Air Studio Journal

AIRSTUDIO

Victor Eric Goh | 2013

JOURNAL

ARCHITECTURE DESIGN STUDIO AIR

JOURNAL

Victor Eric Goh 2013

Highly appreciated the great support given by my tutors, Daniel & Kirilly.

Introduction

Part A. Case for Innovation

A.1. Architecture as a DiscourseA.2. Computational ArchitectureA.3. Parametric ModellingA.4. Algorithmic ExplorationsA.5. ConclusionA.6. Learning outcomesNotes

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Part B. Design Approach

B.1. Design FocusB.2. Case Study 1.0B.3. Case Study 2.0B.4. Technique: DevelopmentB.5. Technique: PrototypesB.6. Technique ProposalB.7. Learning Objectives and OutcomesNotes

Part C. Project Proposal

C.1. Gateway Project: Design ConceptC.2. Gateway Project: Tectonic ElementsC.3. Gateway Project: Final ModelC.4. Algorithmic SketchesC.5. Learning Objectives and OutcomesNotes

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Ta b l e o f C O N T E N T S

I N T R O D U C T I O N

INTRODUCTION

Hi,

My name is Victor Eric Goh and I am currently 21 years old, doing Bachelor of Environments degree major in Architecture in Melbourne University. I came from Malaysia and I would think it is relatively useful for me to have knowledge about various types of design scheme, and hence applying them in my future contribution to this developing country.

All along my journey in this course, I have experienced working with programs such as Rhino, AutoCAD and Sketchup. They all have different approach in designing procedures as well as design outcomes. I would say AutoCAD and Sketchup provide different methods as compared to Rhino that has more functions on developing organic shapes. However, the most outstanding advantage for Rhino, as experienced personally in Virtual Environments subject, is that it enables digital model unfolding which I think is a very useful method to produce a physical model in reality.

Grasshopper is known as an add-on parametric design program for Rhino. Hence by combining all the functions together, I am pretty sure that this design studio air will be a good opportunity for me to broaden my digital designing skill, as well as parametric architectural design experiences.

6 Introduction

This is the design of my first experience in utilizing Rhino tools. Having an initial concept of ‘rusting object’ in mind, and its desirable shape, Rhino helps me to generate different ideas for presenting the ‘rusting’ characteristics. I personally feel that rust is unwanted substance and it might bring danger to humans. So at the final stage, with the aid of Rhino tools, I have chosen a series of pointy thorns to engage with my audience regarding the awareness of rusting harm.

Previous Work

7Image 1: 2011 S2 Virtual Environments Project Introduction

C A S E F O RI N N O V A T I O N

P A R T A . E O I 1

INNOVATION in architecture

From my personal understanding, architecture is somewhat a type of art that is exposed through construction of building. It is unable to tell when exactly did architecture start, probably it is present when the first time humans built anything to live in. Hence, I will suggest that a wickiup or grass hut can be architecture. A clearer definition of it merely came out after the old Greek and Roman architecture appeared in the world society.

In order for us to have a thorough discussion on architecture, the first and most essential thing is to understand its basic definition. Nikolaus Pevsner said, ‘nearly everything that encloses space on a scale sufficient for a human being to move in is a building; the term architecture applies only to buildings designed with a view to aesthetic appeal’.1 Yet, according to the Australian Institute of Architects, architecture in a way influences how the built environment is arranged, designed, constructed, utilized and maintained. It brings together the stimuli of arts, environmental knowledge, sciences and technology.2

In addition, apart from having an exceptional emergence, I think the surrounding factors, desirable functions as well as social and political issues are inevitable consideration to be assimilated with architecture in order to ensure the building to appear distinctively compared to the others.

10 A.1 Architecture as a Discourse

FEDERATION SQUARELab & Bates Smart | 2002 | Australia

This magnificent building, the Federation Square of Melbourne, Australia is built in year 2002 in conjunction with the centenary celebration of Australian federation. Apart from being a whole new outstanding landmark for the city, Federation Square is also a symbol to represent the variety of diverse population present on the continent.3

In this project, Lab Architecture Studio in collaboration with Bates Smart decided to incorporate the concept of pluralism in their design. This can effectively exhibit the traits of diversity through a prominent statement of Robert Venturi, the “complexity and contradiction”.4 To be frank, it is also the conflicting surface geometries and oppositional aesthetics that attracted my interest to have it as one of my favorite structure. Also, this building further develops the impressions of American Postmodernism towards extreme fragmentation.5

The operating purpose of this building is also plural as it includes the new Museum of Australian Art, digital cinemas, tourist offices, as well as some book and music stores. In current situation, the huge enclosed atrium majorly utilized as a civic piazza that provides the society a public space to congregate.

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Image 2: Federation Square

Image 3: Structure framework

A.1 Architecture as a Discourse

Image 4: External Facade Pattern

For an instance, the architecture of this building is not only based on the artistic appearance but also the social, cultural and political issues. The incorporation of these factors will ensure the building to be continuously practical and not being left out by the community.

In order to provide a place that really serves their purpose, the big varying range of temperatures in Melbourne has been taken into consideration for the design planning. Subsequently, there are different components from the structure framework that provides different functions. Cavity is present between inner hollow structure and outer skin in which serving as a solar chimney that enables insulation for atrium.

Image 5: Enclosed atrium

THE GRAND LOUVRE II. M. Pei | 1989 | France

An issue of congested traffic has been raised for the Louvre Museum in early 1980s. Apparently, the world famous architect, I.M. Pei has been approached personally by Mitterrand, the president, for the remodeling project and the main purpose for this is to accomplish a well-organized practical relation between the different buildings of the museum.

Pei initially felt a bit reluctant to accept the job because it is really tough to make any altering decision on this heritage site that is said to be important urban spaces not only of France, but also of the world. Later on, he came out with an idea of joining the different wings through an underground intervention.6 In order to succeed this, the Cour Napoleon, which is at that time serving as a public square, needs to be excavated and used as the main underground entrance built in the form of transparent glass pyramid.

However, this issue has raised the opposition of about 90% of the population of Paris as they claimed such architecture would greatly affect their initial culture and the expression of Museum.7 The community could not accept some modernist structures interrupting the heritage-looking museum. They criticized Pei for destroying the Cour Napoleon but in fact Pei solved a severe social problem as that area was being used as a refuge for drug addicts at night.8

12 A.1 Architecture as a Discourse

Image 6: The Grand Louvre I, France

Without worrying about the international disagreement and accusations, Mitterrand and Pei commenced the construction work almost secretly. Surprisingly, upon accomplishment, the project was glorified for his clarity, severity and functionality as well as creating a new symbol for Paris.

In this project, every particular part including the choice of shape and material does matter to the final result. Moving beyond the past architectural theory, Pei has chosen a pyramid to ensure maximum transparency when glazing is applied. Although these are categorized as modernist materials, the final result does show a well-blended design between the modern and the heritage. Since then, transparency has been theorized as a good method to combine traditional architecture with the modern ones and this has been adopted in other examples such as the extension of German historical Museum in Berlin as well as the General Post Office of Melbourne.

