ADS3: Air Final Journal Submission

airstudio

amanda rowe 356542semester 1 2012

1

contents

introduction

introduction 1

week onearchitecture as discourse 2

week twocase study: computation 4

week threecontemporary scripting & programming cultures

5

week fourpublic art on a motorway 7

week fivewhy computing? perfomance-driven design 8

week sixmateriality - performance - ornament 9

research project: cut 10

week sevenair in architecture 11

week eighteoi: crit & feedback 12

weeks nine-twelvebrainstorming for a new concept 13

concept development 14

design development 15

final model 16

week thirteenreflection 18

the case for parametric design as put forward in this journal outlines key advantages of, and successes for the world of parametric modelling. as it continues to become more widely recognised through firms such as the very many architects, and high profile projects like the beijing water cube, it appears that this is the direction that archtiecture can expect to head in, in the next few years.

this journal follows the progression of one of the toughest subjects in my university career. i can only hope that i have reached the other side as a better-educated, more (technologically) qualified person. many thanks to my group members (jamie kim, michael stephenson & yumie le) for working so hard and seamlessly to make the learning experience a more enjoyable one. thanks also to the tutors (loren & chris) whose feedback was much appreciated.

this project was undertaken in virtual environments. the head piece was designed using google sketchup and constructed using individual panels which were joined by tabs. whilst other participants in the studio chose designs that hid the tabs on the interior of the headpiece, i was the only participant who opted to have the tabs showing on the outside as a design feature. had the tabs been interior, the overall effect of the headpiecce would have been completely different. in terms of advancing architectural discourse, i feel my project stood out during the exhibition because i had dared to do something different. sometimes putting in the extra work reaps its own rewards; most likely i spent more late nights than anyone painstakingly gluing each piece together, and the results were worth it: my head piece had stretched the creative boundaries given to us for the project and caused a stir within the subject for being one-of-a-kind.

this project by melbourne firm denton corker marshall is located in nanning, china, at the gateway to the city of nanning via the freeway. as visitors emerge from the toll gates of the freeway, one of the scattered flowers deconstructs into petals along the road as you travel. this project aims to create a strong ‘green’ statement for visitors and the way this has been stated by the form of the gateway is worth talking about. rather than design a static monument, the architects have created a display that is almost ‘alive’ as the petals decontruct along the course of the road. this has created a time/space experience rather than a meaningless statue which holds the attention of a viewer for only a few seconds as it passes by. the unconventional nature of the display which leads visitors into the city pinpoints an exciting direction for architecture, creating the possibility of dynamic architecture as a means of promoting a message and holding the attention of those whom the message is intended for. as the eoi for the western gateway design project is also seeking to convey a message to visitors entering a city, this case study showcases a means of effectively catching and holding the attention, albeit for a short period, of the visitors.

personal project: discourse

this project is possibly the best current example of creating architectural discourse within both the architectural and general community. designed by architect david fisher, who admitted to not having been in practise for decades and who has never designed a skyscraper, the dynamic tower has been creating controversy since its conception in 2008. the team at dynamic architecture has since created a site showcasing its vision for the future: dynamic towers amongst a beautiful countryside. since the tower itself is supposedly self sufficient, generating electricty and utilising solar panels and wind turbines. the concept of a building with rotating floors was one that had not been fully envisioned previously and arguments within the architectural community try to determine if the idea is original, and in fact if it would even work. whilst originally the tower was to constructed in dubai, where it would be part of a similarly architecturally advanced built landscape, construction is yet to begin on the project, with fisher constantly pushing the date back and announcing in 2011 that he was now keeping the date a ‘surprise’. is this a ploy on fisher’s part to generate even more interest in his already much-hyped building? if so, it is highly effective, and we continue to wait for this building to become a reality.

