ARCHITECTURE DESIGN STUDIO: AIR 2013

T O M M Y H E N G

IntroductionA0. - About Me

Architecture as a DiscourseA1.1 - Architecture as a Discourse A1.2 - Case Study 1 - CIRRIFORM A1.3 - Case Study 2 - Museo Soumaya

Computational ArchitectureA2.1 - Computational Architecture A2.2 - Case Study 1 - Kinetic Rain A2.3 - Case Study 2 - Signal Box

Parametric ModellingA3.1 - Parametric Modelling A3.2 - Case Study 1 - Foyn-Johanson House A3.3 - Case Study 2 - London Aquatics Centre

Algorithmic ExplorationA4.1 - Algorithmic Exploration 1 A4.2 - Algorithmic Exploration 2 A4.3 - Algorithmic Exploration 3

ConclusionA5.1 - Closing Remarks

ReferencesA6.1 - Images A6.2 - References

CONTENTS

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5 - 6 7 - 8 9 -10

11- 1213 -1415 -16

17 - 2021 - 2223 - 24

27 - 2829 - 3031 - 32

33 - 34

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My name is Tommy Heng and I am currently a third year architecture student studying at the University of Melborune. Architecture is a pas-sion of mine. Having been exposed to the arts at a very young age, I was fortunate enough to have discovered my deep desire to become an architect. During my years in high school, I undertook a 4 year fine arts apprenticeship which equipped me with the skills to pursue my degree in architecture. Collectively, my interest in technology, the arts and craft has led me to pursue a design based profession. However, it is also party due to my desire to search for a career which incorporates ideas and information across multiple disciplines that inspired me to do architecture.

Although I have yet to discover my own architectural design philosophy, I am greatly interested in designs and architecture which are critical and unique in the sense that they respond to the context through tech-nology, sustainability, culture and form/morphology. It is fundamental for architecture to be functional, however, it is also of greater impor-tance for it to possess its own unique character and identity - soul. It is often the small things and the attention to details that distinguishes a great and amazing piece of architecture from those that are simply forgettable.

Apart from architecture, I also share a great passion for the arts where I occasionally do sketches, paintings, graphics and photography in my spare time. In this new age of digital media and technology, I still strongly feel that it is important to maintain and enjoy the traditions and conventions of hand drawing and rendering.

There is no other way of describing my interest in learning new com-putational design softwares and technologies. Design software that I have knowledge of include - Rhinoceros, AutoCAD, Revit, SketchUp, Atlantis, Vray, InDesign, PhotoShop, Illustrator and recently some basic Grasshopper. Although I have had the opportunity to learn and use quite a few CAD and other digital design tools, I would say that I have only had the chance to use them in a very constrained manner. Virtual Environments back in 2011 was probably the most rewarding studio subject I went through as it introduced me a lot of new concepts with regard to the applications of digital design and fabrication tools. Since then, I have attempted to apply some of these techniques to my other studio subjects. Learning Grasshopper has definitely influenced my perspective on digital design theories through its ability of translating conventional design processes much more efficiently.

A Personal Discourse

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1. Photography experiment taken on Berkeley Street in 2011.

Often, when you ask someone outside of the of the architectural profession about what architecture means to them, you get the response:

“Oh, architecture... architecture is about designing great build-ings, interesting structures and beautiful icons...”

Though the word “discourse” often slips our mind whenever we engage in a philosophical debate on what architecture is, it is difficult to view or see it as solely being a physical structure. Architecture is a profession which utilises and incorporates ideas and information across multiple diciplines. Anything and every-thing is applicable. Nothing is irrelevant when it comes to tangible architecture such as a built environment or the intangible ideas and concepts architecture consists of.

Referring to Dutton in Reconstructing Architecture: Critical Discourses and Social Practices (1996), architecture is a social construct and a product of our political, social, cultural and economic values mediated by our built environment. Just as a painting, sculpture or contemporary art installation may communicate and express themes and ideas of their respec-tive contexts, architecture as a discourse does so similarly in the grandest of scales. A good piece of architecture shouldn’t just be commended fo its physical attributes and attention to visual details. Instead, it should be valued and appreciated for the ideas and positive impacts it contributes to society and the commu-nity. Take for instance the absolutely stunning and beautiful new apartment block around the corner and the seemingly absurd paper architecture of “Walking Cities” by Archigram (Fig 1.) that had never been realised.

Despite being a great addition to the local neighbourhood through its means of gentrification as well as fostering the devleopment of better infrastructure and services, what impacts does it have on the greater community and how does it encourage the gen-eration of better architecture?

Architecture as a DiscourseComparitively, the work of Archigram’s would be considered to possess more value in its contribution to the discourse of archi-tecture. Concepts such as the “Plug-In City” and “Walking City” stimulate ideas, recondition the way we think about architecture and ultimately contributes to the discourse through means of innovation as opposed to the mere production of a built fabric.

Unlike what has been going on for the past 4 to 5 millenia in architectural history, society in the 21st century finds itself in an age of digital technology and communication where architects have to deal with an unprecedented network of data and infor-mation. Just as our problems have become a lot more complex and sophisticated, the methods of analysing and resolving them must also be of equal callibre.

As a result, thinking about architecture as a discourse becomes increasingly important. Architecture should always be examined for more than its face value by engaging with the philosophi-cal, cultural and social realms it embodies. Often, it’s the ideas that result from the intermediary processes of design and the dialogue we undertake when interrogating a design issue that allows to contribute to the discourse in innovative ways. It is only through our consideration of architecture as a discourse that we may truly engage, interact and appreciate architecture in a more wholistic manner.

1. Walking City by Ron Herron 1964

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CIRRIFORM by Future Cities Lab

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The project Cirriform is a site specific architectural installation which explores the applications of performance architecture in a very real and practical manner. It represents a new level of interaction between the user and architecture where the experience becomes the primary mode of communication. Despite being relatively simple in concept, the project serves as an excellent example of new digital and computational de-signs are contributing to the discourse around architecture.

As performance and interactive architecture is still in its infan-cy, much of the experimentation, proposals and concepts are generating public discussion about the applications of digi-tal technology and computation in architecture and design. This has led to the emergence of new strains of architectural explorations in producing buildings and structures which are dynamic, interactive, kinetic and responsive. This presents al-most inifinite possibilities and applications in which architec-ture can be used in the future.

The flexibilty and adaptability of architecture such as CIRRI-FORM seems fitting and appropriate in a volatile and dynamic social, economical, environmental and politcal climate as the one we find ourselves in today. An early generation of re-sponsive and kinetic architecture has already been realised with the example of the Milwaukee Art Museum in Wisconsin.

1. CIRRIFORM by Future Cities Lab interactive facade installation proposal.

2. CIRRIFORM by Future Cities Lab conceptual and technical dia-gram.

3. Calatrava, Santiago, Milwaukee Art Museum responsive and re-tractable roof system, Wisconsin, 2001

4. Milwaukee Art Museum interior of the roof system closed as a sun shading device, Wisconsin, 2001.

Museo Soumaya by FREE

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The Museo Soumaya is an interesting piece of architecture which contributes to the discussion of architecture as a dis-course through its aplplications of parametric design and digital fabricative technology and the way in which it deals with cultural and social factors. With the designed intent of being an iconic structure, the museum fulfilled two objectives as set by the cli-ent - (1) to host one of the world’s largest private art collection and (2) remodel an old industrial area of Mexico City. In itself, the brief explicitly draws interest into the way architecture as a built environment impacts the social and cultural context of a city/region of a large populace. It is interesting to note how a building such as this can quickly reshape the reputation and atmosphere of what used to be a suburban/industrial backwater.

Drawing many similarities to the renowned Selfridges Building in Birmingham, the museum finds itself classified as part of a new style of contemporary architecture known as ‘blobitecture’. First coined by Greg Lynn in 1996, blob architecture refers to an emerging formal and geometric field of paramertric design which describes buildings which have an organic, amoeba shaped forms and hypocontinuous surface topologies. Composed of a double curvlinear surface/shell, the museum demonstrates how parametricism is able to translate subjective and experiential cri-teria into a physical mode of expression. It illustrates, with the aid of computational design, how architectural design can contribute and comment on discourse. However, further discussion on the viability of parametricism being considered as a style can be found in A3 - Parametric Modelling.

