenon that the user is very much a part of and can connect with. Such an effect would be extremely beneficial to the proposed gteway project - not only by generating a more intriguing design, but also by including users in it’s composition, strengthening the bonds they feel with it.

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WEEK02

The Dragon Skin Pavilion was designed and created by students of three different universities in Finland, who were working under sponsorship of the producers of ‘post-formable plywood’ - a relatively new form of plywood that can be heated and moulded after being produced and cut.

The pieces that the pavilion is composed of are flat plywood squares of identical dimensions, which then have slots cut into them at points dictated by the overall design reached using algorithmic input together with computer software. These pieces are then pressed into a curved mould to create their dome-like shape, and slotted together to from the pavilion itself (EDGE, 2011).

This pavilion serves as a very strong example of how relatively simple elements - panels of plywood - can be used to create incredibly complex and intricate forms through the use of algorithmic input and three-dimensional design software. A further lesson to be learned is the potential of modular construction - as with the Queen Elizabeth II Great Court, the calculative power of algorithm-based design software allows such complex designs to be divided easily into modular components, ready for construction. The modular nature of the pieces that the design is composed of allows for far cheaper and simpler logistic arrangements during the construction process and the use of modules combined with the precision of the design software used ensures less waste and a far more sustainable outcome (EDGE, 2011).The most marked innovation of this design, however, is it’s flexibility in application - the abundance of suitable modules in conjunction with the in-situ shaping process of these allows an unprecedented variety of outcomes using the same base components. The overall shape of the pavilion itself can be altered in its digital form with a minimum of labour, and then the physical pieces it is comprised of can be shaped to suit the new design according to this data. As a result of this, the pavilion can be built to complement or suit any environment in which it is placed, becoming a cohesive part of the site rather than an externally designed structure placed upon it - and at a negligible of cost to the designer or any stakeholders.

Again, this ‘cohesiveness’ of the design was seen as a great boon, and a feature that could be used to great effect in designing a gateway project for Wyndham City.

INNOVATION TWO: DRAGON SKIN PAVILIONTAMPERE, FINLAND // TAMPERE UNIVERSITY OF TECHNOLOGY

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CASE FOR INNOVATION:PARAMETRIC DESIGN

EMBRACING LIMITATION: POLYMORPHICNEW YORK, USA // COLUMBIA UNIVERSITYPolymorphic is an interactive bench designed by ten architecture students at the University of Columbia; the goal of this design was an intention to push the limits and illustrate the potential of computational design in regards not only to architecture, but design itself as an overall concept. Composed of a single continuous form or body, the design defies conventional perception of what a bench is or should be capable of; intended to recall the kinetic motion of a seesaw and the reverberating motion of a slinky, it can be shaped our moulded to suit the needs of the user - be it to improve comfort, better utilise or fit within a designated space, or create a more pleasant aesthetic (Able et al., 2012).

Parametric design was used to both subvert and embrace the conditions of the design brief for the project in several ways; used in conjunction with the design philosophy of it’s creators, this highlights Polymorphic as a very strong example of the advantages and future possibilities of scripted design methods (Able et al., 2012).

The division of the overall form into 928 individual pieces that together realized to the design intent was handled solely by the Grasshopper software, as was the labelling of these pieces as well as the production of the joints that connect them - the superior calculative power computers have over human minds helped to quickly reduce a mortifying number of variables and potential results into a single set that allowed production to commence much faster than would historically have been possible for such an intricate design. In addition, the brief specified a limit of $1000 for expenses related to production - in order to comply to this, scripting software was used to dictate the arrangement of the pieces to be cut from the plywood sheets used for the design. The calculative power and holistic consideration of the software allowed optimal arrangement of these pieces, allowing the final product to be cut form only 28 plywood sheets which were used at over 90% efficiency. While these are undoubtedly notable advantages of the adopted design process, the more unconventional and surprising advantages are found in the more obtuse features of the design.