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Image 7: Spiral stair and interior

Image 8: Transparency of pyramid

A.1 Architecture as a Discourse

From previous chapter, taking Greek and Roman art as the forefront, architecture has obviously gone through a series of advancement like Renaissance, Baroque, Classicism and Art Nouveau architecture before achieving the contemporary architecture in today’s society. Such advancement is interdepending on various factors such as type of materials and improvement of technologies, as they play an important role in widening the potentials of architecture. Logically, I will think that the introduction of computers in design process is a major aspect that determines the design outcome of modern-day architects, here forth this chapter will particularly demonstrate the possibilities computers offer in architecture.

Computers are superb analytical engines that will never tire and never make any trivial arithmetical mistakes.9 These would be the main troughs of humans that withhold them from accomplishing higher efficiency in design process. However, for the involvement of computer, it is the coded programs within it that determine in what way architects can utilize computer. Consequently, it leads down to two main functions, which is computational-aided design (CAD) and computational design. The significant distinct between both is:

Computational-aided design (CAD) – the result CAD produces will never exceeds the information that has been initially provided, it is just a well-established computerized methods of geometric representations.10 (image 9)

Computational design – a repeatable mathematically defined process that utilizes some quantitative set of rules to allow variations to be created and assessed based on known and unknown constraints. (image 10)

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COMPUTATION as a medium

A.2 Computational Architecture

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Image 9: CAD production

Image 10: Computational design

Apart from these, computers also contribute a major role in any case- or rule-based design. As we know, such design is developed based on some references that have previously known as rational achievement in that particular design field. In some way, computers are able to keep track of all the constraints the design solution must achieve and hence grouping them into relevant issues, analyze and search for precedents, and lastly come out with proposal of sensible solutions.11 It brings huge enhancement to the convenience of precedents searching process and to a further step, computers can even help constructing the final building in designated form.

15A.2 Computational Architecture

Hence, as I personally realized, computational design can somehow become what an architect could do when he/she does not know what to proceed in design process. This can be the tool of inspiration and a way to broaden up his/her design possibilities.

GUANGZHOU OPERA HOUSEZaha hadid | 2010 | China

It is a clear observation that the architectural practice in society today quite depending on computational programs. However, designing is not an issue that only requires computation skills. Taking into discussion a precedent of Zaha Hadid, the Guangzhou Opera House built in 2010, this is the largest and most complex computer-generated designs among her projects.

The overall shape of the building is seen to be so complicated and organic, this is the case where architect will need to utilize computational programs. Without its precise calculations and analysis, I would think that this design is unachievable as architects can hardly figure out the meticulous angle between joints, especially for the steel-framed inner structure, and curvature of individual constructing geometries which in all providing the building with a smooth-flowing organic design.

In the design progress, this building was not created planimetrically, with ideas of front, back, and sides, instead it was modeled animatedly in 3D.12 This is the new technological based design that allows implementation documents, detailed and criteria design to be carried out once the concept of design is formed.13 A major advantage in this situation is the possible discrepancies and errors can be notified in an earlier stage rather than after the construction has commenced. This might affect the completion date of a project significantly.

Computational programs can never ever take over the role of an architect because such programs are unable to fulfill both the rational and creative abilities in designing.14 Therefore, here comes the importance of communication between humans and computers. In this project, Zaha Hadid has contributed her concepts of the fascinating interaction between architecture and nature; engaging with the principles of erosion, geology and topography.15 This resulting in a design form of what appear to be two enormous pebbles that might have been washed up on the shores of the Pearl river, on which Guangzhou stands.16

16 A.2 Computational Architecture

Image 11: Guangzhou Opera House

Image 12: Interior ceiling

Image 13: Interior facade

If architects can make use of the aptitudes of computers to the fullest while input great effort of their own inventiveness, it is not doubtful that an effective reciprocal design outcome is achievable.

ZAYED NATIONAL MUSEUMNorman Foster | 2010 | United Arab Emirates

Due to serious pollution and lack of natural resources issue, there is a new trend in present-day society that tries to move everything towards green and environmental friendly. Consequently, the recent architectural design has also been affected by such influence and whole lot of sustainability designs would be needed to incorporate into contemporary architecture.

The matters regarding to sustainability in a green building normally cover the efficiency of energy and water usage as well as the reduction of waste and environmental degradation. Thus, different components such as solar panels, integrated sunshades or proper planning of storm water collection are demanded. Generally seen from buildings such as the RMIT Swanston Academic Building designed by Lyons Architects and the Singapore Esplanade – Theatres on the Bay designed by DP Architects, these integrated mechanisms would appear in delegated form in which architects can hardly work out the application without the aid of computational design programs.

Image 14: Front exterior facade

17A.2 Computational Architecture

Taking the Zayed National Museum designed by Norman Foster as a specimen, it is a sustainable contemporary building designed in the form of traditional Arabic design.17 With a man-made, landscaped knoll as the base, there are five solar thermal towers on top that are designed in lightweight steel structures and sculpted aerodynamically like feathers of bird’s wing.18 The air vents on top of the wing-shaped towers act as thermal chimneys that direct cooling air currents naturally through the museum in which enabling the building to consume less energy in controlling the inner thermal condition.19

We can obviously notice the complexity of assembly for these individual panels, so it also demonstrates to what extent does computation contributes to balance the shortfalls of humans. Therefore, it is logical to say that computational design is the core to succeed sustainability innovation and hence leading architecture ahead into another milestone.

Image 16: Initial idea sketches

Image 17: Rear exterior facade

Image 15: Centre walking atrium

Parametric modelling is a very famous designing method among the circle of architects especially the younger generation because everyone thinks that is the direction our current architectural trend moving towards. However, what is actually defined by parametric modelling?

Apparently, parametric was initially founded in 1963 by Ivan Sutherland in his Sketchpad system.20 Parametric is initially defined as a mathematical formula that produces various outcomes when it is substituted by different values.21 Hence, applying the same theory in architecture, combined with the function of computer-aided design software, we can say parametric as an effective tool to easily perform alterations to the production because the final is modified gradually where relationship is formed between elements.

Every design method definitely comes with pros and cons. As parametric modelling is a bottom-up approach, which is assessing the potential issues of the design, and later on forming a set of resolutions to start the design. Comparatively, this might be more time consuming than the conventional method but consequently, this might lead to a more efficient construction that scheduled completion date could be achieved. Once the system is formed, unlimited possibilities of design outcomes can be rendered within a short period of time. Despite the enormous cost that is usually needed, parametric design could never be secondary in producing ‘blobby’, flowy or any other organic form structure.

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Image 18: Parametric Modelling Result

new LANGUAGE within architecture

A.3 Parametric Modelling

However, does parametricism really provide a good basis for architecture and designs to be perfectly practical and effective? The outcomes can be proven through some parametric projects discussed in the later part of chapter.