1. Future Systems architects, Selfridges Building, Birmingham, 2003 - an example of blob architecture through its curvlinear exterior facade/cladding system.

2. FREE architects, Mueseo Soumaya, Mexico City, 2011 - during construction with its structural systems visible

3. FREE architects, Museo Soumaya, Mexico City, 2011 - structural diagram showing the inner columns, structural systems and core that takes the gravitational load.

Computational ArchitectureBefore the invention of the modern computer, designers had little opportunity to stray away from logical and sequential process of de-sign which required the Analysis of a given problem, the Synthe-sis of possible solutions and finally the Evaluation of the chosen solution against objectives and performance criteria. The factors of time and cost have been and still remains to be two of the biggest concerns for architects. They often determine the outcome of any design solution or project in the real world. As a result, much of the emphasis has always been placed on the decisions and outcomes produced during the initial stages of the design process. However, with the new capabilities of computational design and digital tech-nology, designers have now been able to shift and restructure the design process as to provide a more flexible model/system in deal-ing with the ever increasing complex nature of problems related to design. The hassle and costly task of having to redraw a line or perhaps remodel a portion of a building by hand is a thing of the past. All of the inconveniences of manual and analogous methods of design can now be resolved with a few mouse clicks and buttons on the keyboard.

With all this computing power and computational technologies, how and why is it that archtiects and designers are still needed in archi-tecture? Why hasn’t the pen and paper become obsolete? As Yehu-da explains in “Architecture’s New Media”, problems are defined as what they are because they don’t contain sufficient information that can be resolved rationally and they confront the designer with uncertainties that must be resolved. Although, computers serve as superb analytical systems capable of functioning indefinitely and fol-lowing instructions precisely and faultlessly, they lack the creativity, innovation and intuition humans posess which ultimately provides architecture with a sense of character. Delving into a bit of Humean philosophy, I tend to agree that creativity can only exist as a product of rational and empirical knowledge. Try visualising/picturing a totally species of animal and you will often find that what results is simply a piecing together of features of animal parts that you already have knowledge of.

Whilst computation provides us with the logic and analytical means of processing and producing architecture, it is the invaluable and practical knowledge gained from human experience that breathes life to a work of architecture. Together they form what is often known as a symbiotic system of design.

The introduction of computational architecture has had a significant impact in the way architects are thought of in terms of their role and profession in the global and public realms. One of the many areas surrounds the concept of new conceivable forms and geom-etries. Although the mind is capable of imagining and conceiving more complex geometries other than that of euclidean or platonic, traditional means of representing them in space has always been problematic. With the aid of digital and computational design tools, topologies such as blobs1, metaballs2 or klein bottles3 can now be expressed, defined and described accurately with relative ease. This is primarily made possible due to the level and degree of control we are able to have over complex geometries through the careful manipulation of control points and mathematical parameters which define them. The result of this is the ability for architects to design more efficiently by rapidly exploring and exhausting all potential de-sign solutions so that the best candidate may be chosen for fur-ther development. Referring to Woodbury and Burrow’s Whither Design Space, more focus and emphasis should be placed on the research and development in computational design, particularly within the area of design space exploration in the effort of producing a more effective and efficient means of ciphering through the innu-merable permutations and combinations of design solutions.

As a result of the greater level of efficiency, computational architec-ture has also been seen to have an impact on the role architects have as a profession. The use of 3D modelling software and other CAD programs has not only provided architects with the capac-ity of describing and producing much more complex geometries, it has also redefined the way forms are generated. Where previously form-making was used to generate design solutions that best fit a set of parameters and constraints, architects can now engage in “form-finding” techniques.

With the inexhaustible applications of computational architecture, communication then becomes paramount throughout architectural design theory and practice. It is with this case in point that architec-ture as a discourse becomes more relevant and appropriate than ever in the context of the 21st century where computation and digital technology has become inherently imbued into society and culture.

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1. - Lynn, Greg (1998) “Why Tectonics is Square and Topology is Groovy”, in Fold, Bodies and Blobs: Collected Essays ed. by Greg Lynn (Bruxelles: La Lettre volée), pp. 169-182.2. - Geiss, Ryan, (200), “Metaballs (also known as blobs)”, http://www.geisswerks.com/ryan/BLOBS/blobs.html3. - Klein bottle. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:02, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Klein_bottle&oldid=545239236

“Kinetic Rain” is an installation consists 1216 droplets made from cop-per coated aluminium spanning across a field of over 75 square meters. The design illusrates a relatively new concept in architecture known as kinetic architecture only made possible with the aid of computational de-sign through the emergence of scripting and programming. In this case, the waves, patterns and gestures the colelction of raindrops produces is controlled and determined by a scripted program that most probably con-sists of some sort of parametric definition in the way they units respond and interact with one another in an orderly manner. An interesting concept which computation has recently attempted to mimic is ’emergence’;1 a complex system of organicism and biomimicry .

It is a fine example of the applications of computational architecture in producing a piece of sculpture /architecture that is not only functionally and aesthetically appealing but also one that is performance oriented in its design in the sense that it is able to respond intelligently to its context and environmental conditions. Although it serves merely as avisual spectacle in the airport terminal, the computational systems employed can be adopted and made applicable to building environmental management systems such as sun shading devices.

Another fascinating case study relevant to the realm of performance oriented architecture is the concept of “Metamorphosis”2. Designed by Philips, the project explores human living conditions and how we have become separated from the natural world in through the spaces we in-teract with on a daily basis. Using computational design, it is now pos-sible to redefine flexible space in producing architecture that goes beyond movement to deal with the notions of growth, expansion and contraction. Metamorphosis Shimmer presents a direction within computational design and architecture towards creating intelligent architecture that can respond and quanitfy performance based criteria that transforms and adapts to the dynamic nature of environmental conditions we experience every day.

KINETIC RAIN by Art+Com

Figure 1 - Art + Com, Kinetic Rain, 2012, Changi Airport, Singapore, performance/kinetic architecture.

Figure 2 - Philips, Metamorphosis, Shimmer Wall, 2010, interactive and responsive wall sun shading device/wall.

Figure 3,4 - Philips, Metamorphosis, Wave Daybed concept, 2010.

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1. - Emergence. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:38, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Emergence&oldid=5450946052. - Philips, (20 May 2010), Philips Design - Metamorphosis, http://www.design.philips.com/sites/philips-design/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis.page

Signal Box 1994 in Basel is a building designed to contain electronic equip-ment and apparatus to regulate signals for trains arriving and departing the station. It is an excellent precedent demonstrating the use of computational architecture in a realised project. The implementation of computational design is evidently noticeable through the geometry of the building. Contained be-tween a bridge and the street, the building’s ground floor plan has a trapezoi-dal configuration defined by the railroad tracks. The overall form is completed in gradation where the trapezoid terminates into a rectangle at the top as to improve visibility for its higher floors. The strips of copper cladding which make up the exterior are spcifically twisted and distorted in certain areas as to admit daylight as well as give the building its aesthetic appeal.

As a whole, the Signal Box is a piece of performance oriented architecture which utilises computational design in coming up with a design solution by processing the constraints and parameters set by the architect in producing a form and sun shading system most appropriate in its given environment. Without the aid of CAD, the accuracy and precise manipulation of distortion in the louvre system as well as the manufacture/fabrication of these compo-nents would not have been possible. Unlike many conventional buildings, the Signal Box is unique in that it critically responds to its context by presenting a relationship with the adjacent railway tracks.

Explained by Kai Strehlke in the AD1, the Digital Technology Group at Herzog de Meuron use computational design explicitly as a tool or design aid to generate their established designed intent as opposed to using computation to inform their design. Just as each building design is specific to its site and context, so is the strategy and use of each computational tool. Viewed in this manner, Herzog de Meuron is a practice that embraces and addresses architecture as a discourse in their use of computational design. They do not superfluously copy, recycle and abuse a well defined algorithm, script or parametric model across their designs. With the example of the Signal Box, a specific script was produced by the design team to develop the louvres on the facade which responded to a set of performance driven criterias which considered light, views, insulation and so on.