The flexibility of the overall form and shape that comprises the design allows it to adhere to the size specifications of the brief, while still being capable of stretching and compressing to take up a larger areas - this exhibits how computers can be used not only to efficiently adhere to brief specifications, but also to extend our perceptions of how these restrictions can affect or indeed be affected by a design. In addition to this, the design subverts the standard view that a bench is simply a level surface for sitting on by being capable of being moulded to the desired shape; this flexibility was only made possible through the increased time frame for experimentation enabled by parametric design coupled with the ability to test and adjust designs instantly in a virtual environment rather than needing to construct iterative prototypes for this purpose (Able et al., 2012).

Overall, scripting was used even more heavily in the production of the design than in the designing itself - this is a factor often overlooked when one envisions parametric or computational design as a process, however it is also a predominant factor in the efficient use of resources and potentially massive reductions in production costs. Polymorphic illustrates that the application of these design techniques themselves is as flexible as the goals or incentives that drive the design itself, and very firmly grounds parametric design as a method of achieving efficient and effective intricate designs in a measurable and interactive sense as well as a purely aesthetic one.

In studying this project, one cannot help but feel enthusiastic about the possibilities that parametric design presents - the flexibility and ability to adjust a design immediately in real-time cuts back greatly on production time, allowing more time than ever for design and experimentation in pursuit of the best possible outcome. The additional ability to use scripting to maximise production efficiency and reduce errors means that designs can be produced with far less risk and potentially greater rewards than ever before.

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WEEK03

CASE STUDY CONCLUSION:WHAT IT ALL MEANS

THE WYNDHAM GATEWAY PROJECTWYNDHAM, AUSTRALIA // FORGING A NEW PATHThe case studies examined thus far have all shared one key strength, regardless of their form, environment or application - this is their participatory nature in reaction to their surroundings or users. Each of them has not only imposed itself upon its surroundings, but has also become an active part of them, either by incorporating the surrounding environment or by encouraging active use by people in the area.

This capability of the designs would be of enormous benefit to the Wyndham Gateway Project - the site for this design is a busy stretch of freeway situated on the border between suburbia and open grassland, and utilizing these features of the site in order to emphasize the transition between them as well as reference these assets of the Wyndham area would result in a stronger design that satisfied all stakeholders and users of the project.

Furthermore, the participatory nature of the prior designs was again seen as an important feature that could be incorporated into the Gateway Project - users will be passing the site at high speed, and as a result of this the time in which they can examine any installations present will be fleeting. If the design can be converted from a monument to a literal experience, something the user need not focus on or examine to benefit from, it will result in a much stronger outcome that satisfies all aspects fo the brief while leaving a marked impression on those who experience ii.

With these observations and desired outcomes in mind, the design process was undertaken to realize them. The importance of these goals was retained as a major component or driver for the design at every step of its development, and they were constantly referred to in order to ensure their presence during this process, as detailed on the following pages. This constant reference to and linking with the brief objectives is what gives the final design its contextual strenght, making it an ideal solution for the Gateway Project’s realization.

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RESEARCH PROJECT: CUTOBSERVATIONS & DESIGN DRIVERS

WYNDHAM CITY AND SITE VISIT:WHAT NEEDS TO BE SAID, AND WHO NEEDS TO HEAR IT

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A site visit and independent research led to the discovery of a variety of design features that were considered an essential part of any final design for this project.

In reference to the brief and it’s statement that “The Gateway Design concept should consider the scale and impact of the proposed installation within a very flat and wide open landscape. Also of consideration is the high speed movement of traffic along the Princes Freeway and the large and imposing serve centre and signage”, it was decided that the design must be of sufficient scale to create an experience for the user, rather than being a stationary monumentl object. Furthermore, after assessing the proximity and integration of the site and yndham as a whole with the natural environment it was ecided that any installatio should integrate to become a part of the site, rather than an imposition placed upon it.

In pursuit of this, inspiration was found in the camouflage techniques employed by the local wildlife - including those at the neary Werribee Open Range Zoo.

Another key aim of the brief was the statement that “It should aim to be accessible to a wide public and should explore place-making aspects and qualities”. In order to adhere to this, some local residents were interviewed and asked what made them think of Wyndham. The overwhelmingly most popular replies to this question were: Home, Nature, Urban Sprawl, and the local bird life and wetlands. These concepts will be kept in mind during the design process and integrated into the final form in order to best communicat with the local populace - the people who will spend the most time with and around this installation.