A very famous person in the field of parametric, Patrik Schumacher, has formed parametricism expression to describe the characteristics of parametric design. He wished this could be acknowledged as the final conclusion that sums up modernist ideas in the past 25 years, and this style would continue its contribution in improving the world through architecture and design. Schumacher explains:

“Parametricism aims to organize and articulate the increasing diversity and complexity of social institutions and life processes within the most advanced centre of post-Fordist network society.” 22

19A.3 Parametric Modelling

TAICHUNG METROPOLITAN OPERA HOUSEToyo Ito | 2013 | Taiwan

The world-famous architect, Toyo Ito, who has recently been announced as the recipient of 2013 Pritzker Architecture Prize, produces this project. In a whole, it has a very sight-catching design, with very complicated structural system that causes the project to merely get a suitable tender after the fifth bid. Due to long construction period needed for such complex structure, the building takes over 4 years to complete and scheduled to have its ribbon-cutting by the end of 2013. As a result, this building would contribute in making Taichung to be one of the most cultural cities in Taiwan, extricate itself from the other metropolises.23

Regarding to its parameters that makes it to be a parametric design, consideration has been made based on various constraints such as performance style, artistic expression, interior and exterior condition as well as the stage and auditorium which take up most of the space of the building.24 As Toyo Ito said,

“Architecture has to follow the diversity of society, and has to reflect that a simple square or cube can’t contain that diversity.”

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Image 19: Plan view model

Image 20: Elevation view model

Image 21: Interaction with surrounding


Nonetheless, there is nothing perfect on earth that is without criticism. As mentioned previously, the building structure is very complex that the curved wall structure will be constructed with 58 curved wall units, creating many difficulties in building steel bar reinforcements as well as steel trusses.26 Subsequently, in this case, two layers of shotcrete (spray concrete) construction method would be utilized in order to ensure a robust structure while displaying a smooth-finished façade. Hence, this has greatly risen up the construction cost.

He has exhibited this in his design by incorporating a horizontally and vertically incessant network to connect the internal workshops, restaurants and Art Plaza.25 By considering the surrounding high-rise development, the design correspondingly links flawlessly with the outside and form a place of interaction for the community. Patches adjoining network of water and greenery will further enhance the fusion of the building with its urban surroundings. Apparently, this project has achieved its parameter of site, parameter of culture and parameter of environment. Similarly, this is a good reference for the gateway project since it is situated at a very prime location, the concept needs to take into consideration its surrounding interaction so the built object could be well blended with the local community.

Is it worth to have a parametric project like this? This is actually a query to the clients themselves. I would say, for wealthy investors who want to amaze the public with an extraordinary building, it is definitely a ‘yes’.

Image 22: Interaction of building with local surrounding in plan view

Image 23: Construction of wall


FUTUROPOLISDaniel Libeskind | 2005 | St.Gallen

Apart from large scale building construction, parametric modeling is also a well-known tool for producing sculpture or any kind of small pavilions. To be frank, there are actually more built works of parametric in this kind of artistic objects because the growth of parametricism took place during economies were flush with credit, so there is limited budget for most of the construction.27 Consequently, parametric buildings are only appearing vastly in a few Middle East countries and progressively increasing in China.

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Image 24: Futuropolis, St. Gallen

In this part of the chapter, I have chosen the Futuropolis, designed by Daniel Libeskind, in St. Gallen, Switzerland, as the parametric precedent to discuss. This is a sculpture designed to conceptualize the situation of a ‘future city’, in which making the model to be complicated by having 98 towers with 2164 different birch plates. We can see how much work is needed to prepare 2000 plus wooden polygons that are designed to intersect the sculpture at a fixed angle of 25 degree.28 Due to fixed time frame and limited budget, this work is only achievable through parametric modeling which provides algorithm to digitize the manufacturing process. Excessive cost would normally be a major issue in most of the parametric modeling but apparently, VectorWorks, being the digital method of this project, has successfully cut down the manufacturing cost by 320,000 Swiss Francs and the time by two weeks.29

Being personally experienced in this project, Scheurer, a digital assistant in caad.designtoproduction, says, “The parametric approach with VectorWorks allows us to integrate design changes, even in a late project stage, by automatically reconstructing the whole geometry…”.30 The thickness of materials, height of towers, angles of connection can all be altered at the very last second and a new outcome can be produced overnight. I think this factor plays a very important role in our gateway project because a well-scheduled construction period is needed to cause less obstruction to its surrounding traffic.

Image 25: Details of installation

Image 26: Complexity of installation


For what I have mentioned above does sound very beneficial for a designer, but this would only happens when the designer have all the algorithm skill on his/her fingertips. In order to master them, designers need to be part of themselves who generate the main concept, part computer scientist who work with the software and part mathematician to figure out the output algorithm. It is difficult enough to be a specialist in one of these areas, yet alone all.31

Hence, can a designer really make full use of parametric modeling instead of restricting their running creativity due do limitation of parametric tools knowledge? I would say it does for some parametricism professionals, but for a lot of architects and designers, there is still rooms for improvement before they can achieve this.


As mentioned in the previous chapters, computational architecture is very effective for the younger generation architects to generate ideas. Scripting is just like a programmed sketching tool that designers can utilize, especially when they are out of directions or ideas, to develop any random concept from a basic geometry, surface or volume. For example, turning a smooth round sphere into thorny geometry or a solid surface into strips, within just few minutes or few clicks in the program.

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A.4. ALGORITHMIC EXPLORATIONS

Throughout this section, I have explored quite a few algorithmic sketches with Rhino and Grasshopper programs. Thus, I would include a few interesting examples which I think might be useful for me to develop the future design approach.

A.4 Algorithmic Explorations

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A.4.1. ‘AA Driftwood Surfaces’ definition

In the process of producing a masterpiece, its manufacturing method is somehow as significant as the generation of ideas. This directly determines how much the project could be achieved and in the meanwhile it will also affect the production cost. As shown in image 27 on right, initially I have a very irregular shaped object that might be complex to build since it needs a lot of internal supporting elements to hold the object in shape.

In addition, I also realized that each individual piece could be deleted manually, in which providing a more flexible way to make slight changes to the overall shape. This is unachievable if the object appears as a continuous surface.

However, the ‘AA driftwood surfaces’ definition allows me to transform any kind of complicated three-dimensional object into layers of two-dimensional pieces that stick together forming a same overall appearance. I found that this is extremely useful and interesting in parametric design because it can solve the difficulty of production.

Image 27: Original object

Image 28: Grasshopper definition

Image 29: Transformed object


This definition enables me to transform straight solid surfaces into more curvaceous and relax appearance. I found this is quite interesting because the current architectural trend is a lot moving towards organic and irregular shapes. However, it is quite difficult to develop a presentable shape, or in other words, designers can produce interesting figures but not all of them could be practical especially if it is used for a building project.

A.4.2. ‘Kangaroo - Mesh Relaxation’ definition

In this algorithmic exploration, I firstly created a basic shape to plan the general layout, which is mostly quadrilateral. (image 30) It is then further developed using this definition to produce a more curvilinear appearance but the internal layout should remain unchanged as initially planned. (image 31) I personally suggest that this can make an organic shape be more usable and practical instead of only beneficial for its appearance.

Although the current architecture movement is not much celebrating ornamentations as compared to the previous Art Nouveau or Beaux-Arts architecture, it could still be applicable for a certain purpose in some of the designs today. After experimenting this definition, I think it can contribute a major part if ornaments are to be included on designs.

Image 30: Original Object

Image 31: Transformed Object

A.4.3. ‘Kangaroo - Spring Forces’ definition

As shown in image 32 on right, the definition allows me to determine precisely how far I would like separate objects to stay apart or to join together regardless how I move and change the objects later. Hence, I would suggest that this is an efficient way I can attach ornaments onto a particular design either exactly hanging on it or partially submerge into it.

