StudioAirEOITobywoolley389110

A

STUDIO AIR

TOBYWOOLLEY

389110

B WYNDHAM CITY GATEWAY PROJECT

GROUP 9STUDIO AIR

DANIEL DAVIS : KIRILLY BARNETT

PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

Part B: Algorithmic Explorationswyndham SECTIONING

WYNDHAM CITY GATEWAY PROJECT

GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

31


GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

CONTENTS

SEVEN

EIGHT

NINE

TEN

Case Study One

- Algorithmic explorations

Case Study Two

- Origami Emergency Shelter - ‘Cadence’ highway sculpture

EOI : Design Materialisation

- Design Process Diagram - Parametric Process Diagram - Final Design Outcome - Matrix of Models - Final Model - Material Studies

Argument

- Sectioning properties & argument - Precedent studies

33-34

39-44

45-4950-52

55-5657-6263-64

ELEVEN Preliminary Presentation Critique

- Presentation Feedback - Learning Outcomes

Bibliography

65-66

72-74

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35-37

67-6869-70

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

wyndham SECTIONING

sectioning properties

Allows for 3 Dimensional form to be constructed from 2 Dimensional planes.

Sinuous yet planar.

Position determines perception.

The individual unit becomes an expression within a homogenous whole.

View is broken and controllable.

Movement, dynamism and change through form and void.

Motion through immovable structure.

Structure and form become homogenous.

Frame by frame approach.

Materialisation of form and dematerialisation of form through visual perception and spacing.

As a group we have chosen sectioning as our chosen design approach to achieve a design for Wyndham that is advantageous to the development of Wyndham as a place with a distinct identity within the Victorian context.

Listed are some of the key points of interest that sectioning can offer the design of the Wyndham Gateway Project

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

wyndham SECTIONING

technique : sectioning

Wyndham is a developing city, a place of growth. Aspiring to become a point of focus within a broader spatial context. Wanting to become a place with its own cultural identity within Victoria. The position of Wyndham as a place of development and of change is paramount to its identity. It is a suburban complex, defined by the people within it as opposed to the landscape it sits within, or the history it holds. Thus its desire to develop and its inevitable urban morphological change is one that must be encouraged and emphasised through the Wyndham Gateway Project. Its scale is suburban yet it strives for urbanity.

We believe that Wyndham wants a Materialisation of place and identity, taking precedent from Melbourne as the epitome of cultural, social, and economic success in Victoria. Aspiring to its global identity.

Sectioning offers us a unique opportunity for a materialisation of form, firstly through spatial density allowing for a reference to a solidification and materialisation of place within landscape. Visual perception to allow for constant materialisation and dematerialisation as you move along the gateway, allowing position to definine perception. A Kinetic relationship as asked of in the belief; through form and void. A power of visual control to direct and define viewpoint. A constant process of subtraction and addition to reference Melbourne City and what Wyndham desires from its success. And to become a landmark within a Vast planar landscape through the use of height control.

Using sectioning to reference Wyndham’s future aspirations and ambitions to materialise its own identity and cultural significance within a broader Victorian context. Bringing delight through identity.

design argument

A MATERIALISATION OF PLACE

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

(i) Visual Perception (ii) Motion. (iii) View Point Control. The individual unit of a sectioned form becomes an expression within a homogenous whole. This allows a 3 dimensional sinuous form to be con-structed from planar 2 dimensional planes.

The attributes of ‘movement, dyna-mism and change’, creating a sense of ‘motion in immovable structure,’ can be given to a form adopting a sec-tioning approach through its ‘frame by frame’ visualisation.

View is broken and controllable by section panels. In particular, our pan-els are louverable towards a/many point(s) dictating the extent of which a passerby sees through the void.

Banq RestaurantNADAA Architects2009

Motion Eness2011

Private HouseGramazio & Kohler2009

Banq Restaurant by NADAA Architects is a interior fit out that utilises sectioning to create a dynamic interior space. Position of view dictates an understanding of form. From a longitudinal axis the organic form is materialised, yet from lateral viewpoints its fluidity dematerialises and the structure and individual elements can be understood and expressed. It is position defining perception.

Mobius is a sculptural exploration into movement, a optical illusion of time-lapse, using 21 large triangles placed in numerous configurations to create dynamism and motion through immovable structure. Using sectioning to create a sense of frame-by-frame stop motion.