In summary, the key features of importance were deemed to be: - The design must be an experience, not an object. - The design must communicate it’s purpose in a fasion understandable to the populace - The design must account for rapid movement through or past it

These drivers will be retained and referred to throughout the design process, to ensure the design’s message and it’s strong link to Wyndham is not lost.

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RESEARCH PROJECT: CUTSCOPE OF POSSIBILITIES

DEFINITION MATRIX:GRASSHOPPER // EXPERIMENTATIONThe matrix on the following pages is a sample selection of initial forays into experimenting with Grasshopper in order to realize a variety of design outcomes. Initial experimentation with an image sampler quickly illustrated the notable yet flexible effect the application of a reference image can have on a patterned design, and so focus was placed on other approaches in order to achieve the maximum potential outcomes in the timeframe given.

Particular attention was given to the use of an attractor point in conjunction with a variety of effects, as illustrated. This associative technique is capable of having markedly different effects on the applied geometry, from the modification of pattern density, to the transformation of said geometry or even the apparent ‘curling’ of the entire underlying form as illustrated below in conjunction with a data driven rotation component.

While these experiments were largely ‘blind trials’ performed by an as-yet largely uninformed approach, At this stage, the design process was more similar to Kalay’s ‘puzzle-making’ that true ‘problem-solving’, as he stated ‘the overall design process neccessarily oscillates between these two’ (Kalay, 2004) - the fruits of these studies were plentiful and very useful in developing a further refined and focussed design for the Herzog and De Meuron re-engineering study and development of a final design for the Wyndham Gateway Project, as detailed in the following pages of this journal. It was durin this portion of investigation and experimentation that a method more akin to ‘problem solving’ was employed.

Image Sampler

Jitter

GIRAFFE FURRECTANGLE

U: 33 V: 33

SOURCE IMAGE:GEOMETRY:

DENSITY:

UNITS ARE MORE VAGUELY APPLIED TO GRID FROM PRIOR DEFINITIONS

CIRCLE0.0

CIRCLE4.0

RECTANGLE10.0

RANDOM30.0

FORM GRADUALLY ‘CURLS’ UPON ITSELF

GEOMETRY:ROTATION FACTOR:




SIN(X)*Y U: 33V: 33

SIN(X)*TU: 60V: 60

SIN(X)*YTTFT

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CURVE AFFECTS SCALING OF UNITS

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Attractor, Surface Normal & Data Driven Rotation

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Attractor Point

CIRCLEU: 33 V: 33

Boolean Pattern

Curve Intersections

Explicit Grid (Hex Grid)

Scaled Components Increased Density Alternative Geometry Randomzed Geometry

Applied to Surface Normal

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WEEK04

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REVERSE ENGINEERED CASE STUDY: DE YOUNG MUSEUMSAN FRANCISCO, USA // HERZOG & DE MEURONIn examining a series of case studies, it was felt that the De Young Museum facade designed by Herzog & De Meuron really exemplified all that could be achieved by approaching the Wyndham Gateway Project in a similar regard - the museum facade is designed to reflect and integrate the surrounding greenery in order to become a cohesive part of its surrounding environment, and this ambition could well serve the gateway project as well.

In order to achieve this effect, the patterning of the De Young facade was driven by the application of very specific data - the local flora from the area surrounding the museum. An image of nearby trees was applied in very much the same manner as the image sampler experiments on the previous page, and holes were punched into the facade in accordingly, with their radius dictated by the colour intensity of the image used. These holes allowed the passage of natural light through the facade, creating an effect similar to being under the shade of trees themselves as can be seen in the images opposite (Pell, 2010).

In addition to these perforations, the facade was further altered by the organized embossing and debossing of it’s surface - these ‘dimples’ are regular in size in formation, however the direction of their extrusion is again based on information fed from a similar image sampler function. These two surface treatments are used in conjunction to instill the feeling of being among foliage by using light and shadow to generate a similar atmosphere, and consequently make the museum an integrated part of it’s environment instead of an isolated structure imposed upon it (Killory, 2008).