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Image 33: Grasshopper Definition


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A.4.4. ‘Nesting’ definition

After the design of Beijing Olympic Stadium appeared in the world, nest appearance becomes a well-known feature and I am totally interested to it. Thus, by researching an additional ‘nesting’ definition in Grasshopper, I have developed an object as shown in the bottom images. There are quite a few examples applying the ‘nest’ merely as a ‘skin’ for a particular substance, like what I have tried in image 32.

However, I think is it achievable for me to create some functions other than focusing only on its design feature? In my experiment, I have the concept of creating a core such as the lift core in a building with functional surrounding space. The ‘nesting’ elements are quite saturated at the centre core, which I would suggest the ‘nest’ to act partially as structural system rather than only an artistic feature. I could not ensure if this is doable for a structural consultant at this stage but through various experiments done in Grasshopper, I would propose that algorithmic explorations would definitely provide opportunities for designers to solve the potential problems.




Image 34: Grasshopper Definition


After looking at both computational-approached and non-parametric projects in this section, I realized architecture is not as simple as a wickiup or a grass hut, or being just a simple appearing artistic expression. Instead, it is something that interacts immediately with the surrounding and various factors like social, cultural or even political issues of a society. Thorough investigation is definitely needed for every project in order to ensure less negative potentials emerge in the future. Especially in this era we living in, everything, including architecture and buildings, is moving towards sustainability and connection with technology. Thus, I would say parametric modeling and algorithmic approaches in design are literally effective way for designers to keep track with the current tendency and also to handle the enormous amount of constraints in a modern design proposal.

In the case of Western Gateway Design Project, I think there is nothing more suitable than parametric design to be applied, due to the fewer amount of formal limitations present in the project. This is exactly a good opportunity for architects to maximize their innovations and creativities to produce an eye-catching masterpiece. Apart from the designing field, the construction budget and period can also be better monitored. Since the site is located adjacent to a heavy-traffic major road, the Princess Freeway, I would suggest the construction time period is extremely essential in order to not obstruct any ongoing traffic.

Therefore, by incorporating the innovation of computational tools in this Western Gateway proposal, I sturdily believe that a whole new modern landmark could be achieved and consequently leading Wyndham City to become a locally and globally well-known municipal.

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CONCLUSION

A.5 Conclusion

LEARNING OUTCOMES

Since the beginning of this course until now, I have been introduced to a lot of digital theory as well as scripting experiments. No doubt, it is a kind of new technique that we need to learn and of course it is very time and effort consuming. After experienced personally in the function of algorithmic explorations, I think this method is very encouraging for designers to go beyond the presence. Compared to the previous way of sketching or idea generation, designers, or at least for me personally, would think twice before making any alterations to drawings in front of me because I would think it is difficult to undo if I make any mistake.

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By only imagining the ideas in mind, it is certainly more abstract compared to something that is drawn and that can be seen. Consequently, we may lose a very brilliant idea if we could not picture it clear enough in our mind. Hence, I would say the efficiency of design process plays a very important role in determining its design outcome, and this is definitely something that could be solved by using computational technique. In addition, from the previous precedents that I have explored in this section, I realized that not only an interesting shape, but also the functionality and its connection with surrounding situation, are very essential to produce a magnificent landmark that will not be left out by the society.

A.6 Learning Outcomes

Notes:

Richard Williams (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley, (Edinburgh: Edinburgh University Press), p. 103

Australian Institute of Architects (2013), ‘What is Architecture?’, in Becoming an architect, (Australia), p. 1

Federation Square (2011), ‘Federation Square - Design and Architecture: The Square’, p. 2

Charles Jencks (2003), ‘The undulating Federation Square, designed by Lab Architecture, mirrors the city and country through dissonance and harmony’, Architectural Record 06.03, (New York: McGraw-Hill Construction), p. 109

Charles Jencks (2003), ‘The undulating Federation Square, designed by Lab Architecture, mirrors the city and country through dissonance and harmony’, Architectural Record 06.03, p. 109

Paul Goldberger (1989), ‘Pei Pyramid and New Louvre Open Today’, (New York Times), <http://www.nytimes.com/1989/03/29/arts/pei-pyramid-and-new-louvre-open-today.html?pagewanted=all&src=pm>, [accessed 20 March 2013]

Carlos Zeballos (2012), ‘I. M. Pei and the Louvre Museum: Background’, My Architectural Moleskine notes on a journey through landscape and architecture, <http://architecturalmoleskine.blogspot.com.au/2012/10/i-m-pei-and-louvre-museum.html>, [accessed 22 March 2013]

Carlos Zeballos (2012), ‘I. M. Pei and the Louvre Museum: Background’, My Architectural Moleskine notes on a journey through landscape and architecture,<http://architecturalmoleskine.blogspot.com.au/2012/10/i-m-pei-and-louvre-museum.html>, [accessed 22 March 2013]

Yehuda E. Kalay (2004), ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, (Cam-bridge, MA: MIT Press), p. 2

Kostas Terzidis (2006), ‘Algorithmic Architecture - A Brief History of Algotecture’, (Boston, MA: Elsevier), p. 41

Yehuda E. Kalay (2004), ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, p. 3

Joseph Giovannini (2011), ‘Guangzhou Opera House’, Architect - the magazine of the Amercian instutute of architects, <http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx>, [accessed 23 March 2013]

Melbourne University (2013), ‘Introduction to Computing in Architecture’, Lecture 02 slide

Yehuda E. Kalay (2004), ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, p. 2

Zaha Hadid’s Architects (2010), ‘Guangzhou Opera House’, p. 1

Jonathan Glancey (2011), ‘Move over, Sydney: Zaha Hadid’s Guangzhou Opera House’, The Gurdian, <http://www.guardian.co.uk/artanddesign/2011/feb/28/guangzhou-opera-house-zaha-hadid>, [accessed 26 March 2013]

Kelly Minner (2010), ‘Zayed National Museum / Foster + Partners’, Archdaily, <http://www.archdaily.com/92372/zayed-national-museum-foster-partners/>, [accessed 26 March 2013]

ArcH2o (2013), ‘Zayed National Museum | Norman Foster’, <http://www.arch2o.com/zayed-national-museum-norman-foster/>, [accessed 26 March 2013]

Kelly Minner (2010), ‘Zayed National Museum / Foster + Partners’, Archdaily, <http://www.archdaily.com/92372/zayed-national-museum-foster-partners/>, [accessed 26 March 2013]

Robert Woodbury (2010), ‘Elements of Parametric Design’, (London: Routledge), p. 7

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Melbourne University (2013), ‘Introduction to Parametric Modelling’, Lecture 03 slide by Daniel Davis

Adam N. Mayer (2010), ‘Style and the Pretense of ‘Parametric’ Architecture’, p. 3

DesignBoom (2010), ‘Toyo Ito: Taichung Metropolitan Opera’, <http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/>, [accessed 28 March 2013]

Arcspace (2006), ‘Taichung Metropolitan Opera House Toyo Ito & Associates’, <http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/>, [accessed 29 March 2013]