case studY: discourse

nanning gatewaY Denton corker marshall

2002


2

week one architecture as discourse

headpiece 2010

dYnamic tower dynamic architects

3

the main objective of the uk pavilion design was to create a structure whose architecture was directly related to the content it exhibited, through a simple idea that was strong enough to attract attention and stand out amongst the other competing pavilions at the shanghai expo. the seed cathedral showcased the millenium seedbank work as undertaken by the royal botanical gardens at kew, by means of 60000 transparent optical fibre strands, with each tip embedded with a seed.

schumacher stated that “the built architectural works that architecture releases into the wider social world... circulate within the architectural discourse as examples and evidence.” (1) in such a way was the seed cathedral released into the world, generating discourse and being pinpointed as an example of innovation and creative use of technology and structure. this project is relevant to architecture as a discourse as it generated much public and academic interest, just by being completed (2). it was consistently ranked by visitors at the expo as one of the most popular pavilions and was visited by more than 50000 people each day (according to heatherwick studios official website) (3).

in architectural circles, the project shot to credibility when it received the prestigious lubetkin prizei 2010, awarded annually by the royal institute of british architects (riba). described by the riba president as “an outstanding emblem for britain” (4), the project was a representation of britain that was openly portrayed to the rest of the world. “the strong visual and formal juxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and their perception of being exceptional and marvellous”. (5) if this is the case, then the exterior structure was truly innovative and thus it is a prime example of a project that generated discourse. an underlying purpose of the cathedral was to create an architecture that was a direct manifestation of the content it exhibited. this was achieved, and relevance to the gateway project can be drawn from this success. if the gateway is to be a success it could be worth drawing on the ideas of successful projects and applying a similar school of thought and innovation to the design of the gateway project.

“An outstAnding emblem for britAin.”

week one architecture as discourse


seed cathedral heatherwick studios

(1) patrik schumacher, ‘introduction : architecture as autopoietic system’, in the autopoiesis of architecture (chichester: j. wiley, 2011), pp. 1 - 28. (page 3)(2) kolarevic, branko, architecture in the digital age: design and manufacturing (new york; london: spon press, 2003), pp. 3 - 62. (page 4)(3) http://www.heatherwick.com/uk-pavilion/(4) http://www.bbc.co.uk/news/10447868(5) kolarevic, branko, architecture in the digital age: design and manufacturing (new york; london: spon press, 2003), pp. 3 - 62. (page 7)

the ability of computational design to recreate natural forms was put in the world spotlight shortly before the beijing olympic games in 2008, when australian firm ptw architects used computational techniques to create the water cube, the national aquatics centre at beijing. the form of the building was based on the formation of soap bubbles. the use of computation allowed a strict geometric pattern to be created underneath a seemingly random arrangement of “bubbles”. the concept combines the symbolism of the square in chinese culture, with the natural structure of soap bubbles as translated into an architectural form (6) to create the atmospheric aquatics centre. digitalization gives us the ability to reproduce forms with forgotten geometries lost to us because of the difficulties of representation (7). for the watercube project, it was possible for this structure be created thanks to the use of computation. the intricacies of the project were described by ptw architect’s director, andrew frost as “appearing random and playful like a natural system, yet it is mathematically very rigorous” (8). the accuracy of each detail that was pinpointed using technological means to translate nature into design is outstanding, and an excellent reason as to why computation has a significant future in the field of architecture. the use of computation allowed the project to combine design with engineering seamlessly, a technique which will no doubt be called upon numerous times in the future in order to push the limits of architecture and create designs that are structurally sound. as a winner of the atmosphere category of the venice biennale, it is obvious that the space within the watercube has succeeded in creating a suitable atmosphere for its context. the jury of the award stated that “the project demonstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenology can create an airy and misty atmosphere for a personal experience of water leisure.” (9) in relation to the gateway project, creating an appropriate atmosphere for the viewers of the gateway is tantamount to conveying the project’s message. the success of the watercube’s atmospheric creation, due to its unqiue engineered structure, is proof of the extent to which computation can be manipulated to control a space and portray a certain feeling. the gateway project should take advantage of this function of computation by applying it to the design process.

“it appears random & playful like a natural system, yet it is mathematically very rigorous.”