SIGNAL BOX by Herzog & de Meuron

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Figure 1 - Herzog de Meuron, Signal Box, Basel, 1994, front facade.

Figure 2 - Herzog de Meuron, Signal Box, Basel, 1994, copper facade loucre system.

1. - Furuto , Alison. “Flashback: Signal Box / Herzog & de Meuron” 24 Jul 2012. ArchDaily. Accessed 04 Apr 2013. <http://www.archdaily.com/256766>2. - Peter Brady, Architecture Design Journal vol 83, “Computation Works - The Building of Algorithmic Thought”, John Wiley & Sons, Ltd.

There has been great deal of debate and controversy recently surrounding the ideas of parametric design within the archi-tectural discourse. However, upon closer inspection, engage-ment and critical discussion, the problem with the concept of parametric design or parametricism appears to be one of definition. This is hardly a surprise considering that we are still at the stage of infancy when it comes to our understanding of what parametricism truly embodies in terms of its ideas and concepts. As architects and designers, it is reasonable to say that our knowledge of parametrics is indeed shallow and until we become masters of discourse surrounding para-metric design, we can only speculate its value and potential. Nevertheless, let us shed some light on what parametric ar-chitecture could possibly mean for us in this point in time.

According to Daniel Davis’ definition, parametric design is simply a design process or a way of form finding that pro-duces geometric models (design solutions) whose geometry is a function or result of finite set of parameters/constraints defined by the author or user. With this being said, it can be argued that the fundamental ideas of parametrics aren’t something new at all. In fact, they are so commonplace that we have been employing the system throughout his-tory for centuries and if not millennia. In any design solution, whether it may be a piece of furniture or an entire house, the invisible forces of perceived constraints and parameters are always active in the form of common knowledge and conventions. However, what has made parametric design a sensation of late is its symbiotic relationship with computa-tional and digital technologies within the past few decades.

Parametric Modelling

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With the aid of computational design, parametric ar-chitecture has enabled designers to exponentially in-crease the number of possible design solutions through the efficient and precise nature of managing and ma-nipulating more complex parameters and constraints. This has provided designers with the liberty of being more open or flexible within the conventions of the de-sign process. Complex morphologies and topologies such as the blob and metaball have been envisioned a long time ago, but it is only with the introduction of computational architecture that the radical designs of Boullee’s Bibliotheque or Tatlin’s tower can be realised.Referring to Woodbury, computation has undoubtedly expanded what we refer to as the design space. With such a vast space for exploration containing a seem-ingly infinite number of solutions, it is important that we also shift our focus to the field of parametrics in devising better means and methods of search within the design space. Thus, from here on, it would be more appropri-ate to consider reworking the title/topic of parametric design to incorporate the ideas of computational design or computational architecture. Perhaps we should re-ally be calling it computational parametric architecture.

Figure 1 - Etienne-Louis Boullee, Bibliotheque du Roi, 1785 Figure 2 - Vladimir Tatlin, Tatlin’s Tower - The Monument to the Third International, 1917

For the idea of parametrics or parametricism to evolve into a ‘true’ style, a lot more groundwork has to be established. There needs to be an element of practicability besides the designing the one-percenters of multi-million dollar theatres and convention centres. It needs to be fully exploited and understood and made into an economically, socially and cul-turally viable option. Although parametric designs (modelling) has its distinct advantages when it comes to its flexibility, efficiency, speed and accuracy. Hence, the notion of para-metricism, when though of as a process rather than a style, is not inherently a bad thing. In fact, it is beneficial in serving as a tool for amplifying and enhancing design capabilities. How-ever, it has yet to be really be able to quantify experiential, emotional and intuitive factors which for instance minimalism and modernism has been able to achieve. Furthermore, it is irrefutably a difficult language to learn and communicate with others. Often it is the case where it is only the author of an algorithmic definition that possesses the knowledge and capability of manipulating parameters and properties. Until the language of scripting and knowledge of algorithmic defi-nitions is properly understood and known to a larger com-munity of people, parametric architecture will continue to be viewed as an exclusive or elite branch of architecture which will remain inaccessible to the masses. In a world filled with multiplicities and pluralisms such as the one we live in today, it is becoming increasingly difficult for architects to come up with a definitive style of architecture. Within a global community and such a vast discourse it may perhaps be that the new style is to not have one at all and in-stead embrace the pluralistic and individualistic that is. There may be no universal solution or style. Perhaps we should return to ideas of critical regionalism where universality is to be a summation of locality – think local act global.

Having established that parametric architecture is a method of approach, a system or design process and a new way of thinking about architecture, is it also fair to suggest that it embodies or expresses a new ‘style’? Referring to Schum-acher’s article for the AJ1, should parametricism be allowed to completely replace modernist and post-modernist ideals? If you agree with Davis and Mayer then the answer is an obvious and definite no. Parametricism can’t and shouldn’t be thought of as a style. Styles are a form of lens that we put on that enables us to pass udgement or comment on something which in the case is architecture. It provides us with a means of comparison and a way to identifying with the subject. As Adam Mayer explains, classifying architecture by type of style is poor and pathetic. It really is the antithesis of architectural culture, morals and ethics especially when it only takes into account the formal and aesthetic qualities of a building. This further enforces our need to regard archi-tecture as a discourse as it embodies so much more than the symbolism found in its physical and outward expression.Taking the modernists as a case in point, when Le Corbusier established the “Five points of architecture”2, he didn’t use them as a means to define a particular style. Instead, the pi-oneers of modernism such as Corb, Loos, Gropius and Mies, saw their contributions as more of an attempt or movement to realise an idea that sought to cure the poor post-war living conditions in Europe. As a result, it is an injustice to talk about architecture as a style without fully understanding the broader discourse in which cultural, political, economi-cal and social factors are responded to. It has been proven throughout the course of history with the likes and success of movements such as the Arts and Crafts, Art Nouveau and Modernists that the idea serves as a much more powerful driver for change as opposed to mere aesthetics and the desire to produce visual spectacles.

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Parametric Modelling

1. - Schumacher, Patrick, 2010, Architectural Journal, “Parametricism - let the style wars begin”, last modified 6 May 2010, http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article2. - Le Corbusier. (2013, March 31). In Wikipedia, The Free Encyclopedia. Retrieved 05:46, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Le_Corbusier&oldid=548062894

The architects Harrison and White were recently awarded by the Australian Institute of Architects Victoria for the design of this house in Northcote in 2011. Situated in a typical Victorian suburb, the Foyn-Johanson House provided the architects with a challenge to maintain and integrate some sort of relationship between the living space and natural amenities of the site as well as to take into consideration the key issue of utilising sunlight to improve both the new and existing construction of the home. With limited space, the project also makes an evident attempt to address the idea of preserving light into the small garden space where the users/owners have the opportunity to enjoy a well-lit garden throughout the day.In the context of and discussion of parametric design, the house illustrates the benefits and advantages parametric modelling in the way it is able to resolve complex design issues. In the process of generating an appropri-ate form for the house, the constraints and parameters were defined by the criteria found within the design brief set by the owners – a larger living space and the desire to maintain good solar access to the garden. Having established the parameters, the design process utilised the application of a parametric subtractive solar technique (Subtracto-Sun)1 that was able to generate a form defined by sun path analysis to provide maximum light penetration. The result is a design solution that is able to address and syn-thesise a number of site specific and performance based issues that could not have been achieved through conventional means of design. As opposed to the flamboyance and exuberance of ZHA parametric de-signs, the Foyn-Johanson House by Harrison and White serves as a fine example of how it can be applied to a common and broader context of institutions. Intelligent and parametric design does not necessarily have to result in blobs or hyposurfaces all the time. It also need not respond to abstract and arbitrary fields and attractors to produce good and visually interesting structures.