The Architects used parametric modelling to panel the exterior of the house in a slatted timber facade. Importantly its use was to allow and ensure that the view of the lake nearby was not obstructed from the neighbours property. Showing the ability for a sectioned approach to control view, allowing both containment and release, through the control of form and void.

wyndham SECTIONING precedents: sectioning

These precendents have been chosen to show real world examples of the use of sectioning criteria responding to our groups justifications for choosing sectioning as our digital technique.

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figure 20 figure 21 figure 22



GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

(iv) Structure as Form (v) Kinetic. (vi) A Sectioning SolutionStructure and form become homolo-gous. Structure becomes compart-mentalised, within the form and visa versa.

Materialisation of form and demateri-alisation of form. In this example we refer to the solid and void, a relation-ship that derives motion and designed to be viewed at 100km/h.

Sectioning as the optimum design solution to effectively solve a design problem. Taking cultural, contextual and social insight to create architec-ture that is ‘building for social change.’

Metropol ParasolJurgen Mayer-Hermann2011

Melbourne GatewayDCM2000

Digital Origami ShelterLAVA Studio2011

The Metropol Parasol by Jurgen MAyer-Hermann is the worlds largest wooden urban structure, located in Seville, Spain. It uses a waffle grid structural organisation to create a fluid and homogenous form. Its structure and contouring is clearly understood. Structure and form cannot be differentiated. Its structure also becomes traversable creating a roof top plaza, allowing for a human interaction with the sculptural urban element.

The Melbourne Gateway designed by leading Melbourne based Architectural firm DCM is a urban gateway project for the city of Melbourne. It a series of columns that create a kinetic relationship, with the user who is appreciating and understanding the sculptural urbanism at 100km/h. Mark Raggatt of ARM architects describes it as ‘kinetic without being animated. It sustains a massive scale but is open and dynamic.’The gateway is a curation of form and void, emphasising the power of the break in form to create dynamism when passing by.

The Digital Origami Emergency Shelter by Laboratory for Visionary Architecture (LAVA) created in 2011 is a pre fabricatable housing solution for emergency situations. Its form is based around the molecular configuration of a water molecule, with a precise geometric form (the dodecahedron). It shows the power of sectioning to create complex 3D form and space through simple 2D planar elements.

wyndham SECTIONING precedents: sectioning

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

zebar: 3gattiwyndham SECTIONING

ZEBAR 3GATTI

SHANGHAI

2006

figure 32

The ZeBar by 3 Gatti Architects in Shanghai, uses digital parametric modelling to create a ‘cave’ like space that as Architect Francesco Gatti explains was formed from a digital boolean subtraction of hundreds of slices from an amorphic blob (see fig, ,). The idea and process created a dynamic interior space, that was ‘born naturally from the digital 3D modelling environment’ (Dezeen 2010. F, Gatti) Where the complex internal space was subdivided into slices to allow its creation from the digital to the physical world. (Dezeen 2010. F Gatti)

The importance of this precedent is that it shows the power of sectioning to create complex 3D spaces and forms through the use of simple 2D planar elements, that through their composition and homogeneity create a dynamic and highly constructible space. Thus it supports our choice of sectioning as a case study as it allows for the complex digital form finding to be simplified in digital space for construction in the real world. It also shows the power of subtraction of form, and that boolean interaction and subtraction can create complex space and outcomes, through relatively simple digital techniques.

amorphic blob suface amorphic blob, within solid sections

boolean interaction between solid sections and amorphic blob

Nurb surfaces acting as internal section profiles

ZeBar, Completed 2006

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zebar: 3gattidiscovery MATRIx

group matrix of algorithmic exploration

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algorithmic explorationscasestudy1.0 BANqMATRIx

definition creation

banq Restaurant

NADAA Architects

2009

figure 33

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The explicit design space of the BanQ Restaurant definition was a definition that could alter surface, section, image, magnitude of image projection and section number and spacing. We as a group tried to push the definition further not simply by trying to play around with the in built parameters but through trying to extend its capabilities through inputs of our own. Trying to amalgamate definitions and then take what was useful from them to then build upon our own design goals and desires within the parametric realm.


definition creation

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D1 D2 D3 D4

D1 D2 D3+ = D3 V D4+ =Divide curve

move

4pt surface

orient surface plane to point

definition to orient planes to point

Surface

image input

section loft

magnitude of black and white

definition to create sections with image reference input

Successful attempt at merging D1 and D2 together to create sections whose Z axis was affected by Image input while also creating a louvering of sections towards a point.