- andrew frost, director, ptw architects

week two case studY: computation

beijing water cube ptw architects

4(6) http://www.ptw.com.au/ptw.php (7) kolarevic, branko, architecture in the digital age: design and manufacturing (new york; london: spon press, 2003), pp. 3 - 62. (page 4)(8) http://www.arcspace.com/architects/ptw/(9) http://www.dpr-barcelona.com/index.php?/projects/watercube-the-book/

biomimcry is not an overly new concept to the architectural world. the focus recently however is creating forms that imitate nature by means of computation. while architecturally it is simple enough to imitate natural forms, programming allows the process to take a further step towards reconstructing the structure of these forms as well. scripting is the capability offered by almost all design software packages that allows the user to adapt, customise or completely reconfigure software around their own modes of working (10) the accuracy that can be pinpointed by computation has allowed for a highly detailed representation of the natural form that is not only aesthetically accurate, but is also structurally accurate and thus stable. the 2011 research pavilion by faculty members and students at stuttgart university used programming methods to accurately recreate the structure of a sea urchin. both the design of the pavilion and the manufacturing methods were controlled by computation techniques. using scripting to create the highly detailed and repetitive forms can save time, as the highly specific instructions that are given to the computer by the user can automate routines and repetitive activities, which would otherwise take up an unsatisfactory block of time (11). the computational process allowed the designers to extend recognised bionic principles to a range of different geometries, resulting in the exclusive use of 6.5mm sheets of plywood to construct the pavilion. the exciting range of possibilities that arise from the project are significant to the eoi in terms of extending the parameter of project. the eoi calls for representation of something; of drawing awareness to a certain situation. i believe computation is the way to achieve this representation to the best quality. the use of computation to design this project will enable the design to be structurally sound and the level of detail achieved in terms of design will be exquisite. if computation can imitate nature so perfectly, there is nothing else it cannot represent without accuracy.

week three contemporarY scripting & programming cultures

5(10) burry, mark (2011). scripting cultures: architectural design and programming (chichester: wiley), pp. 8 – 71. (page 8)(11) burry, mark (2011). scripting cultures: architectural design and programming (chichester: wiley), pp. 8 – 71. (pages 8 & 9

case studY: scripting

icd/itKe research pavilion 2011 faculty & students at stuttgart university

this project by architect marc fornes and his firm the verymany architects is one of many similar installations produced by the firm. as a precedent, the work of the verymany architects is highly relevant to this eoi, as the designs are created using rhinocommon, a plug-in of rhino. the firm uses parametric modelling as a means of creating beautiful and intriguing spaces within the structure, with plays on light and colour. the function of many of their installations is simply to be a feature, however the use of computation technologies has also allowed for the installations to be structurally sound. since the structure looks flimsy and decadent, this certainly comes as a surprise. the firm takes photos of the installation in real life, being able to withstand static loads. a gateway in the manner of the verymany architects will of course advance architectural discourse in the way that this small firm is slowly attracting interest due to its daringly different approach to installations. the thrust of this firm’s popularity, and indeed its livelihood, lies in its embracement of parametric design. thus it seems that marc fornes would agree that scripting is vital in design, and that computer programming is an activity without which nothing would happen (12).

6

case studY: scripting

art basel miami the very many architects

week three contemporarY scripting & programming cultures

(12) burry, mark (2011). scripting cultures: architectural design and programming (chichester: wiley), pp. 8 - 71

previously mentioned in week one, the nanning gateway is highly relevant to the eoi. like the gateway project, the nanning gateway has a message to send. it has managed to convey this message through its dynamic, rather than static, design. the deconstruction of the flower petals along the road as visitors travel along creates a space/time feeling as though they are caught up in a motion of sorts. this feature draws in viewers and entices them for longer than the usual few seconds than a roadside artwork would usually. this extra time is vital in being able to communicate a stronger message to the audience than would otherwise happen. in order for the gateway to equally successful, the design must be able to capture attention in the same way as denton corker marshall has managed.

in order to do so, the use of parametric design would be useful in order to create an unusual and eye-catching design. conventional sign posting such as banners will not be engaging and thus not effective. on the other hand, an experiential space may not be effective either if it requires close interaction. parametric design would be ideal to create an interesting artwork that can also provide an experiential quality, but from afar. as shown in previous precedents, the forms and intricacies that can be achieved using computation, and particularly scripting, are not aesthetically unpleasing, and extraordinary forms can be created which will give the gateway’s design a greater chance of standing out and drawing attention, whilst still adhering to tiny details that will set it apart from other road signage.