Foyn-Johanson House by Harrison and White

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1. - White, Marcus, 2011, MUSSE, Foyn-Johanson House Northcote, http://musse.unimelb.edu.au/august-11-67/marcus-white

Figure 1 - Harrison and White, 2011, Foyn-Johanson House, Northcote, rear sun path deduction facade.

Figure 2 - Harrison and White, 2011, Foyn-Johanson House, Northcote, stairwell and lighting treatment.

Figure 3 - Harrison and White, 2011, Foyn-Johanson House, Northcote, axonometric diagram of rear facade

The London Aquatics Centre completed in 2011 is a good representation of the parametric modeling and its ability to generate complex forms and geometries. Serving as the main venue for the swimming events of the recent Olympics in 2012, the facility houses two 50m swimming pools and a 25m diving pool. As described in the ZHA website, the overall concept of the building was inspired by the “fluid geometry of water in motion”. The single and continuous undulating roof surface encloses the pools in a unifying gesture that responds to the sur-rounding environment and the landscape of the river of Olympic Park. Undoubt-edly, without the aid of computational design, the construction of a structure of this magnitude and scale consisting of such a complex surface topology would not have been possible. The sheer amount of components would have caused an organizational nightmare, not to mention the degree of precision that is re-quired to fabricate the steel frames and precast panels for the roof. However, this only further accentuates parametricism as an excellent tool or design process for producing architecture. Beyond the scope of an iconic landmark and a visually breath-taking piece of architecture, the works and designs of ZHA (Zaha Hadid Architects) has come under fire and has been heavily criticized by the media and the likes of individu-als such as Mayer and Davis1 2. Is it suffice or appropriate to claim that a build-ing is parametrically design simply because it was conceived/generated with a parametric software? Apart from its fluid symbolism and its physical constraints with regard to site parameters, there isn’t any evidence to suggest that it inher-ently responds to the context as the Foyn-Johanson House has. It may very well have fulfilled or surpassed performance-based criteria in terms of its structural integrity, which may have also been parametrically determined, however, it lacks a site-specific contextual response and consideration of discourse especially when you place all of ZHA’s work side by side. The repercussions of a world renowned and iconic practice such as Zaha’s is particularly evident in the attention to detail. With the London Aquatics Centre critics have accused the curvaceous roof as a design blunder that has ob-structed views from many of the top rows from viewing certain events. Another example can be found in the design for the Guangzhou Opera House. Despite being awarded by the Top Architectural Record, the building shows many flaws in terms of finishes and panels which don’t quite fit together in certain areas. This illustrates how blind ambition and designing for design sake can lead to the ignorance of the small things that matter.

London Aquatics Centre by Zaha Hadid

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1. - Mayer, Adam, 2010, “Style and the Pretense of ‘Parametric’ Architecture”, Adam Nathaniel Mayer_ Style and the Pretense of ‘Parametric’ Architecture.pdf2. - Davis, Daniel, 2010, Digital Morphosis, “Patrik Schumacher - Parametricism”, http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/

Figure 1 - ZHA, London Aquatics Centre, London, 2012, Diving Platform render

Figure 2 - ZHA, London Aquatics Centre, London, 2012, parametric roof structure

Figure 3 - ZHA, London Aquatics Centre, London, 2012, building under construction

Algorithmic Explorations25 26

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Algorithmic Exploration - 1

This section of the algorithm is responsible for overlaying the geometrical surface patterns onto the lofted surface. A cull sequence is used to provided an alternating grid arrangement for the 2 different geometries.

The source node which defines the base geometry from Rhino.

The repeated group of defintions which is responsible for offseting and duplicating each layer of contour. Sliders are used to control the degree of rotation and offset distance.

The definition created here is a good example how computation and parametric modelling can produce complex forms and geometries very quickly, efficiently and precisely. Just from the one algorithm, I was able to produce many varia-tions of the same basic model/vase. As opposed to the conventions of having to engage in form making, the parametric model allowed me to explore the design space through form-finding or form generating processes.

Extending my research from the tutorials made available on lofting and basic curve generation, I was able to develop an extension to the basic algorithm which enables patterns and geom-etries to be overlayed onto the surface. By then applying it to the model, I got a better insight as to how particular practices such as Gehry or ZHA might have gone about modelling their organic forms and buildings.

1. Describing a simple rectangle by manipulating the X and Y inputs about a specified plane.

2. Moving the base geometry in the Z direction x units as controlled by the number slider. The corners of the geometry is then extrapolated as points and joined to form a cube.

3. The surface is then extruded from the base geomtry to form and solid cube.

4. The geometry is then popularted with a random set of points and voronoid to produce a set of arbitrary points and surfaces.

5. The wireframe is extracted to illustrate the algorithms end result of converting/reinterprating the form produced into simple curves and points.

Algorithmic Explorations - 2

This particular algorithm was successful in the sense that it demonstrates how simple and basic forms can be constructed from one single point in Rhino. It intro-duced me to the concepts of Grasshopper’s logic and data structure. Grasshopper is a highly mathematical modelling system that synthesises and weaves basic mathematical expressions to produce complex definitions and nodes such as the Voronoi. The exercise also demonstrated the mutiplicities and many different ways of producing the same outcome. A square can be defined through a single node or a network of nodes which describe points, offsets and moves.

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This Grasshopper definition simple overlays a hexagonal grid pattern onto the lofted surface. I had plenty of issues trying to lay a hexagonal or triangulated grid onto the surface, hence I borrowed someone elses and attached it to the definition i had created earlier. The biggest issue I had was trying to figure out how I could define a plane to allow the grid nodes to function. However, it seems that you would need to customise and generate your own algorithm to do this.

Algorithmic Explorations - 3

To produce a gridshell or another similar type of form, the Grasshopper definition can become complex and chaotic. Although parametric modelling has its beneifts and advantages, it also has its shortcomings an issues. This particular algorithm is a good example of how the scripting and algorithmic language can make parametric modelling inaccessible to many. As much as it makes things easier to describe forms like this, it is also just as difficult to learn how to do it. Having an extensive definition may allow you to have a greater degree of control over the form, an error in the data structure can have serious repurcussions. It is very difficult to trace the error back to its source and then make appropriate adjustments. Nevertheless, the algorithm was successful in producing a highly sophisticated hexagonal gridshell.

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Closing Remarks - Case for Innovation

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CONCLUSIONIn tackling the Case for Innovation with regard to the Wynd-ham City Gateway design competition, it is firstly paramount that the design solution should consider the broader dis-course it embodies. Rather than producing something that is solely visual and aesthetically interesting, the response should be one that is site specific and contextually ori-ented. With the example of Herzog de Meuron’s practice, the computational component along with any use of digital tools and technology should only aid the design process. The established design intent should be key in informing the tools, definitions and algorithms, not vice versa. Likewise, the use of parametric modelling tools, in this case Grass-hopper, should serve only as an extension to the design intent. With this in mind, I would like to propose a design that contributes to the architectural discourse surrounding the concept of mobility and kineticism in the context of a project that is explicitly linked to the highway. The design solution should be performance based where its success should be made quantifiable in terms of experience.

LEARNING OUTCOMESArchitecture Design Studio Air, thus far, has served as an invaluable extension to the experience I had from Virtual Environments. Learning Grasshopper has been challenging but rewarding as it has provided me with a powerful tool to design with which I will most definitely utilise in future design projects. Prior to the studio, parametric modelling and computational architecture to me was something only to enhance the capabilities of what could be produced, however, it is now clear that the discourse around design bares a lot more responsibility as to how architecture is to be perceived and viewed by others outside of the profes-sion. It is something our generation of designers cannot escape from and thus must be engaged with critically. In the last 4 weeks of exposure and discussion, it is evident that parametricism and computational design will be the topic of debate in the years to come.

PART BEXPRESSION OF INTEREST:DESIGN APPROACH

SECTIONING

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LAYERS

COMPONENTS

ORGANISATION

FUNCTIONS

LOGIC

DISTINCT

2D PLANE

JOINS/SEPARATES

FILTERS

BREATHES

DIVIDES

SECTIONING

SCANWICH

Any of the more or less distinct parts into which something is or may be divided or from which is made up.

To divide into smaller parts or units.

A part that is cut off or separated.