Partially successful attempt at controlling the vector of section planes. Issues continue to arise with extrusion axis not responding to change in vector, i.e always extruding in z,x or y, and not perpendicular to input vector

definition creation

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D6 D7D5 O

OUTCOMES

Proved that we had the ability to combine definitions, creating new outcomes and design parameters.

Created a definition that had vector, height, extrusion, image input, modularisation, and view point control all within the one definition, allowing for a high degree of control within the single definition while still retaining fundamental concepts behind the BanQ definition.

D4 and D7 showed the difficulty of extruding the image perpendicular to the altered vector of the panel. Meant definition did not fulfill requirements.

The limitations of D7 even though it had all the aforementioned parametric control it was still deriving from a sweep command so was not a true sectioning process and the image input was defined by the Z axis and could not be altered.

An entirely new definition will have to be created to achieve desired outcomes. Showing we extended the BanQ definition to its furthest point to achieve our design goals, thus realising its limitations in achieving these desired outcomes.

Sweep

divide

list

height

definition to create modules within definition to increase control across section cuts.

D2 D5 D6+ = D6 E D7+ =Successful attempt at merging D2 and D5 together to create definition that has image input, height control, path control, and modular control, through using sweep instead of sectioning.

definition creation

Successful attempt at applying extrusion command to definition and having variability in extrusion width between modules.

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physical model

OUTCOMES

model showed the power of sectioning to create visual dynamism as view moved across form.

The model was complex in form, but simple in construction.

Proved that position defined visual perception. As there was a constant materialisation and dematerialisation of form that was defined by view position.

The grounding of the sectioning is paramount to the construction process.

initial concept model

Material - Form: 1.2mm mount board. Base: 3mm box board

Scale: N/A

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The matrix experiment has left us with a great appreciation for the power within singular definitions and how far we as novice parametric modelers can extend them through our own inputs and the amount of control we can create with this alteration.

The application of this process is the ability to mutate an original definition that is intended for a specific use (i.e in BanQ’s case a interior restaurant space) in to something like matrix option 3(O3) that could become a sculpture, a facade treatment, a view control device etc.

O1

O2

O3

O4

O1 Point at which Banq definition failed when sections began to cross over creating unfabricatable sections

O2 the most effective example of our attempts at combining the louver definition with the BanQ definition. A Hybrid definition that gave the case study definition greater design possibilities

O3 A definition that tried to modify the vector orientation of the sections in relationship to their Z axis. Shown is the last example that retained the image mapping to its true form while still allowing deviation in vector orientation.

O4 The most clear example of amalgamating a definition that used the image mapping properties from the BanQ definition but instead of using sectioning used sweeping of a repetitive form to create a dynamic form that could then be controlled in modules.

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reverse ENGINEERcase study 2.0 - origami shelter

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case study 2.0 - origami shelter

origami shelterlavastudio REVERSEENGINEER

LAVA studio’s Origami Emergency Shelter (2009) was the first project we tried to reverse engineer within grasshopper. This was after our tutor asked us to try and create the process due to the visual perception the design created of a carving out of solid form. The project utilises sectioning for ease of construction due to its use of pre fabricatable elements and simple construction logic. It also is emphasising this idea of subtraction that we are interested in pursuing within our design for the Wyndham Gateway.


figure 38

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S1

S2

S3

S5

S4

lavastudio REVERSEENGINEER origami shelter

S1

S2

S3

S4

S5

Dodecahedron shape created in Grasshopper with predefined parametric definition. Allowing for water molecule shape to be created.

Subtractive form to create internal space created in rhino. Using solid forms to allow for brep/brep command to work in grasshopper.

Both S1 and S2 forms become brep components in grasshopper. Solid difference command in grasshopper allows for subtractive form (S2) to create internal space within dodecahedron (S1). Creating 3D internal walled space within Grasshopper.

Planes are created in grasshopper at defined spacing and number of planes to create a parametric sectioning definition that allows for sectioned planes to be created. Meaning no. of section planes and spacing between sections can be defined.

Final sectioned form recreating successfully the LAVA studio Origami Emergency Shelter.

