Elizabeth Hillier358446Architecture Design Studio: AirSemester 1, 2012

CONTENTS

Advancing Architectural Discourse

Parametric Design

Scripting Design

Project: Cut

Reverse Engineering

Responding to a Brief

Development of Ideas

EOI: Wyndham Gateway Project

Chapter 1pp 4-8

Capter 2pp 9-12

Chapter 3pp 13-16

Chapter 4pp 17-22

Chapter 5pp 23-26

Chapter 6pp 27-30

Chapter 7pp 31-34

Chapter 8pp 35-38

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Situated above the streets of Manhattan, the New York High Line is built on an historic freight line. This public space allows pedestrians to move over the city and its traffic in peaceful park surrounds.

I was intrigued by Georg Simmel’s views on the effect that urban spacial conditions may have on human behaviour, “where the perception of city life is conciously dulled due to the city’s multitude of sensations”. The High Line is an antidote to this by somewhat acknowledging the fact and providing a refuge for its inhabitants.

The obviously much-loved greenery is complemented by rusty steel columns that support the structure and has been described as “one of the most innovative and inviting public spaces in New York City and perhaps the entire country.” Paul Goldberger (National Geographic).

I hope to achieve a similar human interaction with my project. ●○

Architecture as an “urban experience”

The New York High Line

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Frank Gehry’s architecture has prompted much discussion and argument in modern architectural discourse. Would one classify his building’s simply large works of art? Do his outlandish forms get in the way of other, more impor-tant aspects of architecture? Some argue that architecture should not be a representation of a style or asthetisism as this can bring about a lack of utility.

As the forms created by him are so different to those seen in everyday life, the viewer can’t help but become involved in it - as though invited to make sense of the strange shape.

According to Gehry, all elements of this building represent something, whether it be the colours of wine flowing from the roof, or the silver wrapping that covers a cork.

Architecture as a “sign”

City of Wine ComplexFrank Gehry

This particular example is contributing to the discourse of modern architecture.

Being so litteral in my design would definitely be a more obvious way of making a conection with the site. Such an approach may also be more suited to the project as I am aiming to create more of a sculptural piece. ●○

Personal Project

Headspace Studio Virtual Environments

This abstract headpiece was constructed of cardboard but designed in Google Sketchup. It was interesting to consider the program as something that could create a 3D object in the “real world” as I had never completed a fabrication process such as this.

Although capable of producing 3D models, Sketchup is merely for computerization of an existing design as there are no parametrics involved. This is as opposed to “com-putation”, which creates a design out of paramaters rather than someone’s personal taste.

It is advancing architectural discourse in its own right as it has created an easier form of communication between (advanced) professionals and (lay) clients. The program is available for free, it is quick to use and can create simple shapes in order convey the basics of an idea. This is unique as the design development stage has become more thorough.

The fact that it is available for free as well as in a profes-sional context, has broadened the spectrum of potential designers at different skill levels. ●○

Responding to a brief

Wyndham Gateway EOI

These design methods and ways of thinking will be utilized when putting forward a proposal for the Wyndham City Gateway project.

As the structure is to become an icon of the area, there must certainly be a degree of story-telling and the use of architecture as a “sign”. However, it is important for the design to not be too literal. The diesign will reflect the growth of the region as well as emphasising it as a destina-tion of the arts.

There is also a need to acknowledge the design as some-thing that will not be accessed or experienced directly by its audience, given its position between two major roads. The structure will have to be somewhat monumental in order to make an impression over 30-40 seconds, as com-muters move past at 100km/h.

Overall, the instalation will be welcoming, using its space within the site to create a strong image for Wyndham. ●○

ParametricDesignUnique innovations presented by contemporary computational design techniques

Parametric Design

Adelaide OvalCox Architects

Rhino plugin, Grasshopper, was integral in designing the new grandstand for Adelaide Oval. In what would have otherwise become a tedious manual task, Cox Architects easily adjusted parametres in the program to best provide for patrons of the stadium while also meeting cost.

As mostly all designs begin on paper, the step to computer aided design is that of computerization. The general form and and design intent has been established, the finer de-tails to be “figured out” on the computer. In the case of the Adelaide Oval design process, the Grasshopper plugin was utilized for refining and optimizing the design as opposed to to trully “form finding”.

With the capacity to then export these files in great detail and in a number of formats, Cox was able to communicate with engineers in a language familiar to them. In this dialogue, structural engineers were then able to feed back into the design process and make recommendations on what was more efficient or financially viable.