A distinct part or portion of something written.

The plane figure resulting from the cutting of a solid by a plane.

A natural subdivision of a taxonomic group.

One segment of a fruit.

A basic military unit usually having a special function.

A part of a permanent railroad way under the care of a par-ticular crew.

A division of an orchestra composed of one class of instrucments.

The process of drawing an object imagining it to be cut through by a cutting object. v

Image - Scanwich, Sandwich Sections, 12/5/13, http://scanwiches.com/ - Cafe Clementine: Smoked Turkey, Bacon, Lettuce, Tomato, Avocado Mayo, On Seven-Grain Bread

THE WHOLE

STRUCTURE PROGRAM SOCIALPOLITCAL

As a group, we generally agreed upon pursu-ing sectioning as a design approach or system in developing a solution for the Wyndham City Gateway project. The approach seemed to be appropriate and appealing as it offered us with a pragmatic means of thinking about how cer-tain geometries and forms can be fabricated and built. Of the multitude of other design ap-proaches such as geometry, biomimicry, tas-selation etc., we believed that sectioning was capable of generating forms that are both vi-sually dynamic and structurally rational. There is also a great degree of versatility and flexibil-ity in the approach in that patterning, folding and other techniques can be incorporated or overalyed onto contour models. As the design is targeted at an audience that will be viewing the structure at speeds of up to 100km/hr, a design which uses sections would serve as an interesting experience for drivers/passengers by considering the concept of viewing a de-sign that deals with the notion of change in a span of space and time.

SECTIONING

Despite the various advantages and benefits sectioning offers as a technique, there are several risks that are associated. As a design approach, sectioning is an area that has been thoroughly explored and manipulated as a fabricative tool. To produce something new that is authentic and perhaps provide a fresh perspective we’ve made an attempt to expand the concept and design parameters as a means to investigate what a section could potentially represent. The next few pages will interrogate the ideas of a “section” in terms of it being a structure, program andsocial/political infor-mant.

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STRUCTURE SECTIONING

As a structure, sectioning is an approach that is capable of producing large and wide span-ning structures such as the renowned waffle roof structure (left) of the Kogod Courtyard Smithsonian Institution by Foster & Partners. The structural integrity and its ability to resist large loads is attributed to the nature of the waffle grid as a strucutral system where the lateral bracing provided by the perpendicular intersection produces a very rigid structure. Not only is the technique capable of produc-ing structurally proficient structures, it is also efficient and economical in its use of materi-als and construction/fabrication. As ooposed to having to describe a single and continu-ous surface, the technique enables large and complex forms to be broken down into small-er components. This aids designers by mak-ing the construction and fabrication process through the organisation and management of components.

Furthermore, the types of structures the tech-nique produces, possesses a unique aesthetic quality that delves into the essence of space and time. With the example of Bill Brand’s sub-way zoetrope “Masstransiscope”, sections are capable of capturing moments or instance of views/experiences which can be quite pro-vocative and interesting in terms of visual ex-pression.

KOGOd COURTyARd SMIThSOnIAn InSTITUTIOn

Architect: Foster + Partners

Location: Washington DC, USA

1 - Brand, Bill,, Masstransiscope, 12/5/13, http://www.bboptics.com/masstransiscope.html2 - Foster and Partners, 2013, Simthsonian Instittion, 12/5/13, http://www.fosterandpartners.com/projects/smithsonian-institution/

Figure 1. Bill Brand, New York 1980, Masstransiscope subway installation.

Figure 2. - (Left) Foster and Partners, 2004-2007, Kogod Courtyard SMithsonian Institu-tion, Washington D.C.

PROGRAMSECTIONING

WALL hOUSE

Architect: John Hedjuk

Location: Groningen, Netherlands

As a physical approach and from a technical point view, sectioning simply refers to the idea of dividing a whole object or idea into smaller units or distinct parts. However, once we ex-pand the conceptual parameters, sectioning could also be interpreted to emobdy ideas which relate to the ways in which information can be organised, managed and comparmen-talised into layers. This essentialy refers to the functional program that determine the way in which space is designed or organised in a building. Take thework of Hejduk for instance. WallHouse 2 is an interrogation of architecture in terms its or-ganisation of a building’s functional program where colours and dissimilar spatial forms outline different spaces of the house. What is also really interesting is the the way in which Hejduk makes use of a 2 dimensional planar wall that both disconnects and groups func-tions as to comment on the nature and spatial heirarchy of a home. This is particularly relel-vant to the Wyndham City Gateway proposal in that it presents the idea of a physical thresh-old whilst heightening the momentary condi-tion of passing through a space in an instance - “the moment of the present”. Considering this, it would be interesting to consider de-signing an object that interrogates or disrupts the conventional program of a gateway.

1 - Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html2 - Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html3 - Hejduk, John, 1973, akurkolova Wallhouse 2, 12/5/13, http://risddrawintar.wordpress.com/category/assignment-1/

Figure 1. (Top) Hejduk, John, Wallhouse 2, Netherlands, 1973 - diagram of functional spaces

Figure 2. - (Left) Hejduk, John, Wallhouse 2, Netherlands, 1973

Figure 3. - (Above) - Hejduk, John, Wallhouse 2, Netherlands, 1973 - 3D computer model of functional groups

SOCIALPOLITCAL

SECTIONING

POLITICAL ARChITECTURE (MAChInES)

Fictional/ Paper Archiecture

Architect: Lebbus Woods

As discussed in part I of the EOI, architecture is irrefut-ably informed, influenced and in constant dialogue with the social, political, economical and cultural agendas of society. Forming the built environment and urban fabric of cities, architecture can be thought of being a “section” of our lives - the human condition.

Although didgital technology and architecture has be-come increasingly popular and efficient, the virtual world is still remains subordinate to the physical one. As Leb-bus Woods explains, although the primary means of com-munication these days may be through social media and text messaging, people still have to be physically present to claim space as their own. Hence, architecture and the design of physical space still posesses an important role to play. Thus, the intent

Figure 1. (Top) Woods, Lebbus, Political Machines, 2009 - Freespace structures serving as communication centres and personal spaces.

Figure 2. - (Above) Woods, Lebbus, Political Machines, 2009 -

1 - Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html2 - Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html3 - Hejduk, John, 1973, akurkolova Wallhouse 2, 12/5/13, http://risddrawintar.wordpress.com/category/assignment-1/

OnE WAy

CITy COUnTRy

OnE WAyGATE

CITyTO

COUnTRy

FILTER/FUnnEL

THE CONCEPT

The idea here is try and alter the program of a two way system and turn the high-way into a one way gate out of the city. The site will be dealt with as if it were a bor-der crossing or some sort of threshold in which commut-ers will have to go through. The concept is likened to the way a traditional fish trap where it becomes easy for an object to enter from one way but difficult to exit/escape from within.

Serving as a one way gate out of the city, the archi-tecture/design will seek to provide a commentary or generate thought or discus-sion about the norms of the city as being a better place to be. Why are we drawn to the CBD? What makes the City a better place to work and live?

Being a one way gate, the concept of a filter or a fun-nel naturally comes into play. There is the notion of being fed through one end of a sys-tem or object and then spat out the other end. As we are dealing with sections, the de-sign will consist of a series of thresholds or screens which essentially filters an experi-ence as commuters leave the city and make their way into the country.

1.0 BAnQ URBAn A&O2.0

CASE STUDY

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The Banq Restaurant by Office dA serves as an excellent example of parametric sectioning by transforming what is a rel-atively rectangular room into one that is vibrant and dynamic. Responding to the relationship between the functional dining spaces and the services located in the ceiling, the striated wooden pan-els system functions not only contrib-utes to the interior design and fine din-ing experience but also acts as a canopy that conceals the equipment above. The system of sectioning here overcomes many concerns that come with fabrica-tion. Instead of having to create moulds to produce a large monolithic surface, which would be both time consuming and costly, the contours and sections al-low each of the panels to be milled by a CNC machine.