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lavastudio REVERSEENGINEER origami shelter

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After evaluation of the definition, what needed to be taken further was a way of spacing the individual elements. Creating solid brep surfaces that could act as spacing and structural members to make sure panels (S6) could be aligned correctly.The other major element we needed to input was an extrusion command, that could then represent material thickness, allowing for spacing of sections to be further considered and the negative space between panels to become a consideration. Meaning we could input specific material thickness (ply 2.7mm, mount board 1.2mm etc) as a parameter for fabrication.

Importantly this definition gave us the knowledge of how to create subtractive definitions that can create space within the form of the sections themselves, not just between them. Furthering our ideas and skill sets in achieving subtraction and addition of form in our design.

S6

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Fabricated model.

2.7mm plywood.

1.2mm spacing.

Key outcomes from fabrication:

extrusion command becomes paramount in fabrication process.

construction of spacing elements should be considered prior to physical fabrication.

Form is still clearly understood when sectioned.

Complex 3D internal volume created simply through 2D planar elements

casestudy2.0 REVERSEENGINEER origami shelter

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reverse ENGINEERcase study 2.0 - ‘cadence’ highway

The highway sculpture ‘cadence’ by TZG Architects in 2008 is our second reverse engineering process. It is a series of panels that are swept across a path that look as though they are changing in spacing and form, materialising and dematerialising as you drive past them. A constant pulse of form and void. This interested us in how we could potentially utilise such techniques in our gateway project.

Due to the perceived simplicity of the project we tried to further our definition by trying to input height control over the panels, while still creating a unified flow, viewpoint control to create this change of orientation and visual perception, and finally vector inputs over individual panels and modules of panels to control vector and height controls over series of panels, while also offering the potential for repetition of input across a path.

figure 39

figure 40

B 51

cadence highway

S1

S2

S3

S4

S5

casestudy2.0 REVERSEENGINEER

S1

S2

S3

S4

S5

Divide curves, then extrude surfaces. Sweep form to create panels

Input louvering of individual panels to change panel orientation

Input panel thickness parameter through extrusion

curve can then be divided into four different modules, that can then have height, orientation and extrusion parameters input universally or locally. allowing control across entire model or within specific module through listing.

Through vector controls orientation of panels is then controlled to allow for further manipulation and control of grasshopper model.

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cadence highwaycasestudy2.0 REVERSEENGINEER

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After evaluation of the definition which was more a process of discovery and trying to push our skills in grasshopper as opposed to pure replication several key outcomes where discovered.

Firstly utilising the idea of sectioning as a sweep command retracts from the overall idea of sectioning as a point of discovery. It means that the form fundamentally does not change across the path. It can be manipulated through extrusion as above image shows with the panels having variable width, as well as utilising direction of panel towards orientation points. However it means that a very repetitive form is created. A static form, that is not malleable and importantly is not a real process of sectioning. It is utilising form and void, however that creation is not in reference to a materialisation of form, but a repetition of form; that is then parametrically altered by aforementioned parameters.

The process allowed as to further out confidence and skill set within Grasshopper but is not a definition we can really move forward with.

B

design_MATERIALISATIONdevelopment of design definition

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design_MATERIALISATIONdevelopment of design definition

design argumentdesignMATERIALISATION

Materialisation of place and identity,

Utilising a Sectioning approach to achieve a physical materialisation of form towards Wyndham. Creating a dynamic experience of morphosis at 100km/h.

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MATERIALISATIONSECTIONING

SPATIAL DENSITY VISUAL PERCEPTION

DEMATERIALISATION

KINETIC RELATIONSHIP VISUAL CONTROL SUBTRACTION : ADDITION

WYNDHAM MELBOURNE CITY

MARKER WITHIN LANDSCAPE

WYNDHAM

design process diagramdesignMATERIALISATION

MATERIALISATIONSECTIONING

SPATIAL DENSITY VISUAL PERCEPTION

DEMATERIALISATION

KINETIC RELATIONSHIP VISUAL CONTROL SUBTRACTION : ADDITION

WYNDHAM MELBOURNE CITY


WYNDHAM

WYNDHAM

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SUBTRACTION : ADDITION

design process diagramdesignMATERIALISATION

dissected

SPATIAL DENSITY

VISUAL PERCEPTION

KINETIC RELATIONSHIP

VISUAL CONTROL


spatial density of sections creates a materialisation and dematerialisation of form to occur. It presents a visual way to create dynamism and kinetic qualities out of immovable form. It can create perceptions of an increase in speed as sections become closer or a decrease as they move further apart.