The Wyndham area is the frontier between bustling suburbia and vast stretches of farm and bushland, all of which is linked by the Werribee river - this apparent contradiction and the juxtaposition of two radically different environments is not only an intriguing occurrence, but also a source of pride for the local area. The gateway project itself is set to be placed in an area that very clearly illustrates this transition, on the outermost Western edge of Werribee, leaving a site that almost begs to be employed in order to highlight and celebrate the rich local assets from both ends of the spectrum. It was decided early on that a similar approach to that taken by Herzog & De Meuron would benefit the area greatly, and highlight this interplay.

In order to replicate this desired effect, the experimental definitions from the previous matrix were re-employed and extended to better explore and work toward this specific outcome, as detailed by the matrices on the following pages.


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REVERSE ENGINEERED CASE STUDY: DE YOUNG MUSEUMDEFINITION MATRIXThe matrix opposite shows the key steps taken in attempting to reverse-engineer the facade design. Ultimaely, a design was achieved that resembled the De Young musem’s patterning and camouflage based of indivudually gathered images for use in th sampler.

The design as it stands wil create a very similar effect to that of the museum, in simulating the user’s passage underneath the canopy of a foest or through foliage. In order to realize an appropriate and engaging design for the Wyndham Gateway site, these basic properties will be retained and used, but further investigation will be taken in order to extend what can be achieved using these methods and strenghtening their relatinship with the site itself.

The first step in extending these experiments was to build a physical model of this final definition so that the effect of light and motion on it’s face and surroundings could be observed. These tests can be found on the following pages.

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Shape

CURVES ALIGNED TO GUIDE CURVE

AS PER IMAGE SAMPLER

SURFACE NORMALPIXEL DATA

EXTRUDE

GEOMETRY APPLIED VIA IMAGE SAMPLER

LOFTING GEOMETRYTO DIFFERING

RADII

Emboss and Deboss

EXTRUSION OF GEOMETRY VIA

IMAGE SAMPLER

CHANGE OF GEOMETRY TORECTANGLES

// HEIGHT AND DEPTH DICTATED BY PIXEL DATA

EXTRUSION OFGEOMETRY FROM

LEVEL PLANE// HEIGHT DICTATED BY IMAGE DATA

GEOMETRY EXTRUSION

DICTATED BY IMAGE SAMPLER // DARK = POSITVE SHIFT, LIGHT = NEGATIVE

Final Recreated Design

EMBOSSING / DEBOSSING APPLIED PER IMAGE SAMPLER PERFORATIONS CUT PER IMAGE SAMPLER

The following pages detail the various physical manifestations of inital experimental CUT designs - the production of which was initially apparent as quite an obstacle. Cutting, perforating or adding to a surface are techniques well-explored by most who find themselves regularly constructing models or prototypes for architectural explorations, and thus the initial layer of perforations was applied with little trouble,

Embossing a surface, however, is a more uncommon goal. It was decided than thin sheets of metal were best suited for this application at a small scale due to their malleability and flexibility. The dimples themselves were applied by drilling shallow hemispherical notches in a wooden board in accordance with the pattern produced by image sampler output, upon which the working surface was placed. A dowel was used to impress the surface into these indentations, and the was repeated for each side with the impression pattern changed accordingly to achiev the desired effect.

The movement of light behind this surface produced the desired effect of dappled light emerging from amongst foliage, and thus was considered an appropriate avenue for further exploration. This subtlety in the filtering of light made for a camouflaged and indinstinct effect, which would be invaluable in the stated intention of integrating the design into the surrounding environment as much as possible.

In addition to flat test panels, additional models were produced to test in conjunction with their effects. The first model was a spin-like structure made of flat panes, producing it’s own shadow as well as creating an interesting interplay with the De Young panels. While intriguing, the effects of this model were considered somewhat harsh - this, in addition to it’s stark form, led to the conclusion that such a form would not be suitable in achieving the desired effect from a final design.