Banq Wood Restaurant by Office

SURFACE DIVISION BREP CONTOUR EXTRUDE

FIELDS

Reference geom-etry from Rhino

Divide surface into X and Y points

Brep surface Produce contour lines from brep surface

Extrude contours to produce vertical planes

Optional field attractors and point charges to produce variation in surface

BAnQ RESTAURAnT

Architect: Nader Tehrani - Office dA

Location: Boston, MA, 2006-2008

1.0

Figure 1. (Left) Office dA, 2008, Banq Restaurant, Boston - 3D model of the interioir and structural systems used to secure the timber panels.

1 - Office dA, 2006-2008, Boston, MA, 12/5/13, http://supertacular.com/2011/01/banq-restaurant-by-office-da/

VARI. 01

VARI. 02

VARI. 03

VARI. 04

VARI. 05

VARI. 06

VARI. 07

TECh A TECh B TECh C TECh d TECh E TECh F TECh G

Design Matrix

VARI. 01

VARI. 02

VARI. 03

VARI. 04

VARI. 05

VARI. 06

VARI. 07

TECh h TECh I TECh J TECh K TECh L TECh M

Design Matrix

VARI. 01

VARI. 02

VARI. 03

VARI. 04

VARI. 05

VARI. 06

VARI. 07

TECh n TECh O TECh PUsing the provided definition of the Banq Restaurant, I conducted a series of algorith-mic explorations to produce a design ma-trix of various outcomes in relation to sec-tion as a technique. By playing around with the inputs which dealth with the number of divisions are made to the base geometry or the vectors in which the planes are ex-truded, a wide range of interesting forms and geometries began to emerge. To gain a greater degree of control within the ge-ometries and forms that were being pro-duced, I had added input sliders wherever possible.

Of the various outcomes produced, the most interesting variations of the defini-tion include Technique H, J and L simply because they generated the most unex-pected forms. However, as a group, we still remained dissatisfied as the results still lacked any sort of great variation between them. The definition is essentially only ca-pable of generating iterations of the same basic model of planes and contours. As this is a form/technique that has been thor-oughly explored, we felt that we had to move on to developing our own definition.

Design Matrix

The definition used to generate the mod-els was relatively straightforward. A base geometry/surface is first referenced in Rhino where it is then divided into a grid of points where lines are interpolated and ex-truded to produce the lofts and contours. To produce the various variations of the base model, I added a number of controls so that vectors, points and lines could be controlled. Some of the inputs which be controlled include the direction/vector in which the contours are extruded towards, the number of grid divisions, point attrac-tors, and scale. To further extend the de-gree of control of the surface geometry, I had attempted to produce a definition which defined a surface from a grid of vec-tors determined by point charges.

Matrix

Method

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Urban A&O

This project was an innovative outdoor structure produced by the Washington University School of Architecture which fo-cused primarily on the explorations of sec-tioning, divison, marking and assembly of a parametric design. It is particualrly useful as a precedent in illustrating the formal and compositional possibilities of sectioning as a design aprroach. The design is interesting as it consists of multiple layers of reticulated surfaces that differs from the conventional ribs and portal frames used in most architec-tural structures. It demonstrates the flexibil-ity, and adaptibility of sectioning in incorpo-rating other methods of subtraction, solid differentiation and field distortions. In my attempt to reverse engineer this particular model, a set of curves were firstly defined, distanced, scaled and then finally lofted. The distortions were controlled by a series of vectors at each curve. A possibly random set of points about the model was then used to define spheres and elipses which were then subtracted from the surface.

CURVES MOVE/SCALE

SHIFT LOFTBREP/

CONTOUR

SUBTRACT

2.0

Reference geometry from Rhino

Manipulating and distorting curves to produce geo-metrical variations

Shifting curves along the X and Y axis

Loft between the curves to produce a form

Brepping and dividing surface into contours

Evaluating the solid differential by cutting circles and ellipsoids from the loft

URBAn A&O OUTdOOR SCULPTURE

Architect: Washington University School of Architecture

Location: Washington

Figure 1,2,3 . - Urban A&O in collaboration with WUSA, Ourdoor parametric sculputure.

1 - Urban A&O in collaboration with WUSA, Ourdoor parametric sculputure. http://www.archello.com/en/company/urban-ao

47 48

Reverse Engineering 2.0

TOP - Lofted surface which have been previously manipulated by scaling and shifting each individual curve.

MIDDLE - Solid difference between the closed lofted surface and randomly gen-erated spheres across the surface.

BOTTOM - The resultant geometry with the spheres subtracted from the base surface. The surface is then contoured, extruded and lofted once more to pro-duce the outcome (opposite page).

The BlobThe process of reverse engineering is a pro-cess of exploration whereby the technologi-cal principles of a devide, object or system is reproduced through the analysis of structure, function and operation. In this specific exam-ple, I produced a parametric definition which attempts to reproduce the Urban A&O sec-tioning sculpture. The process fundamentally follows an algorithm which transforms a set of curves step by step into a series of contours and sections and finally into a rib-like cylinder. Adding a slider wherever possible, the defini-tion was successful in having a great degree of control over the base geometry. This enabled me to produce a great variety of variations. A number of additonal supplementary defini-tions were plugged into the main definition for panelling, extrusions and other experiments.

The overall exercise was useful in informing the group about the possibilies and disad-vantages of pursuing sectioning as a design approach. Contouring and extrapolating sec-tions in a complex geometry isn’t as easy as it seems. There are often sequences and lists that need to be resolved for the model to actually work; such as the issue with regard to closed lofted surfaces before solid differentiation can be cpplied. However, the approach does pro-vide flexibility in how we can treat surfaces and produce a wide range of forms. It proved to be a lot more successful as compared to Case Study 1.0.

1 - Urban A&O in collaboration with WUSA, Ourdoor parametric sculputure. http://www.archello.com/en/company/urban-ao

Figure 1,2,3 . - Renders of the reverse engineering case study 2.0

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Reverse Engineering 2.0

FabricationThe process of fabricating the model was challenging as it required a certain degree of organisation in dealing with hundreds of dis-similar components. To replicate Urban A&O sculpture as closely as possible, we decided to fabricate the model using a combination of perspex and plywood as materials. To mimic the interesting undulations and intrusions of layers, a set of curves were selected and scaled down. This meant that the model consisted of alternating layers of perspex and plywood contours. Once the materials had been laser cut, we referred closely back to the digital model to attach the pieces together. The ex-ercise was useful in allowing us to understand the fabricative process a lot better.

LightingThe intent of using perspex as opposed to co-loured acrylic was so that we could conduct ligthing experiments with the model. Insert-ing LED lights into model produced some very interesting effects and visuals. The images on the right illustrates the effects we expect to achieve using sectioning as a technique. The rays and beams of light that are diffused between the ribs replciate the effect of night conditions when car headlights shine out from the object or structure.

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WAFFLES hOnEyCOMBPROTOTYPINGEXPERIMENTATION

EXPLORATION

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WAFFLE

SURFACE dIVIdE RIBS

REFEREnCE GEOMETRy FROM RhInO dIVIdE SURFACE InTO A GRId EXTURdE ThE GRId LInES

Prototype 1

This first prototype was fabricated based on the forms pro-duced from the Banq Restaurant matrix. As illustrated with the parametric diagram above, an existing surface is first referenced in Rhino where it is then dividied into equal seg-ments. A grid is overlayed on the surface and then extruded to produce the waffle structure. It is a relatively simple de-sign to fabricate. However, it has the potential in becoming a complex object as the number of connections and strips increases. This was particularly evident in a second variation of the model we produced where the system was scaled up to a bigger size.The photograph on the left shows the con-nection problems we had with a bigger model. Just from producing a small scaled model such as this, we were able to demonstrate the integruty and rigidity of sectioning as a structural system. The model was self supporting fairly rigid.

- Scaled up version of prototype 1.