The sectioning process is defined by visual perception. Ones positions defines perception, there is a constant materialisation and dematerialisation of form through sectioning when it becomes understood at speed. Thus form is constantly created and broken, it is a visual dynamism.

The sectioning process is intrinsically kinetic when understood at speed. Through visual perception, spacing and movement a constant play of form and void is created, where movement of the individual will continually alter and define their understanding of the gateway.

The sectioning process through correct orientation defines view. It is point of control within sectioning, it defines viewpoint, through its constant play of form and void, one can dictate a users perception of place as well as form.

Sectioning is a constant process of subtraction and addition. It is slicing, taking away and reforming 3 Dimensional objects from 2D elements. Subtracting from a whole to create a new dynamic form, with void acting as the subtracted. We altered our definition so that this idea of subtraction and addition would be fully realised within the digital design process. A constant play of subtraction and addition.

The power of height control over a form allows for a reference point within a landscape. It creates a vertical emphasis in a planar setting. It is signifying place through visibility. It is a marker of place.

Materialisation as a concept is driving our selection of sectioning as the best theme for the Gateway Project. Sectioning offers a constant play between materialsation and dematerialisation of form, when understood at speed. This is through the sectioning properties outlined below. A materialisation of form referencing a materialisation of place.

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parametric process diagramdesignMATERIALISATION

D1 D2 D3

SECTIONING IMAGE SPACING

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D1

D2

D3


Sectioning of form through a subtractive definition that sections an existing form as opposed to sweeping a predefined geometry along a curve

Through a manipulation and a recreation of definition an Image input can be applied to any exterior edge to manipulate section surface. Image reacts both to individual panel and references panel list.

Through a graph slider &/or mathematical input - exponential spacing can be controlled and defined creating a dynamic spatial density between section profiles.

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D4 D5 D6

VIEW CONTROL HEIGHT PATH

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D4

D5

D6


Through point attractors defining section plane orientation, view point control is created within the definition. Allowing for the ability to control view through the sections to contain or release visual transparency.

Through listing the definition has the parametric ability to control the height of each individual panel, or modulate the design to apply height controls to 1 x X or all of the panels.

The height control can still be applied to a curved path due to the listing modulation, and thusly allows for the section positioning to be malleable to site and parametrically responsive to change.

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D7 D8 D9

ExTRUDE INTERACT SUBTRACT

P1

P2

P3

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D7

D8

D9


P1

P2

P3

The extrusion command allows for material thickness to be applied to sections, while also creating the ability to create lists that apply extrusion distance to certain groups of panels defined by material or position.

The definition creates a bakable surface that is the parameter image that defines the profile of the sections. This surface is then baked and panelled through weaverbird that allows for the fabrication of complex curvilinear form through the flattening and panelling of that surface. These panels are then extruded within grasshopper and baked to create a brep surface for interaction with the sections.

Image surface for baking that defines section profiles.

Image surface panelled in weaverbird.

Through solid difference node in grasshopper section interaction with surface is created. Allowing for a dematerialisation of solid form through subtraction with section profiles.

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final design outcomedesignMATERIALISATION

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final design outcomedesignMATERIALISATION

The final design outcome is a definition that we created from scratch that allowed us to have complete control of the parametric inputs we had outlined at the beginning of our design discovery. Through listing we have created a definition that has parametric control over each individual panel, with regards to extrusion, height, vector, image, spacing and orientation. While also having the power to unify elements and release control and allow for greater computational interaction and parametric reaction through listing. The definition allows for the creation of loftable, extrudable surfaces that reference the image profile that can then be panelled using weaverbird and interacted with the sections to create a process of materialisation and dematerialisation

of form through interaction.

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matrix of modelsdesignMATERIALISATION

SECTIONING IMAGE SPACING VIEW CONTROL HEIGHT PATH

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PATH

matrix of modelsdesignMATERIALISATION

The matrix model showed a clear progression in the change of form that the individual input parameters made to our design. Showing clear, systematic physical evidence of the development of our definition to control and affect the designs outcome in 3D space.

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final modeldesignMATERIALISATION

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designMATERIALISATION final model

The final design model showed that our digital design development is fabricatable in the physical world. Through the use of primitive construction materials (1.2mm mount board) we were able to fabricate a scaled version of our current design outcome. It is by no means a final design nor is it meant to represent a particular visual idea. It is a culmination of our definition and its ability to create buildable form.