The use of parametrics literally cut months off the drafting process, as well as saving a lot of money. If I was to test this practice in my approach I could have a more intimate understanding of how my object would be created in the real world. ●○

“The recent addition of computers to the repertoire of means of com-

munication has expanded access to information and opened up the

design process for more people to become involved.”

Kalay: Architecture’s New Media

“An organism is so complex a thing, and growth so complex a phenomenon, that for growth to be so uniform and constant in all the parts as to keep the whole shape unchanged would indeed be an unlikely and an unusual circumstance. Rates vary, proportions change, and the whole configuration alters accordingly.”D’Arcy Thompson

Parametric Design

Greg LynnExplorations in form finding

Parametric Design

Branko KolarevicExplorations in form finding

In D’Arcy Thompson’s book “On Growth and Form” he outlines

“Evolutionary Design”

The use of parametric modelling allows us to “find form” by means of mathematical limitations and guides, as

opposed to the individual taste of the architect. Professor of Architecture, Greg Lynn, has established this as a true

possibility through his works of biomimicry calculations in generating architecture.

As seen with the Korean Presbyterian Church, forms have manifested themselves with the instructions of a program

created by the man, rather than being designed by the man directly.

Greg Lynn’s PresbyterianChurch

Light penetrates to varying degrees

To really progress in architectural design, we musn’t just replace the pen with the computer. A generation of “lay” computer uses are simply utilizing algorithms or scripts that are well established by the program or have been done before.

“There seems to be a tendancy to swarm towards a par-ticular approach such as generative design using genetic algorithms....” Stock standard program functions and plugins or variables such as sun paths have well-worn processes and are no longer advancing the way we design our buildings.

The challenge is to move away from this and know the program so intimately that you are acting as your own “plugin”. We must posh the possibilities of existing programs in order to actually progress. What else can be explored as a NEW parameters for an algorithm? ●○

“Scripting can refer to higher level programming..

as a means to produce manufacturer-independent

digital design capability”Burry: Scripting Cultures

Scripting Cultures

Mark BurryProgramming Architectural Design

It is not always obvious when a building has been created using this generative scripting. Such

processes are sometimes used for more simple calculations regrding:

detailingspace distribution

material efficiency

These aspects are not always obvious and may only be considered as an “extra” understanding of the design - Offering multiple levels of interpretation.

HOWEVER //

Although it is not a contemporary example of “genera-tive” design. The Philips Electronics Pavilion expresses different ways of approaching design ideas. Designed by Le Corbusier, he was excited to have the cutting-edge technologies of the Philips Company at his disposal. He designed the interior of the building and enlisted the help of his protege Iannis Xenakis for the exterior.

As Xenakis was a composer, he used his in-depth knowl-edge of music as an “input” for the design of his form. “There is correspondence between musical generative systems and the formation of mathematical series, proba-bilistic theory and algorithms in other design disciplines.” Being under the guidance of LeCorbusier also resulted in a large mathematical influence. The architecture has a heavy grounding in mathematics and is draws it curves from hyperbolic and parabolic shapes.●○

“I will not make a pavilion for you but an Electronic Poem and a

vessel containing the poem; light, color image, rhythm and sound

joined together in an organic synthesis”

Le Corbusier

Scripting Cultures

Philips PavilionLe Corbusier and Iannis Xenakis

Representing the roots of a plant, these strips or “tubes” of lights begin in the underground station and eventully follow a path that escapes the building.

This design was conieved by Makoto Sei Watanabe and although it was done so by utilizing an existing, Rather than purely enlisting computer aided techniques or relying on his own mind’s capacity to generate design ideas, Watanabe has combined both. What has come to be refered to as “controlled unpredictability”, he has created the rule that produces the desired effect - as opposed to simply allowing a complex script to reach an unknown conclusion. ●○software - keriki (can apply forces and loads)“constraints based”Generative scripting (form finding) and is then able to be editedlogarithmicalgorithmic

Scripting Cultures

Iidabashi SubwayMakoto Sei Watanabe

http://mit.edu/dcardoso/www/projects/stochastic/paper/stochastic.pdf

Para-Project: CUT

Using Grasshopper to explore inputs, associations and outputs

Utilizing Grasshopper

A MatrixInputs, Associations and Outputs

The surface can be DIVIDED to create a grid of uv pointsNUMBER SLIDERS used to adjust number of points in the rows (u) and columns (v)Specify CIRCLES on these points ●○

Create a rectangular plane in RhinoThis is then referenced as a SURFACE in

Grasshopper

The circles on the grid are CULLed according to a BOOLEAN pattern(true, true, false) ●○