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hOnEyCOMB

Prototype 2

GRId SCALE LOFT VERTICES

hEX GRId WITh ATTRACTOR

MOVE GRId UP And SCALEd SMALLER

CREATInG ThE SURFACE BETWEEn ThE GIRd

MOVInG TO RhInO TO FABRICATE

In the attempt to explore other techniques, we moved away from using contours and planar ex-trusions and turned to the use of grids, patterning and geometry. This second prototype is produced from a pair of hexagonal grids which are then scaled and lofted. The vertices of the cells are then extracted and connected with lines as to create a spoke and wheel-like geometry. The exercise was able to produce quite an interesting and unique pattern which we thought could be used as units to create a structure of sorts. However, there were many issues that were encountered during the process of fabrication. This particular prototype illustrates the importance of using the right mate-rial as it created a lot of conenction problems as each piece had to be manually joined together. The final outcome was a rather messy model.

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hOnEyCOMB

Prototype 3

GRId SCALE LInE LOFT

hEX GRId MOVE UP And SCALEd SMALLER

COnnECTIOn OF TWO GRIdS

SURFACE MAdE OUT OF ThE COnnECTUInS

Referring back to the concept of the filter and the one way gateway, we de-veloped a variation of the honeycomb definition that expressed the idea of a funnel. From a single hexagonal grid, a single point attractor was used to es-tablish a single vector in which all the vertices were extruded to. Although relatively simple, the outcome gener-ated a very interesting geometry. The structure was successful in capturing vistas and views which defined mo-ments or instances which the user can view from or towards. The test was also able to replicate the process of filtra-tion which in this case was light.

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hOnEyCOMB

Prototype 4

GRId CEnTEREd SCALE RIB

hEX GRId SELECTInG ThE CEnTER OF ThE hEX

MOVInG ThE GRId UP And SCALInG SMALLER

SLICInG ThE MOdEL TO CREATE ThE RIBS

Trying to maintain some form of contouring and sectioning, we made an effort to inte-grate the honeycomb definitions with layers of contouring. Utilising the same hexagonal grid, the base was copied and moved in the Z axis and scaled by a factor of 0.9. This pro-cess was repeated several times to generate an inverted pagoda like structure. This pro-totype produced quite a beautiful sculptural quality to it. However, it lacks the dynamism achieved with the other models. By adapt-ing the contouring definition, we were able to fabricate quite easily a relatvely complex geometry if surfaces had to be unrolled.

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WAFFLE

Prototype 5

SURFACE hOnEyCOMB EXTRUdE

REFEREnCE SURFACE FROM RhInO

REFEREnCE SURFACE FROM RhInO

CREATInG A SURFACE FROM ThE GRId

Determined to produce something that was dynamic, we returned to the waffle and attempted to replicate the Manifold Wall by Matsys. Ideally, we wanted to cre-ate a number of point charges that would push and pull different groups of points on a wall to give it an interesting wavy geom-etry, However, we were unable to achieve this and had to simply reference a NURBS surface in Rhino and overlay a honeycomb/waffle grid into it. What was particularly fascinating with this prototype was the performance of the material and structure in its ability to flex, bend and stretch to pro-duce interesting variations and effects.

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STRESS INFLATION

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STRESSAfter receiving feedback from the mid-semester EOI presentation, we as a team decided to take our design approach a step further by considering stress as a driver and input for our design. Our argument here is that the crossing will be filtering stress and congestion from the city tow-wards the country. We want to produce something that responds kinetically. The prototype above illustrates the test we conducted in the way our waffle wall and the choice of materials will react and respond to stresses of something inflatable that is plugged into the cells. The idea is that these membranes or pockets of air will inflate or deflate according the traffic flow at par-ticular times of the day. This way the architecture is site specific and contextually responsive.

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SURFACE

REFEREnCE SURFACE FROM RhInO

WAFFLE

MESh

TURnInG ThE SURFACEInTO A MESh

GRId

CREATInG A GRIdFROM ThE MESh

MOVE

MOVInG ThE GRId POInTS

EXTRUdE

EXTRUdInG ThE GRId

Inhale Hold Exhale

Peak Hour Off-PeakNormal

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One Hundred and Eight by Nils Volker

INFLATION/DEFLATION

The installation One Hundred and Eight by Nils Volker is an interactive installation which consists of a number of ordinary pas-tic bags which can be selectively inflated or deflated by cooling fans and vaccums.

“Although each plastic bag is mounted sta-tionary the sequences of inflation and defla-tion create the impression of lively and moving creatures which waft slowly around like a shoal. But as soon a viewer comes close it instantly re-acts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the instal-lation it dynamically reacts to the viewers mo-tion. As soon it does no longer detect someone close it reorganizes itself after a while and gen-tly restarts wobbling around.”

With regard to the concept of Stress, this precedent is informative as it is able to re-act and respond to site specific conditions and thus comment on the way viewers our in the case of Wyndham City, commuters may interact with architecture and roads. As opposed to Kinetic Rain by Art+Com (pg. 13-14), this precedent interprets live data input, making it unique when experienced.

Figure 1. (Above) Nils volker, One Hundred and Eight In-teractive Architecture - Rear double fan inflation system.

1 - Nils volker, One Hundred and Eight Interactive Architecture, 12/5/13, http://www.nilsvoelker.com/content/onehundredandeight/

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TEChnIQUE PROPOSAL

As demonstrated, Sectioning is a design approach that should be strongly considered for the design of the Wyndham City Gateway project. Not only has the system proven to be a viable option in terms of its economical efficiency and practical structural system, sectioning is also capable of providing Wyndham with a unique iconic identity in the way it “plugs” and “connects” the region to the network of the city. Employing this approach would hence identify Wyndham as being a new section of the greater and wider community; a threshold (border crossing) between the city and country. Furthermore it acts as a platform of ex-pression which allows Wyndham to contribute and physically comment on the greater social community.

The proposed technique for further develop-ment and design from here on would be in-clined towards the concept of the one way gate which would encourage users to question the norms and popular culture of the city. Incorpo-rating the idea of congestion, population den-sity and pollution, the architecture will mimic a breathing lung that inhales and exhales out to-wards the country. We would like to develop a series of screens that will interactively respond and react to the congestion of traffic during dif-ferent times of the day. The explorations of waf-fles, contours and honeycomb structures will be integrated to produce a system that infaltes and deflates thus assimilating the concept of emotional and physical stress in terms of both structure and the everyday user.

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vv

ALGORITHMIC EXPLORATION 2.0

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Algorithmic Explorations - 1

Definition - The Blob

The definition above is the one developed for the reverse engineering task. The process of de-veloping such an algorithm requires a break down of the object into its constituent parts and components. Once the object has been dissected into its respective sections, an analystical sys-tem of interrogating how they are made is required. The whole algorithm essentially operates with a central trunk of compnents which describe the overall form. Branches that diverge from the trunk are plug-ins or inputs which allow me to genereate interesting iterations from the base model. One such problem with sich a large definition is the management and organisation of the nodes. Once an error is made, it can often be very difficult to identify the exact problem within the entire definition. Grouping, labelling and naming groups of functions is the key to organising the algorithm.

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Algorithmic Explorations - 2

Starling Plug-Ins

Plug-Ins are features which contain preset clusters of algorithms which allow you to complete or produce a desired outcome without having to manually script or define the definition from the most basic commands or expressions. Of the many plug-ins available, Starling was very efficient in generating interesting hexagonal and triangulated geometries across mesh surfaces. The ad-vantage here in working with mesh as opposed to nurbs is that grids and patterns can easily be mapped onto the surface as opposed to polysurfaces which often create problems.

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Learning Objectives and Outcomes

The design studio for this portion of the course saw the de-velopment of work from a group effort to a team effort. As the weeks progressed it was evident that our ideas gradually converged towards a unanimous decision and an agreement upon the direction we would be taking our design. Throughout the design process, the most challenging task was to reinvent the design approach we had taken on early this semester. As parametric and computational architecture has been around and explored for at least more than a decade, systems such as sectioning, patterning and geometry have been thorougly researched and experimented with. Although computational tools enable us to shift and manipulate the conventional order of the design process, this flexibility cannot be achieved with-out adequate understanding and technical skills with the use of the design tools such as Grasshopper, CATIA etc. In other words, the limitations of what you can produce is only limited to your knowledge of the tools.I do not dispute the useful-ness and practicality of coputational tools. As demonstrated through this studio, parametric modelling has allowed us to develop, generate and translate very loose and abstract ideas into physical models.