Each element is present and is in relative position to its digital counterpart.

The model has issues with visual transparency, due to interaction of two forms but this is not a design model, it is a explorative expression of our definition. Once site

response becomes a parameter the real design process begins.

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Further studies: MaterialitydesignMATERIALISATION

The material studies in to our design have looked at a juxtaposition between the two forms. We have looked at using Mottled Metal cladding running in one direction and using Corten steel running in the other. Creating a visual conflict through materiality.

The use of copper as a material that can age and change its appearance through time, creating a patina that drastically changes the visual appearance of the materials surface. This change in appearance as one travels the length of the gateway shows a direct material response to the theme of ‘air’ and also a evolution and development of material as one approaches Wyndham.

figure 41 figure 42

figure 43 figure 44

figure 45

Looking at materials that are effected by the wind, such as sails, parachutes and other movable forms, that react to the environment and create a dynamism in response to the ‘air’, moving in and out of a juxtaposed solid grounded form. Lightening the structure and giving an ephemeral quality to the project.

figure 46

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designMATERIALISATION

Swarovski Veil in Wattens, Austria, 2008

Stainless steel mesh veil. Creating an ephemeral, translucent form running the length of the street as an entrance to the Swarovski Crystal Factory. (Architures 2008)

This project shows an example of a street edge piece of sculpture that has a lightness, and ephemerality through the use of material. The stainless steel mesh allows for a highly durable sculpture that has a transient quality. The transparency furthers this sense of impermanence and dynamism along with its flowing form giving it a kinetic experience.

These qualities are something I would like to include in our design explorations in the coming weeks before our final design presentation. To juxtapose the solidification of place, to develop a dematerialisation of form, that counteracts this materialisation. A secondary object winding in and out of the section profiles that hopefully will lighten out structure and enhance its experience for the user.

Further studies: Materiality

figure 47

figure 48

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

algorithmic CRITIqUEgroup 9 preliminary presentation

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

The preliminary design presentation and critique was an important experience for our group. The presentation allowed us to unify our ideas and develop a strong sense of direction in our project for Phase C. While also gaining valuable reaffirmation in my personal goals of bringing ‘delight’ and

the human element back to the design.

preliminary design critiquefeedback&EVALUATION

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

Preliminary design critiquefeedback&EVALUATION

The design critique was an important process of development for our group. Firstly it allowed us the time to collate our work and position the argument of materilisation as a design position.

It presented us with the ability to self evaluate our design direction and allow us to realise our development within a technical narrative.

The design process so far has been far more about technical ability and the skill sets of the group to achieve their design goals through a parametric digital process as opposed to a critical design process. It has seemed to be more about technical evaluation than design creation. If at this point in time technical competency is our key assessment of success then we have achieved the goals we set out to. We have produced a definition that has the parametric ability to adapt to a variety of design parameters set out prior to its creation (as identified in parametric process diagrams) that respond to our design brief.

However, the critique from our studio guest critics seemed to be less about the digital skill sets learned and more about the design of the project on site. (which is not meant to have occurred yet) Thus the critique was misconceived in respect to the technical appraisal of our design.

The critique was based on the visual experience of the design and was impossible to remove the critique from site specificity or function. Thus much reference was made to the final models interaction of forms, that then reduced the transparency and created a convoluted experience as opposed to an exciting, experiential one. This was valid evaluation of what was presented, however it was not ever intended to be a model placed on site. Nor was it in response to place or use. Thus what the critique offered was more a reaffirmation of my own desire to not lose the delight of architecture. Ross Smith talked about bringing the humane element back, making sure the phenomenological, the ephemeral,

the playfulness is not lost in the digital bombastic language of sharp edges and complex form. This was important to hear as in my conclusion in Part A I discussed this idea of ‘delight’ and retaining it throughout the digital process as my main goal for this project.

‘Delight should never be removed from architecture, romanticism, the intangible, the ephemeral, the tactile, the phenomenological shall always be demanded by great architecture, and this is what I shall put forward for the Wyndham City Western Gateway Design Project’ Toby Woolley ‘PART A: Conclusions‘

Thus, this critique made me realise that from now on, when the true design begins, when site becomes relevant -arguable that without site ,design (especially architectural design) is just an object in space not being grounded by anything, nor making connection to any identifiable context- that I can try and create this ‘delight’ through experience that the critics so desired. Pushing the creation of a new discourse that humanises the digital world of parametric design, responding to the tectonics of construction and the human scale as a point of interaction and connection to the users of Wyndham.