As an aid to further exploration, the effect formerly applied to flat panels was the aplied to a structure comprised of a string of vaguely spherical structures, as shown. This experiment disappointingly lessened the interplay of light through the apertures on these panels, and also made the underlying order behind the punctures and dimples seem far more rigid and less organic. Due to the disappointing results of these further experiments, it was decided to return to the original re-engineered design, and investigate hoe to push this further in order to make it applicable for a final three dimensional form whilst still retaiing the qualities that were desired from it - the interpla of light on the design and it’s surroundings, as well as integration with the surrounding area.

The generation of this design quite stolidly followed Kalay’s proporsed design generation methods, that that “The additional information needed to complete the goals statement must either be invented as part of the search for the solution or adapted from generalized precedents metaphors or symbols” (Kalay, 2004). This design process began with such a search for environmental integration, inspiration was found in the De Young precedent, and then this was extended symbolically and metaphorically as will be detailed.

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MATERIAL EFFECTSTESTING THE PRELIMINARY DESIGN


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WEEK06

ASSEMBLY METHODSPUTTING IT TOGETHER

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Following the prior design outcomes, the experiments in form were discarded as feedback decreed they were an unsuitable solution, and a renewed focus was placed on refining and extending the surface patterning created in order to better suit the site and express the desired emotion and experience.

In order to achieve this, the perforations and dimples were more or less integrated into a single unit which comprised a more ephemeral and transient surface that would better camouflage and integrate with the site as desired. The fruits of this further investigation are shown below and opposite.

Testing the new panel design by building a model showed that the new, streamlined design still communicated the dappled light effect that was sought from the beginning, but also made for a more dynamic and intriguing outer surface, less rigid or planar in appearance. The increased perforation to surface ratio of this design also allowed a more marked effect of light interplay, which was felt to be an important modification due to the high speed at which cars would pass any installation.

INTEGRATED PEFORATIONS AND DIMPLESAPPLIED TO FLAT PLANE

NEW SURFACE TREATMENTAPPLIED TO SURFACE NORMAL

Extended Surface Perforation Design

RESEARCH PROJECT CONCLUSION:SUMMARY TEXT

SUBHEADINGMORE MOTTO

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UNDER DEVELOPMENT

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WEEK07

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AN INNOVATIVE APPROACHMORE THAN JUST A MONUMENT

EOI: CONCLUSIONCOMPETITIVE ADVANTAGE

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HARNESSING THE GRASSHOPPERTAMING THE RHINO

LEARNING OBJECTIVES AND OUTCOMEINTERIM

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PART TWO:PROJECT PROPOSAL

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PART THREE:LEARNING OBJECTIVES & OUTCOMES

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PART THREE:LEARNING OBJECTIVES & OUTCOMES

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PART FOUR:REFERENCES

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Charlie Able et al., ‘Polymorphic Bench’, The Polymorphic Youth, <http://www.polymorphicyouth.com>, [accessed on 15 March 2012]

British Museum, ‘Great Court’, The British Museum, < http://www.britishmuseum.org/about_us/the_museums_sto-ry/great_court.aspx>, [accessed on 2 March 2012].

EDGE Laboratory, ‘Dragon Skin Pavilion Press Pack’, Laboratory for Explorative Architecture and Design < http://l-e-a-d.pro/w/wp-content/uploads/2012/02/DragonSkinPavilion-PressPack.pdf>, [accessed on 2 March, 2012].

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

Christine Killory, and René Davids, ‘De Young Muesum’, in Detail in Process. 1st edn, Asbuilt (New York: Princeton Architectural Press, 2008), pp. 100 - 111

Martin Muller, ‘Dancing House in Prague – Ginger and Fred’, Prague.cz, <http://www.prague.cz/dancing-house/>, [accessed 2 March 2012]

Nicolai Ouroussoff, ‘Architecture: Future Vision Banished to the Past’, in The New York Times, July 6 (2009) < http://www.nytimes.com/2009/07/07/arts/design/07capsule.html?_r=1> [accessed 2 March 2012]

Ben Pell, ‘De Young Muesum’, in The Articulate Surface: Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 74 - 79

Roger Stonehouse, Colin St John Wilson: Buildings and Projects. [London: Black Dog Publishing, 2007] p455.

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

ADS Journal Week 8

Documents

Transcript of ADS Journal Week 8