7

nanning gatewaY denton corker marshall

week four public art on a motorwaY

case studY

,the nanning gateway has a purpose: to create a strong “green” statement for visitors. (13)

(13) http://www.dentoncorkermarshall.com/projects.aspx?p=0&projectid=932&catid=2&f1=location&f2=asia&pg=1

a very early example of computation in architecture, the pavilion at the first bmw trade fair was representative of sustainability. its structure was based on the shape a drop of water, created by means of a drop simulation computer program. this technology was highly advanced for its time, and the bubble was one of the first structures in the world to be created entirely by digital means, including its construction.

the forms were generated by algorithms which allowed the skin to appear as a giant water drop, by finding the balance between internal pressure and surface tension (14). this defines the project as perfomance-driven as the structure was dependent on the inspiration behind the design. fortunately computation was able to make the skin a structural physical reality.

the bubble was created as such to achieve a specific purpose; that is, to create a form to convey a specific message. the form aimed to promote sustainability and more specifically hydrogen as a source of renewable energy and thus a potential fuel for the future. this early drive towards representation of architecture in biological forms was a key influence for biomimcry to follow (see icd/itke research pavilions and watercube) and also provided implications for the future of computation. if, at such an early developmental stage (in terms of software and technology), computation was able to accurately recreate a performance-driven design, then the future of computation holds many exciting possibilities which future designs, namely the gateway project, should be embracing.

8

bubble - bmw pavilion bernhard franken

week five whY computing? perfomance-driven design

case studY

algorithms used to generate the bubble’s form

(15) http://www.archcairo.org/department/abt/arcn106/lectures/4%20-digital%20design.pdf

our initial concept developed from the theme of ‘urban growth’. since wyndham wanted a gateway to establish itself as one of melbourne’s growing regions, as a group we decided it would be most fitting to design a gateway that illustrated this growth.

to create this sense of population change as one travelled past/ through the gateway, we chose a tunnel that was unusually open and wide at one end, and so tight, almost claustrophobic, at the other. this meant to illustrate the feeling of distinguishing ones arrival in the suburbs or city, respectively. like most cities, the inner city population is very dense and overcrowded, whilst the suburbs are more sprawling and spread out. our aim was to recreate the atmosphere of being in either the city or the suburbs as one drives through the tunnel. if heading towards melbourne from wyndham, the tunnel would close in on the driver, imitating the almost claustrophobic feel of moving around the city. if heading towards wyndham from melbourne, then the tunnel would open up and provide some small relief for the driver by allowing more personal space.

week six materialitY - performance - ornament

concept development

left: illustration of cars interacting with the gateway

middle: experimenting with the theme of density to create an atmosphere

far left: basic concept sketch

our main precedent was the beijing water cube, because it was able to create a serene atmosphere. whilst this was not the type of atmosphere we were aiming to create, the main attraction was that the intricacies of the design, that had been achieved through parametric design, were responsible for the effectiveness of the space and we strived to be as successful with our gateway and its atmosphere.

precedents

beijing water cube

nanning gatewaY

we continued to look at the nanning gateway, as a source of inspiration and admiration, for its ability to keep the viewer’s attention. as well as creating an atmosphere with the shape of the gateway, we were searching for other ways to capture the attention of drivers. the dynamics of the nanning gateway were inspiring, and we sought to create movement within the concept, not just through actual movement of the gateway but through movement of shadows as a car would pass through them.