The other main critique was using the spacing between the sections to tell a story along the gateway, thinking about how surprise can be used through recurring elements that morph and change across the experience. This is a point of departure for us in Part C. Making the sections true frames of another story. We have to make the gateway an experience and this is something that our design so far is lacking. It is falling flat compared to our design intent. We need to reaffirm our desire to create a materialisation of place through a materialisation of narrative, allowing the gateway to explain this desire for improvement and identity of place.

learning objectives and outcomes

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

See-through church: Limburg/Belgium Gijs Van Vaerenbergh

MATERIALISATION DEMATERIALISATION

In the preliminary presentation critique, critic Ross Smith, discussed a project that showed characteristics of playfullness, lightness, ephemerality, and humane experience through the use of sectioning. This project was Gijs Van Vaerenbergh’s See Through Church titled ‘reading between the lines’ (Dezeen 2011). The project consists of a church in the shape of the local vernacular church design, however has been sectioned and has been constructed from 100 stacked weathered steel plate profiles, that are connected via 2000 connection columns. The experience is a ephemeral experience of a building form that solidifies and disolves dependent on visual perception. It is this idea of dematerialisation and materialisation of form that we have been trying to push as a key reasoning for sectioning being our groups choice behind its selection as our design approach. This precedent is a very effective and emotive use of such a technique. Through view position sectioning creates a form that is either solid and massive within the landscape or a form that almost disintergrates into the hills of the area. It shows a clear architectural appreciation for landscape but also a clear artistic intent that is what Ross Smith was indicating our project was lacking. I would completely agree. And it is this delight in space and response to place and use that will take our project from being a technical achievement to an architectural success.

feedback&EVALUATION

figure 49 figure 50

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

learning objectives and outcomesfeedback&EVALUATION

Throughout Part B my group and I have shown a consistent response to the learning objectives outlined for the Studio within the subject guidelines. Through the continual evolution of our skill set within the parametric modelling program grasshopper we have been able to create a design response to the brief that utilises the key aspects of sectioning we outlined at the beginning of Part B and create a highly adapatable parametric model (See parametric process diagrams, matrix of models). Through the evaluation and continual re-evaluation of our definitions (see group matrix case study one) we have been able to show a critical response to failures in parametric processes and been able to rectify such issues, having to completely restart our parametric approach (see Case Study One - D7). Our current definition was designed from scratch when the previous definition (similar to one developed in case study one - D7) was unusable for our needs. Through our constant exploration and development of our computational skills and techniques (see case study one, Cadence reverse engineer, origami shelter reverse engineer, parametric process diagrams) we have shown an engagement in self directed learning of algorithmic construction. This has also allowed us to create a range of design options due to the malleability of the definition we have

created allowing for a variety of design solutions for a given problem, while also giving us a level of control that allows us to dictate to the individual panel its height, width, extrusion, vector, and image input. Through our constant physical model studies we have shown a respect for the physical creation of our digital explorations, allowing us to appreciate fabrication, assembly, composition, form, and geometry. However scale is something we need to push further as is the detail of construction within the physical environment. A greater tectonic understanding is something we need to push a lot further and a understanding and appreciation of the construction process of our gateway and materiality driving form. It is this study into material properties of our design, beyond cladding, and looking at the structure of the sections, and creating a sense of structure as form, a solidification of our designs construction scheme that must be pushed in Part C. Through our reverse engineering processes we have shown a parametric capability to implement technical solutions to achieve analogous outcomes through the fabrication of the Origami Emergency Shelter being a close physical representation of the original design, beginning as a parametric definition.

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

future path :conclusionfeedback&EVALUATION

Where to from here?

Our final design is now just beginning. We have a strong base to work with, in both a technical and conceptual sense. We need to create more variation in our design outcomes, and push further the experiential qualities of our design, beginning to really identify how change shall be given to Wyndham through our gateway. A materialisation of place needs a strong experience to evoke such ideas in the users of the gateway. We need to place the design on site and see how our current design is experienced at speed through video motion software, then analyse its faults and apply some of the design ideas supplied within the critique. Ideas such as changing elements between sections, creating a story between the solid. However making sure that the transparency of form is still retained and this play of materialisation and dematerialisation is not lost. We need to bring back the delight and the design in our project. Now that we have worked hard on the parametric qualities of our design we now need to extend ourselves creatively, and try and come up with a unique, evocative, experiential and discourse defining gateway. We need to create a sense of delight.