Arcspace (2006), ‘Taichung Metropolitan Opera House Toyo Ito & Associates’, <http://www.arcspace.com/features/toyo-ito--associates/taichung-metropolitan-opera-house/>, [accessed 29 March 2013]

DesignBoom (2010), ‘Toyo Ito: Taichung Metropolitan Opera’, <http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/>, [accessed 28 March 2013]

Adam N. Mayer (2010), ‘Style and the Pretense of ‘Parametric’ Architecture’, p. 5

Archgraphics (n.d.), ‘Futuropolis | Daniel Libeskind’, p. 1

Vectorworks Case Study (2005), ‘Vectorscript and Parametric Modelling Technology bring Daniel Libeskind’s Futuropolis to life’, p. 3

Vectorworks Case Study (2005), ‘Vectorscript and Parametric Modelling Technology bring Daniel Libeskind’s Futuropolis to life’, p. 3

Robert Woodbury (2010), ‘Elements of Parametric Design’, (London: Routledge), p. 8

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Images

1 2011 S2 Final Lantern Parade Photography; 2 http://www.forbesaust.com.au/images/Federation-Square.jpg; 3 Architectural Record 06.03, p. 114; 4 http://www.fedsquare.com/wp-content/gallery/information-history-design/pin-wheel-facade-federation-square.jpg; 5 http://2.bp.blogspot.com/-xQJnnxe-7xg/Tu-1qbWV1LI/AAAAAAAAA74/xUH2w_dII3Y/s1600/Federation+Square2.jpg; 6 http://fleurenfant.files.wordpress.com/2013/03/france-the-louvre-museumcity-1920x2560.jpg; 7 http://4.bp.blogspot.com/_vElxmbsr2vo/S_NYsqPQZEI/AAAAAAAAAaw/JkMs5qahhlM/s1600/pyramide_louvre_3_spirit_of_paris.jpg; 8 http://img.wallpaperstock.net:81/paris-louvre-pyramid-wallpapers_35074_1920x1200.jpg; 9 http://25.media.tumblr.com/tumblr_m3vxdrDN9b1qitzeoo1_500.jpg; 10 http://www.core.form-ula.com/wp-content/uploads/2009/08/kms_08.jpg; 11 http://www.archiworldacademy.org/Images/jury/AWA%20portrait%2012%20photo%204%20Guangzhou.jpg; 12 http://homeklondike.com/wp-content/uploads/2011/04/7-china-guangzhou-opera-house-by-zaha-hadid-architects.jpg; 13 http://www.arch2o.com/wp-content/uploads/2012/10/Arch2o-Guangzhou-Opera-House-Zaha-Hadid-Architects-14.jpg; 14 http://www.lustnation.com/wp-content/uploads/2013/03/LN-FOSTER-PARTNERS-1.jpg; 15 http://tinypic.com/view.php?pic=25sqwzc&s=7; 16 http://www.fosterandpartners.com/m/projects/zayed-national-museum/drawings.php?id=1550; 17 http://static.dezeen.com/uploads/2010/11/dzn_Zayed-National-Museum-by-Foster-+-Partners-3.jpg; 18 http://www.siat.sfu.ca/images/267.png; 19 http://www.arcspace.com/CropUp/-/media/57091/5taichung.jpg; 20 http://www.design-boom.com/cms/images/anita03/toyoito09.jpg; 21 http://c1038.r38.cf3.rackcdn.com/group1/building2039/media/060110_birds%20eye%20view_w25cm_U_adj.jpg; 22 http://www.arcspace.com/CropUp/-/media/57135/9taichung.jpg; 23 http://media-cache-lt0.pinterest.com/550x/d4/7d/48/d47d48fff746e4d26700450ebb2ed906.jpg; 24 http://www.vectorworks.net/edispatch/Vol46/futuropo-lis_lg.jpg; 25 http://www.vectorworks.net/edispatch/Vol46/futuropolisdetail_lg.jpg; 26 http://3.bp.blogspot.com/_KyYkvmXleNU/S9m3p86AmqI/AAAAAAAAAkM/wyqFdgaz8-c/s1600/fpol+2.JPG; 27 28 29 30 31 32 33 34 35 36 Rhinoceros 5.0 and Grasshopper.

Notes

D E S I G N A P P R O A C H

P A R T B . E O I 2

34 B.1 Design Focus

INTRODUCTION TO BIOMIMICRY

“The more our world functions like the natural world, the more likely we are to endure on this home that is ours, but not ours alone?” – Janine Benyus 32

‘…a new discipline that studies nature’s best ideas and then imitates these designs and processes to solve human problem’ 33

BIO-MIMICRY [Originated from Greek words bios: life, and mimesis: imitation] 34

This is a new discipline particularly in architectural field that investigates nature’s characteristics in terms of their beneficial forms, structures and systems while then imitates these specific designs and methods to solve human problems. In the whole period which architecture is developing, various design attitudes have emerged with some of them that persist till present or some others that have died out. For any thing to last and become timeless, it must satisfy a number of traits that measure its intelligibility and depth. In regard to this issue, over the eras, organisms that live on this planet have gone through enormous amount of environmental filters that result to the shape and system organisms exhibit today. Nature has presented this context of constant improvement for us and thus nature as 1) model, 2) measure, 3) mentor could be a positive direction to provide Wyndham city an enduring, eye-catching and exciting gateway on Princess highway.35

35B.1 Design Focus

MERGING: DESIGN vs NATURE

Wyndham is known for its natural implication, as it possesses an array of natural features such as wetlands as well as public parks. Throughout the period of its civic development, Wyndham is motivated towards establishing a locally as well as internationally recognized image through aesthetics and technology.36 At the present stage, I would consider Wyndham City is growing with a vast amount of ongoing development, in other words a very lively municipal. Having this as one of the focus, our group is very interested in the idea of fusing nature with built environment (BIOMIMICRY) in order to create an object that has more living sense in it, at the same time representing the growing state and diverse population of Wyndham.

As researching on Wyndham City, I found that Wyndham is located in one of the lowest rainfall areas across the Greater Melbourne region and thus previously experienced severe drought although it improves to a better situation today.37 Considering the reason behind, a better situation shown today partly is because recent years have seen above average rainfalls in the region, but I think the other main reason would be the gradually developed bits of every part, every area as well as every individual of Wyndham that result forming the whole operational solution. By exploring the cracking of ground, which in a sense having a strong relation to drought condition, I think this natural phenomena that breaks whole into parts and forming pieces into a whole is an abstract way to form a strong bonding point between the past and present. The separation to union transition can display individual contributions that create an overall achievement. Thus, the installation on site will help to exhibit the significance of change within Wyndham as well as its natural significance. In a more morality sense, this could also remind the community about respective responsibility and importance. Besides, our group is also aiming to create a discourse around self-supporting structure that is made up of separated pieces.

36 B.1 Design Focus

NATURAL PRECEDENTS

Looking at various natural occurrences, these are some of the systems that can create a framework for us to look into, in order to understand the formation of separated parts into a complete piece. Since these are all formed naturally, I believe their patterns could very much achieve durability and effective bonding structure.