The IMAGE SAMPLER is used as an as-sociation between the inputs and outputsIn this case, the radius of the circles is relative to the brightness of the image ●○

U and V sliders can be adjusted to make pattern more or less obviousSlider is also combined with a MULTIPLI-CATION to adjust outputs of image sampler(radius of the circle) ●○

The circles can be changed to a POLYGON Slider used to adjust number of sides(in this case I have set it to 3 to create triangles) ●○

Polygons are then ROTATED relative to their DISTANCE from attractor POINT(Those further from the point will turn to a greater degree) ●○

INPUT

ASSOCIATION

OUTPUT

By REBUILDing the original plane in Rhino, it is possible to adjust the control points to warp the surface

As the pattern is still sitting on the horizontal, it is then aligned with the NORMAL of the surface (the polygon follows the tangent of the curved surface)

While this changes the angle of the polygon, the shape still doesn’t follow the curve exactly

We then PROJECT the pattern onto the surface and then BAKE it to be utilized in Rhino ●○

MATHS FUNCTIONS

Utilizing Grasshopper

Further ExplorationsInputs, Associations and Outputs

These cuts have been made based on mathematical func-tions. The finctions in this case have two variables and represent the sin, cos, and tan of x. As this is representa-tive of angles, the x value has been remapped to a domain around the value of pi (3.14)

REMAP is used to give a set of numbers a different domainDOMAIN specifies the upper and lower extremes (can use sliders if you want this to be variable) ●○

CURVE ATTRACTORThe technique used to achieve this effect is CURVE CP. The component finds the closest point - the shortest distance from grid points to any point on the referenced curve.These distances are then remapped and used as the input for the radius of circles. ●○

There are many ways in which parametric design can be approached. When considering data inputs, these can become the driver for a design, or simply a constant that is then manipulated through various associations or adjusted by the outputs.

Sin(x) Cos(x)

Tan(x) Sin(x)*Cos(y)

Inputs that source data from text files are very versatile as they can interperet many variables, such as sound waves, environmental factors and customized lists. ●○

DATA-DRIVEN EXTRUSION

DATA-DRIVEN ROTATION

The extrusion method works in three dimensions as is “pulls” the pattern out of the page. This means it moves along the z plane in reference to the darkness of the image.To find the inverse I used a negative of the image.

Mad Max is a relevant input as the iconic film was shot along this same stretch of road. ●○

As discussed in previous pages, there are many ways in which parametric design can be approached. When considering data inputs, these can become the driver for a design, or simply a constant that is then manipulated through various associations or adjusted by the outputs. ●○

Reverse EngineeringApplying Grasshopper skils with a design objective

Utilizing Grasshopper

Reverse EngineeringSpanish Pavillion, Expo 2005

The Spanish Pavillion was designed by Foreign Of-fi ces Architects for EXPO 2005 in Japan. The Facade is constructed of a hexagonal tesselation, repeated across its steel frame.

This exercise required us to effectively re-build a design with techniques available to us in Grasshopper. Although a regular hexagonal grid is easily generated as a Grass-hopper component, it was diffi cult to control the rotation or warped appearance of individual parts. We experimented with multiple attempts that achieved varied success. ●○

Subdivided surface and referenced each point with its own plane. Allocating a polygon to each point, their planes were rotated. Repeated pro-cess with Polygons of a smaller radius.

A similar rotated plane was applied to a regular hex grid. Extra set of polygons allocated with smaller radius. These were then exploded ac-cording to a graph component.

After these unsucessful attempts, we needed to analyse the design detail more closely. As the motif is constructed of a repeated tesselation, it was necessary to adjust a few points in the original set of six hexagons. In some cases however, adjusting one point required the replacement of three verticies, as it was the point at which three indepen-dant hexagons met.

The main processes learnt and undertaken in this “re-build” were that of sorting, culling and moving individual points in an existing grid. These points then replaced the original verticies on the hexagon and were re-joined with a closed polyline. ●○

It was most important to fi rst gain control of these individual points, then it was only a mat-ter of moving these along the desired vector.

Once this had been completed for one polygon, another was located and adjusted along the same path.

Once the initial hexagons had been adjusted to the desired shape, they were then Offset to a small degree, to create an identical polygon of a smaller size. ●○

As we had created a tesselation, this motif could be repeated any number of times to create the large-scale pattern.