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GROUP 9STUDIO AIR


PRELIM PRESENTATION

TOBY WOOLLEY

JAMES FREIJAH

GLENN SHINN

77

Dezeen, F Gatti. 2010. Zebar by 3Gatti. found at <http://www.dezeen.com/2010/12/15/zebar-by-3gatti-architecture-studio/>

Dezeen, 2011. Reading Between the Lines, Gijs Van Vaerenbergh. found at <http://www.dezeen.com/2011/09/09/reading-between-the-lines-by-gijs-van-vaerenbergh/>

Architures 2008 Swarovski Veil in Wattens found at <http://architures.com>Figure

20 http://yatzer.com/assets/Article/1513/images/BANQ_restaurant_by_Office_dA_photos_by_John_Horner_at_yatzer_6.jpg

21 http://yatzer.com/assets/Article/1513/images/BANQ_restaurant_by_Office_dA_photos_by_John_Horner_at_yatzer_5.jpg

22http://www.eness.com/?r=I&p=pS&s=b2d959a088dd983e23ad561d0e56374c_MOBIUS_screen_shots_800x450_007.jpg

23http://www.eness.com/?r=I&p=pS&s=b2d959a088dd983e23ad561d0e56374c_MOBIUS_screen_shots_800x450_007.jpg

24 http://www.dailytonic.com/wp-content/uploads/2009/11/gamazio-kohler-riedikon-01.jpg

25 http://www.dailytonic.com/wp-content/uploads/2009/11/gamazio-kohler-riedikon-06.jpg

26https://www.theimagefile.com/v/tp/250/198/7845805202_4_metropol-parasol-seville.jpg

27https://www.theimagefile.com/v/tp/250/198/7845805202_3_metropol-parasol-seville.jpg

28 http://www.australiandesignreview.com/wp-content/uploads/2012/09/DCM-Melbourne-Gateway-1.jpg

29 http://www.australiandesignreview.com/wp-content/uploads/2012/09/DCM-Melbourne-Gateway-2.jpg

30 DesignBoom. ‘LAVA: digital origami emergency shelter.’ <http://www.designboom.com/architecture/lava-digital-origami-emergency-shelter/>

31DesignBoom. ‘LAVA: digital origami emergency shelter.’ <http://www.designboom.com/architecture/lava-digital-origami-emergency-shelter/>

32 http://www.dezeen.com/2010/12/15/zebar-by-3gatti-architecture-studio/

33 http://4.bp.blogspot.com/_rSRYxKCew-M/TMH5JUxn2KI/AAAAAAAAAJI/RfGw1HmjI3A/s1600/banq_restaurant82.jpg

35 DesignBoom. ‘LAVA: digital origami emergency shelter.’ <http://www.designboom.com/architecture/lava-digital-origami-emergency-shelter/>




39 http://architectureau.com/site_media/media/files/archive/architecture_australia/images/2005/07/images/120108.jpg

40 http://architectureau.com/site_media/media/files/archive/architecture_australia/images/2005/07/images/120109.jpg

41http://www.cdsmetalwork.ie/wordpress/wp-content/uploads/2012/06/

42 http://assets.inhabitat.com/wp-content/blogs.dir/1/files/2012/11/Freedom-Park-gapp-mashabane-rose-architects-7.jpg CORTEN.jpg

43 http://blogs.agu.org/mountainbeltway/files/2010/10/Copper_Tadpoles_focused.jpg

44 http://polychemcoatings.com/wp-content/uploads/2012/01/MATTE-TARNISHED-COPPER-PATINA-PRHS-90707PB001.png

45 http://www.contemporist.com/category/misc/page/17/

46 http://farm5.static.flickr.com/4144/5020617293_fb6ab5fb0e.jpg

47 http://architures.com/wp-content/uploads/2011/05/Swarovski-Veil-in-Wattens-Fantastic.jpg

48 http://www.contemporist.com/category/misc/page/17/

49 http://www.dezeen.com/2011/09/09/reading-between-the-lines-by-gijs-van-vaerenbergh/

50 http://www.dezeen.com/2011/09/09/reading-between-the-lines-by-gijs-van-vaerenbergh/

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