From here, we can see various patterns comprising the range of random voronoi pattern on cracking ground (image 38), regular polygons that formed the giant causeway (image 39), as well as chemically-bonded spherical atoms, that formed molecules and basically everything on earth since it is the basic unit of matter.

In terms of aesthetics, we think such system as well as their pattern can shape a final design that is simple in a visual sense but in a way merging sturdily with our design intention.

Image 37: Ground Cracking

Image 38: The Giant Causeway

Image 39: Water Molecule

37B.1 Design Focus

BUILT PRECEDENTS

Simply imitating a natural environment or form cannot achieve much for a particular design because the principles that prove necessary in ecology performance, connections or systems of exchanges would be absent. As being part of the important issues in the design brief, the connection between the project and the surrounding landscape is vital. Hence, I think a two-way interaction between built environment and nature would be more appropriate on site as compared to one-way information transfer such as applying high-tech mechanism on the installation but cannot blend in with the surrounding.

Therefore, looking at some built examples, we can see to what extent and through what method architectural design can imply such natural forms and patterns. These examples are categorized as few of the known projects within sustainable architecture but the mutual theme that can be drawn among them is the application of biomimicry in their design progress.

As mentioned previously in the first chapter about design background of Melbourne Federation Square, I realized there is somehow a bit of similarities drawn between our design intention with its representation of patterns and colours as diverse individuals on the continent. Apart from the main design goal that I have introduced earlier, these precedents have also stimulated several other issues such as,

- material efficiency of well-arranged hexagonal patterns38 (Observed in ZA11 Pavillion)

- achievement of lightweight structure39

(Observed in The Eden Project)

- effective load-bearing path for self-supporting façade40

(Observed in ICD/ITKE Research Pavillion 2011)

that we think we can partially apply into our design focus. I think these would definitely play an important role due to the site condition being an extremely busy space that excessive supporting elements and wastage of space are not encouraged.

Image 40: Federation Square Facade

Image 41: ZA11 Pavillion

Image 42: The Eden Project

Image 43: Research Pavillion 2011

38 B.2 Case Study 1.0

M A T R I X CASE STUDY 1.0

DEFINITION EXPLORATION

A

B

C

D

E

M A T R I X CASE STUDY 1.0M A T R I X CASE STUDY 1.0

1 2 3

39B.2 Case Study 1.0


4 5

Populate 2D + Voronoi pattern + Cone formation on plane + Remove intersecting edges

Populate 2D + Voronoi pattern + Sphere formation on plain + Intersecting parts as connection

Populate Geometry + Voronoi pattern + Sphere formation on curved surface + Intersecting parts as connection

Populate Geometry + Sphere and cone formation on a ring + Intersecting parts as joint

Populate Geometry + Sphere and cone formation on 3D spiral +Intersecting parts as joint

In relation to our project, our technique is to use computational programs, Grasshopper and Rhino, to combine the abstract form of nature and built systems with digital software. Grasshopper, in this case, is helping us to achieve different patterns in terms of concepts as a system of formation. As previously mentioned in the computational architecture chapter, digital software can help us to achieve some designs that is beyond the ability of conventional drafting method. In the midst of doing our explorations, we can prove that these arguments are to be valid.


EXPLORATION ANALYSIS

In this section, our group has selected voltaDom by Skylar Tibbits and SJET as our main exploration because it satisfied most of our design focuses as well as having strong connection with the experience that expected to be given to users. The interlocking and intersecting spheres shown in voltaDom well fitted among each other, exhibiting self-supporting structure, efficient structure that enables sufficient light penetration and as a result forming a whole piece of interesting installation.

From the original definition, we tried creating different pattern ranging from spherical to conical in order to investigate which of these is able to provide a stronger experience. Besides, we also realized that the scale of pattern plays a very significant role because it determines the amount and concentration of individual bits within a fixed area. Our group had briefly discussed about the overall shape of installation on site, we recognized that it might go beyond a plane surface due to the local landscape and that it is located along a heavy-traffic highway, so we took the opportunity to explore the effect of this definition being applied onto different kind of geometry.

Image 44: VoltaDom


Among all the experiments we have done, I certainly feel that these (images shown on left) are the more interesting trials because they are more effective in relating to our design criteria.




Image 45: A1 on matrix

Image 46: A5 on matrix

Image 47: D3 on matrix

Image 48: E5 on matrix

As observed from each image, all of them have an overall form created by individual parts. Particularly for A1 and A5 (image 46 and 47), I think the opening created on each piece is very important in order to allow sufficient light penetration during daytime for the highway. On the other hand, D3 and E5 (image 48 and 49) are interesting trials showing how separated pieces can be linked together in multiple direction ie, horizontal, vertical, diagonal or even random directions, but the placement of such design on site needs to be considered thoroughly because its complication might affect the surrounding environment. Mentioned previously, we are trying to achieve something that is simple in visual sense as well as incorporating the factor that this design will be installed on a highway which basically users have limited time to experience it, instead of having complicated-arranged patterns, denser concentration of it would be more convincing to give a simpler explanation to the users. (image 47)

However, circular perimeter of edges will arise a lot of difficulties and also limiting the choices of material used in the stage of fabrication. Moreover, one of our design focuses, which is to achieve material efficiency would also fail with the application of circular perimeter. Instead, we have decided to engage the technical concept explored in this section with hexagonal or voronoi form for our further development.


REVERSE ENGINEERING

Project: ICD/ITKE Research Pavilion 2011, Stuttgart, Germany

This is a direct biomimicry project produced by ICD, ITKE as well as students from University of Stuttgart for teaching and research purpose. The main bionic exploration of the pavilion is to transform biological principles of a sea urchin’s plate skeleton morphology onto architectural design that would make it possible to achieve a high load-bearing geometric arrangement.41 Such arrangement of polygons allows efficient transfer of normal and shear forces to the base and thus it is able to achieve self-supporting structure to a wide range of custom geometry compared to some conventional lightweight structure that only applicable on certain form such as dome or arch shapes.

Image 49: Research Pavilion 2011

Image 50: Sea Urchin’s Plate

Apart from the bio-structural principles, there are quite a few other basic principles that work behind this design, which includes,

In a whole, I think this project is very successful in both aesthetically, creating an eye-catching design, and structurally, since the whole lightweight structure is constructed using 6.5mm thin material in reality and it is still able to stand on site without any extra supporting elements except being anchored to the ground to withstand wind loads.

Heterogeneity: There is flexibility on the scale of individual bit in order to fit well into different size areas of the pavilion and provide a less-boring visual outcome.

Anisotropy: Each cell is positioned and rotated according to the overall mechanical tension.

Hierarchy: Different connection methods are used for different purpose. Each cell is created using fixed connection while the joints between cells are more flexible in order to be easily assembled and disassembled.


Using the technique and concepts that we have explored in the previous computational experiments, we have figured out a solution to reconstruct a design that is similar to the pavilion. Basically, we have divided this into two stages which is first creating a base geometry, and secondly forming a series of voronoi patterns with extrusion on a plane surface which would then be mapped onto the geometry formed earlier.

Stage 1:

Create basic curve as the base of geometry.

Stage 2:

Forming arcs over the base curves. Loft the arcs to form a smooth curved surface.

Create a plane surface. Populate random points on the surface.

Form voronoi patterns using the populated points.