Utilizing Grasshopper

Reverse EngineeringSpanish Pavillion, Expo 2005

Responding to a BriefExplorations responding to the Wyndham Gateway Project

Utilizing Grasshopper

Application of BriefInputs, Associations and Outputs

With a need to apply a growing skillset to a real-world situation, I bagan using more relevant inputs in my design explorations. A population density map of Melbourne has been chosen as an input through the image sampler. It is interesting to look at the areas of Weribee and Wyndham compared with the rest of the city. As this data is dated 2006, I would like to find a more recent map to guage the growth of the area. ●○

>> Size of polygons relative to brighness of the sourced map

Polygons spin at an increased degree the further they are from Wyndham! ●○

>> Data-driven rotation used to displace points withing the urban area. This could represent movement and activity. ●○

Cropping the original map allowed me to focus on the immediate area of the site and use population density of Wyndham and Weribee. To obtain a more graduated difference between “populated” and “non-populated” areas I adjusted the source image.

I think the use of triangles is also interesting as they could represent the expanding boundaries in every direction ●○

Developing IdeasCombining cut with form

Working with the ideas we had generated from inputs of GROWTH and data maps, our group was interested in

ways of expressing this through form also. Interested in concepts of CHANGE OVER TIME, percieved volume and

illusion, we experimented with planar forms and how they would be perceived from different angles.

Our aim was to create an intrinsic link between the cuts and form, with the possibility of developing something

ANIMORPHIC. ●○

The idea of MOVEMENT was also a driving factor behind our concepts, exploring how a static form could potentially

have more of a DYNAMIC appearance.

Design Development

PrecedentsArchitecture as sign and illusion

Guangzhou Opera HouseZaha HadidGuangzhao has been an industrial and trade city up until present, the aim of the project was to create a building to represent the increasing culture of Guangzhou Wyndham, like Guangzhou is currently increasing in culture and the Gateway needs to show this. The Gateway is the first thing people will see when driving into Wyndham and therefore must create the right impression of the area with its sense of monumentality.

Nigel Peck Centre for Learning and LeadershipJohn Wardle ArchitectsNigel Peck Centre for Learning and LeadershipThe sign is an abstracted unfolding world sphere. The form of this is particularly interesting as it appears to change as one walks past it. Like this sign, the gateway is aimed at sym-bolizing Wyndham and signify entering/ exiting Wyndham.

Nuit Blanche Festival InstallationRobert StadlerThe installation appears to change depending on what angle is it viewed from. Relating this to the Wyndham proj-ect, the aim is to create a moment of anamorphism, where seeming random cuts align to create the appearance of a consistent image.

Extracted from ABS website: http://www.abs.gov.au/ausstats/abs@.nsf/Products/3218.0~2010- plane.

>> URBAN ICON

>> DYNAMISM

>> ANIMORPHISM

Design Development

ExperimentationCuts relating to form

Two distinctly different cuts were applied to surfaces depending on their orientation, with an idea that point of view will deter-mine the perferation seen, as well as a seemingly different form.

Multiple cuts were chosen and applied to different surfaces to gain an understanding of what had the greatest effect. Low lighting was then applied to achieve the shadows, appearing to manipulate how the form was perceved.

Expression of InterestWyndham Gateway Project

Expression of Interest

Wyndham City GatewayProposal

>>The interesting shadows created bythe dynamic form and cuts create a perfect subject for postcards and advertising schemes.

In approaching the Wyndham Gateway project, we aimed to produce a monumental landmark as well as providing an experience for passers-by. With ideas of illusion, movement and the influence of urban growth, w achieved a successful combination of form and cut.

Bringing these ideas together, we created a sculpture that provides many contrasting viewpoints and interpretations. On approach to the site, a signifier of Wyndham is clearly seen as a dominant figure in the landscape. This seemingly one-dimentional form could be viewed as a ‘welcome’, ‘cown’ or ‘ka-pow!’

Once the comuter has moved to the side of the sculpture, it appears flat, and what looked to be random cuts, align to form a consistent penetration through the form. Although this is momentary, the effect will create a special even for those who see it.

Once moving away, the commuters may notice a quite dynamic object that continues to extend as each angle changes.

Approach: Monumental entranceExperience: Growth (exponential)Past: MovementOur aim to express a change over time is sucessful given the three distinct viewpoints and is made even more special by the animorphic alignment of cuts.

>>Imagery of the sculpture translates well in a logo context. Used to identify Wyndham in offi cial documentation, promotional material or local communications, it is simple yet bold and attractive.

The comination of form and cut also inspires multiple levels of interpretation. While the viewer admires and experiences the sculpture’s form, there is further opportunity to understand the triangular cuts and their refl ection of the growth in Wyndham’s urban density.