With regard to feedback from our presentations, it was clear that we, as a group, were playing it rather safe when it came to the development of possible design outcomes. I was par-ticularly concerned with our ability to fabricate, manage and organise complex models and geometries within the capabili-ties and scope of the course. Producing something interest-ing and worthwhile does not necessarily have to result in a completely extreme or radical idea. Rather, it is simply about adding an extra layer of complexity to an existing system or model or perhaps finding new ways of reinterpreting them. That is the approach which we have adopted. In considering stress and the mundane function of a filter, we have decided to apply that the routine of a drive between point A and point B; to insert an anomaly or disrupt conventions that would simply cause the user to react or respond and thus become aware of their environment. The place where architecture thrives and exists.

Images References

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- Herron, Ron, 1964, Archigram, Walking Cities, http://thetricycles101.blogspot.com.au/2012/08/extra-research-walking-city.html- CIRRIFORM by Future Cities Lab, 2011, interactive facade installation proposal, http://www.future-cities-lab.net/cirriform/- CIRRIFORM by Future Cities Lab, 2011 conceptual and technical diagram, http://www.future-cities-lab.net/cirriform/- Calatrava, Santiago, Milwaukee Art Museum responsive and retractable roof system, Wisconsin, 200, http://en.wikipedia.org/wiki/File:Milwaukee_Art_Museum_1_(Mulad).jpg- Milwaukee Art Museum interior of the roof system closed as a sun shading device, Wisconsin, 2001, http://en.wikipedia.org/wiki/File:MilwaukeeArtMuseum_Interior.jpg- Future Systems architects, Selfridges Building, Birmingham, 2003 - an example of blob architecture through its curvlinear exterior facade/cladding system, http://en.wikipedia.org/wiki/File:Birmingham_Selfridges_building.jpg- FREE architects, Mueseo Soumaya, Mexico City, 2011 - during construction with its structural systems visible, http://unimelb-edu-au-prod2.campuspack.net/Groups/Architecture_Design_Studio_Air_1/Course_Wiki/Group_08-09_Gwyll_and_Ange-la_0/Computation_Works_-_The_Building.pdf- FREE architects, Museo Soumaya, Mexico City, 2011 - structural diagram showing the inner columns, structural systems and core that takes the gravitational load, http://unimelb-edu-au-prod2.campuspack.net/Groups/Architecture_Design_Stu-dio_Air_1/Course_Wiki/Group_08-09_Gwyll_and_Angela_0/Computation_Works_-_The_Building.pdf- Art + Com, Kinetic Rain, 2012, Changi Airport, Singapore, performance/kinetic architecture, http://www.dezeen.com/2012/07/19/kinetic-rain-artcom/- Philips, Metamorphosis, Shimmer Wall, 2010, interactive and responsive wall sun shading device/wall, http://www.design.philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis.page- Philips, Metamorphosis, Wave Daybed concept, 2010, http://www.design.philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis.page- Herzog de Meuron, Signal Box, Basel, 1994, front facade, http://www.archdaily.com/256766/flashback-signal-box-herzog-de-meuron/- Herzog de Meuron, Signal Box, Basel, 1994, copper facade loucre system, http://www.archdaily.com/256766/flashback-signal-box-herzog-de-meuron/- Etienne-Louis Boullee, Bibliotheque du Roi, 1785, http://www.flickr.com/photos/89776258@N00/favorites/page6/?view=lg- Vladimir Tatlin, Tatlin’s Tower - The Monument to the Third International, 1917, http://www.tumblr.com/tagged/vladimir%20tatlin?before=19- Harrison and White, 2011, Foyn-Johanson House, Northcote, rear sun path deduction facade, http://www.archdaily.com/77852/foyn-johanson-house-harrison-and-white/- Harrison and White, 2011, Foyn-Johanson House, Northcote, stairwell and lighting treatment, http://www.archdaily.com/77852/foyn-johanson-house-harrison-and-white/- Harrison and White, 2011, Foyn-Johanson House, Northcote, axonometric diagram of rear facade, http://www.archdaily.com/77852/foyn-johanson-house-harrison-and-white/- http://scanwiches.com/image/22262787322- http://www.fosterandpartners.com/projects/smithsonian-institution/- http://www.bboptics.com/masstransiscope.html - http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html- http://risddrawintar.wordpress.com/category/assignment-1/- http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html

- Lynn, Greg (1998) “Why Tectonics is Square and Topology is Groovy”, in Fold, Bodies and Blobs: Collected Essays ed. by Greg Lynn (Bruxelles: La Lettre volée), pp. 169-182.- Geiss, Ryan, (200), “Metaballs (also known as blobs)”, http://www.geisswerks.com/ryan/BLOBS/blobs.html- Klein bottle. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:02, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Klein_bottle&oldid=545239236- Emergence. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:38, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Emergence&oldid=545094605- Philips, (20 May 2010), Philips Design - Metamorphosis, http://www.design.philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis.page- Furuto , Alison. “Flashback: Signal Box / Herzog & de Meuron” 24 Jul 2012. ArchDaily. Accessed 04 Apr 2013. <http://www.archdaily.com/256766>- Peter Brady, Architecture Design Journal vol 83, “Computation Works - The Building of Algorithmic Thought”, John Wiley & Sons, Ltd.- Schumacher, Patrick, 2010, Architectural Journal, “Parametricism - let the style wars begin”, last modified 6 May 2010, http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article- Le Corbusier. (2013, March 31). In Wikipedia, The Free Encyclopedia. Retrieved 05:46, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Le_Corbusier&oldid=548062894. - White, Marcus, 2011, MUSSE, Foyn-Johanson House Northcote, http://musse.unimelb.edu.au/august-11-67/marcus-white- Mayer, Adam, 2010, “Style and the Pretense of ‘Parametric’ Architecture”, Adam Nathaniel Mayer_ Style and the Pretense of ‘Parametric’ Architecture.pdf- Davis, Daniel, 2010, Digital Morphosis, “Patrik Schumacher - Parametricism”, http://www.nzarchitec-ture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/- http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html

Images References

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- http://risddrawintar.wordpress.com/category/assignment-1/- http://supertacular.com/2011/01/banq-restaurant-by-office-da/ - Lynn, Greg (1998) “Why Tectonics is Square and Topology is Groovy”, in Fold, Bodies and Blobs: Col-

lected Essays ed. by Greg Lynn (Bruxelles: La Lettre volée), pp. 169-182.- Geiss, Ryan, (200), “Metaballs (also known as blobs)”, http://www.geisswerks.com/ryan/BLOBS/blobs.html- Klein bottle. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:02, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Klein_bottle&oldid=545239236- Emergence. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:38, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Emergence&oldid=545094605- Philips, (20 May 2010), Philips Design - Metamorphosis, http://www.design.philips.com/sites/phil-ipsdesign/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis.page- Furuto , Alison. “Flashback: Signal Box / Herzog & de Meuron” 24 Jul 2012. ArchDaily. Accessed 04 Apr 2013. <http://www.archdaily.com/256766>- Peter Brady, Architecture Design Journal vol 83, “Computation Works - The Building of Algorithmic Thought”, John Wiley & Sons, Ltd.- Schumacher, Patrick, 2010, Architectural Journal, “Parametricism - let the style wars begin”, last modi-fied 6 May 2010, http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametri-cism-let-the-style-wars-begin/5217211.article- Le Corbusier. (2013, March 31). In Wikipedia, The Free Encyclopedia. Retrieved 05:46, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Le_Corbusier&oldid=548062894. - White, Marcus, 2011, MUSSE, Foyn-Johanson House Northcote, http://musse.unimelb.edu.au/august-11-67/marcus-white- Mayer, Adam, 2010, “Style and the Pretense of ‘Parametric’ Architecture”, Adam Nathaniel Mayer_ Style and the Pretense of ‘Parametric’ Architecture.pdf- Davis, Daniel, 2010, Digital Morphosis, “Patrik Schumacher - Parametricism”, http://www.nzarchitec-ture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/- http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html- http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html