Create another layer of voronoi by scaling and moving in z direction.

Loft the layers to create extruded voronoi.

Map onto base geometry surface:

When the lofted surface is used, only the lower layer is mapped onto surface.

Turn the lofted surface into wireframe in order to map both layers onto the base geometry.

After simplifying and grafting the mapped curves, loft them together to form extruded voronoi on geometry.


Here are a few variations produced by exploring further on the reverse-engineered definition.

Reverse-engineered Definition

Vary extrusion height. (external) Vary extrusion height.(external, internal)

Uniform extrusion height. (external)

Uniform extrusion height. (internal) Voronoi pattern without penetration at centre.

Voronoi without extrusion.

Voronoi pattern formed by edges, large penetration at centre.


Obviously, the design that we have reconstructed here looks similar to Stuttgart’s research pavilion, but since they are not identical, significant differences are shown as comparing both designs.

The reconstructed design has certainly applied the same structural principle that enables each cell fits well among each other and thus achieving efficient transmission of load to the base while successing self-support structure.

Similarities:

•

The pavilion is seen to be dome shape but taking into consideration the local surrounding of our site, it is situated around long stretches of highways. As users are travelling on high speed, the scale of installation must be reasonably large in order to provide a full experience. Looking at the ratio of length and width, it would be more logical to stretch the design in parallel direction as highways to achieve closer interactions with highway users.

Differences:

Extrusion is created on cells to form a more dimensional outlook.

The sizes of each cell is not uniform as it can be more visually interesting as well as better fitting at different curvature.

Both are not closed structures, they have openings formed on façade that allow accessibility through the structure.

•

•

•

Sufficient amount of light is essential for the users. In the reverse engineered design, penetrations are created at the centre of every cell in which allowing sunlight to pass through and thus reducing energy spent for lighting during daytime. In addition, biomimicry design is very much focused on the connection with outer surrounding (nature), so the penetrations in a way can prevent users from feeling themselves being isolated from the outer landscape.

As previously mentioned in our design argument, we are trying to present the diverse population of multicultural Wyndham on the design. Instead of having regular polygons arrangement, we have decided to explore the application of voronoi pattern, which we think can exhibit the unique identity of individuals in a stronger sense since none of the voronoi pieces is identical.

•

•

•

We are quite happy with what we have achieved in this section as the design outcome satisfied most of the design principles that we have introduced earlier. However, in visual sense, the patterns that we formed are still very much random and disordered, which would unable to achieve simplicity for the installation on site. Regarding to this issue, we have decided to explore further in grasshopper to find solutions such as incorporating attractor points, image sampler or even manual point arrangement that would allow us to create a more organized design pattern compared to randomly populated points.


Image 51: Model fabricated from reverse-engineered definition

47B.4 Technique: Development

FURTHER DEVELOPMENT

In order to strengthen the experience of transition and change that is expected to be provided to users, our group came out with a suggestion that the application of contrast would be more effective to exhibit such characteristic. By applying this factor, the patterns could be contrast in the way of,

Penetration style (Big / small, Regular / irregular, Uniform / random openings)

Size of individual cell

Degree of cell extrusion

Transparency / opaqueness of cell

•

•

•

•

However, the contrast could only be effective when the same style of cell is grouped together instead of being scattered all over the design. To achieve this, we have experimented various associations that can provide a smooth and better arrangement such as attractor points and image sampler.

48 B.4 Technique: Development

Matrix of Exploration

Image sampler Curve attractor Rotation

49B.4 Technique: Development

Maths function Manually set points Single attractor point

Multiple attractor points Extrusion by colour

50 B.4 Technique: Development

For this part of development, we applied Kalay’s technique of ‘Search’ that involves creating basic possibilities for consideration at first while further develop on selected choices later on.42

In these trials, we tried arranging the pattern using an image as well as rotation or manually set position. However, instead of simplicity, all of these methods lead the overall pattern to become complex. Considering that the design would be installed on a stretched form that users would pass through by entering at one end while exiting on the other, we recognized that attractor points is a positive direction for us to move on because it could 1) enable the categorization of contrasting cells on different ends, 2) provides the installation a gradual change of contrast.

To take this method a step forward, we have also experimented multiple attractor points that could possibly arrange the contrast in several directions. The selection of this would depend on the final form of design and from which part we want to convey the experience to the users.

51B.5 Technique: Prototypes

MATERIALISATION & FABRICATION

Until this stage, all the designs we obtained are only vector lines and virtual models. Having self-supporting façade as one of our design focuses, a fabrication method that can succeed this issue plays a very important role as it directly determine how well our project aim could be achieved. We considered the installation is free of excessive supporting elements such as columns and beams due to limitation of space on site and to maintain the smooth flow of highways. Hence, the connection between individual cells becomes vital since this is the main factor determining its overall performance.

To address this issue, our group have to decide on what material the installation would be constructed from, because each material has different properties such as thickness, opacity, bending stress as well as the degree of curvature. From the first prototype that we have created (image 52), we connected the cells by tabbing every edge to its adjacent piece in an ordered direction. This is a straightforward and efficient fabrication method that could be easily achieved in cardboard prototype but not in reality because there is not a lot of foldable solid material that would allow the tab to function. One of them would be foldable metal sheet but instead of lightweight effect, the whole installation would present a dense visual outcome. In addition, in terms of neatness, metal sheet could not guarantee to produce a straight folding edge.

Image 52: Tab connection method

Steps taken to produce a prototype with tab connection.

Step 1

Step 2

Step 3

Step 4

Step 5

Step 6

52 B.5 Technique: Prototypes

Image 56: Bolted tabs jointImage 55: Plate cleats / framing joint

Image 54: H - Clip jointImage 53: Glued / welded joint

Consequently, we have considered other choices of lightweight materials such as polycarbonate sheets, glazing or timber panels that has a certain thickness and being not bendable. As a solution, we have experimented various connectors including,

1) Glued/welded joint

2) H - Clip joint

3) Plate cleats/framing joint

4) Bolted tabs joint

that are applicable to these materials. From this range of materials, we would consider polycarbonate sheets as a primary choice because glazing is in fact a heavy material and timber might not be durable for the surrounding condition.

53B.5 Technique: Prototypes

As we discovered, these methods would give a different visual effect because the bolts, the frames and the cleats cannot be made invisible from the external outlook and they would stick out as an additional bit to the overall form. In order to simplify and reduce the amount of connectors, we could organize one of the edges of adjacent cells joining each other and thus forming a specific connector path. (image 58 and 60)

54 B.5 Technique: Prototypes

Image 57: Plate shown on facade. Image 58: Suggested connector path

Image 59: Bolt & tab shown on facade Image 60: Suggested connector path

Plate cleat

BoltTab

Since we have incorporated the pattern arrangement that enables self-supporting façade, we are confident that the installation could stand on site as long as the separated cells are properly connected and the base is fixed sturdily onto the ground.

55B.6 Technique Proposal

DESIGN REFINEMENT - PROPOSAL

Image 62: Hexagonal patterns with external extrusion, controlled by attractor points

Image 64: Voronoi patterns with internal extrusion, controlled by attractor points

Image 61: Reference pattern on plane

Image 63: Reference pattern on plane

56 B.6 Technique Proposal

Image 65 & 66: Model for refined design outcome

The Successful Technique: hexagonal or voronoi extrusion according to attracted points

By having an installation that has separated pieces connected together resulting to create a whole magnificent design, it clearly portrays the gradual change and growth of Wyndham City from past to present. The non-identical voronoi pattern can effectively presents the unique identity of individuals in multicultural Wyndham and at the same time serve as efficient load-bearing elements that contribute in succeeding an overall self-supporting façade. We have considered the issue that users might have limited time to experience the installation on site. Thus in order to enhance their experience, I think our proposal of having the design crossing over the highway would be effective as it would be an obvious attraction to the motorist but cause no obstruction to them. In addition, by having the shadows casted on the road surface, the design can achieve stronger interaction with users, as they would feel themselves within the design instead of merely seeing the installation in sight (image 68, 69 & 70).

I think it is essential to create a discourse of self-loading installation for the project because our design might cross over the highway, which is unable to contain any installation of middle supporting structure. Through combining digital software with the input of biological inspiration, I believe that a breakthrough in design can be achieved for the Wyndham gateway.

57B.6 Technique Proposal

Image 67: Internal experience of design outcome

58 B.6 Technique Proposal

Pattern of shadow casted over time,

Image 68

Image 69

Image 70

REFLECTION

During the presentation, which being a chance for us to describe our proposal, it was pointed out to us that our design intention is not very much related to natural occurrence (Biomimicry). As an overall image, we realized that we should revise our arguments and linking our outcome to Wyndham at a more sophisticated way, instead of merely producing variation of voronoi and hexagonal patterns.

Reviewing and investigating our arguments, I have added some nature precedents for exploration in the design focus section. I tried to draw clearer relation between the nature and our project rather than focusing too much on other built biomimicry precedents. Therefore, as I researched more on Wyndham city, I found that natural ground cracking phenomena relates well with the local condition in Wyndham and in a way able to reflect its characteristics on the gateway project. In addition, I also think that referencing on the nature patterns could enhance our self-supporting façade because everything in nature is not man-made; instead it stands naturally in our environment. Hence, I have incorporated all of these factors in the re-documented design focus section in order to justify a more comprehensible reason why we would execute our project in this manner.

As seen from the final proposal, we have the choices to either create external or internal extrusion for the pattern. For an instance, we have considered that most of the users would gain experience through interior rather than exterior because that is their main activity space when the installation is crossing over the highway. However, it was pointed out to us that the internal effect of our current design outcome is not as eye-catching as its external face. Hence, this would be a critical issue for us to look closely in the next section in order to create a really convincible and interesting installation on site.

59B.7 Learning Objectives and Outcomes

60 B.7 Learning Objectives and Outcomes

LEARNING OUTCOMES

In the past few weeks, I have a lot of hands on experience about digital computation. In the beginning, my opinion, which I have mentioned in the previous chapter, for this new technology is that it would help architects and designers to make possible their imagination. However, in the process of learning the basic skill of this digital software, I realized that such technique is somehow preventing me from creating the intended design due to my limitation of knowledge about the functions. After receiving more explanations on how actually scripting tools work, we succeeded in producing various digital models. In a whole, I think it is essential to really understand what each component does in the program, instead of merely following what was shown in the weekly ex-lab tutorial. Once we had clearer image about it, we defend our previous argument on computational technique that it will be very useful to form creative outcomes as well as providing efficient fabrication process. Through digital fabrication, I do not need to spend excessive time to measure, cut and glue all the pieces together. As I mentioned that it maximizes creativity, I realized that sometimes my initial ideas would be left out in the midst of exploring the possible outcomes, thus I think it is essential to keep on mind our design intention in order to prevent the final ideas from going too far beyond our initial argument.

We have utilized the technique introduced in Kalay’s reading, Architecture’s New Media, in our design process. Sufficient knowledge and skills (developed grasshopper definition, cut case research, reverse-engineer research) are essential for us to be innovative in our design. It is critical to learn from our design progress, reflecting on mistakes and improve from it.

Making logical design solutions and arguments are the major parts of our expression of interest section. It requires us to understand in deep our knowledge on grasshopper, the project brief, design techniques, fabrication methods as well as quality of materials.

Computation technique - Grasshopper:

Design through research:

Forming design argument:

Notes:

61Notes

32

33

34

35

36

37

38

39

40

41

42

Biomimicry Institute (2013), ‘What do you mean by the term biomimicry?’, <http://www.biomimicryinstitute.org/about-us/what-do-you-mean-by-the-term-biomimicry.html>, [accessed 17 April 2013]

N. Panchuk (2006), ‘An exploration into Biomimicry and its application in Digital & Parametric [Architectural] Design’, p. 3

Biomimicry Institute (2013), ‘What is biomimicry?’, <http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.html>, [accessed 18 April 2013]

N. Panchuk (2006), ‘An exploration into Biomimicry and its application in Digital & Parametric [Architectural] Design’, p. 5

Wyndham City (2013), ‘About Wyndham City’, <http://www.wyndham.vic.gov.au/aboutwyndham>, [accessed 26 April 2013]

Wyndham City (2013), ‘environment & Sustainability - Water conservation’, <http://www.wyndham.vic.gov.au/environment/energy__water/water/conservation>, [accessed 26 April 2013]

Design Playgrounds (2013), ‘CLJ02: ZA11 Pavilion’, <http://designplaygrounds.com/deviants/clj02-za11-pavilion/>, [accessed 28 April 2013]

S. Rose (2007), ‘Bubble vision, the Eden Project’s biomes’, <http://www.guardian.co.uk/artanddesign/2007/oct/12/architec-ture2>, [accessed 28 April 2013]

A. Frearson (2011), ‘ICD / ITKE Research Pavilion at the University of Stuttgart’, <http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/>, [accessed 29 April 2013]

A. Frearson (2011), ‘ICD / ITKE Research Pavilion at the University of Stuttgart’, <http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/>, [accessed 1 May 2013]

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

Images

37 http://www.earthzine.org/wp-content/uploads/2011/03/drought-photo-un-schneider.jpg; 38 http://dalriadacottage.co.uk/giants/1.jpg; 39 http://www.1worldlinkedup.net/new%20web%20site%20lo/Drloimagefile/Decoded-2.jpg; 40 http://www.fedsquare.com/wp-content/gallery/information-history-design/pin-wheel-facade-federation-square.jpg; 41 http://designplaygrounds.com/deviants/clj02-za11-pavilion/; 42 http://www.galinsky.com/buildings/eden/; 43 http://www.dezeen.com/2011/10/31/icditke-research-pa-vilion-at-the-university-of-stuttgart/; 44 http://www.sjet.us/MIT_VOLTADOM.html; 45 46 47 48 Rhinoceros 5.0 and Grasshopper vector lineworks; 49 http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/; 50 http://www.ncfossilclub.org/sites/default/files/imagecache/gallery_full_scaled/DSC_0391.jpg; 51 52 53 54 55 56 Photos taken by group mem-bers; 57 58 59 60 61 62 63 64 Rhinoceros 5.0 and Grasshopper vector lineworks; 65 66 67 68 69 70 Photos taken by group members.

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