9

readings

the function of ornament - farshid moussavi

“architecture’s materiality is therefore a composite one, made up of visible as well as invisible forces” (p. 6). whilst the reading may mean this statement in a different context, to me this is referring to the changes in the ornamentation of a structure, whether it be intended (perhaps caused by movement) or unintended (weathering and changing of forms, colours). i think that a successful gateway will include a degree of this influence of materiality in creating the ornamentation of the structure.

i found the point that moussavi made about architecture engaging with the urban setting to be redundant in relevance to the eoi. whilst it could be argued that the urban context of the site is the highway context, it has to be admitted that the highway is hardly an urban area. even stretched as far as to be the context of wyndham, which is definitely urban, there is no physical connection to the site context and thus the design of the gateway’s exterior does not need to be concentrated on engaging with wyndham’s urban setting.“visualize technology as a cultural force” (p.9) this, from my understanding, is what the gateway is seeking to do. the choice of parametric over other types of design is its ability to create a physical model that people can instantly tell was created using technology and not other, more basic, means. i agree strongly with the statement that “ornament grows from the material organization and is inseparable from it” (p. 9) as all materiality of buildings is intended as ornamentation. if a building is finished with plain sheet metal, the intention is to keep the ornamentation simple to produce a certain effect. elaborate ornamentation has been excluded on purpose to create a simple form of ornamentation, but a form nonetheless.

10

week six research project: cut

arbitrary points

surface normals

boolean patterning

overlapping patterns

surface grid

curve intersections

explicit grids

cu

rv

e a

tt

ra

cto

r

the curve attractor association was interesting to experiment with. from the resulting experiments above, this association could be used to create changing density along the stretch of the gateway, as envisioned by my group. the most effective would be surface normals, boolean patterning, surface grid or overlapping patterns (which appeaars to combine two of the previously mentioned three in its overlaping).

nb: curve intersections did not combine well with the curve attractor and produced nothing worthy of noting here.

observations

did not combine well

week seven air in architecture

based on our experimentation with the cut project, we began to work on concept models whose design would be possible to create using grasshopper. we concentrated on tunnel forms with different shapes and density, to collect a variety of models that created interesting shadows whilst still maintaining the initial concept of urban growth.

eoi: sKetch concept models

our most successful concept model was a tunnel of ribs which became less spaced apart as the tunnel closed in, recreating the claustrophobic environment we intended.

eoi: final concept

11

readings

drawing forth immaterial architecture - jonathon hill

“focusing attention on subjectivity transformed the visual arts, its objects and viewers. no longer was architecture a cohesive body of knowledge dependent on universal proportions.” (p. 52) i found this information to be highly intriguing as it was clearly a huge turning point for architecture to be critiqued based on others’ opinions; no longer was one form accepted as the norm. for example a standard gateway may just be a road-side sculpture but no longer will everyone like it or agree that it is effective.

“shock may help to promote new architectural ideas and spaces. but it wears off quickly as most buildings are experienced not once but many times.” (p. 54) we should keep this in mind when trying to create an effective gateway that will capture attention as well as hold it for more than a moment.

“the architect, user, site and weather may each be an agent of ambiguity.” (p. 54) different ways to keep the gateway interesting and even dynamic are listed in this quote.

emphasis on how the immaterial (definition of spaces) can sometimes be more important than the material qualities of a structure, should be kept in mind when trying to create an atmosphere inside the gateway/ as it is being experienced.

fabrication

fabrication of final model: file that was sent to fab-lab.

week eight eoi: crit & feedbacK

12

feedbacK

the introduction above, taken from our eoi, clearly sums up our notion of what was to be gained from the expression of interest that we presented in week 8.

the chosen precedents for this concept were chosen for their ability to create an atmosphere, and their illustration of the attention to detail that could be achieved by using parametric means. however feedback from the tutors at the mid-semester submission criticised the choices and questioned their direct relevancy to our final concept. under the direction of one of our two tutors, it seemed we had taken the eoi in a completely different direction to everyone else: arguing solely for the case of using parametric design to design the gateway as presenting valid and successful precedents are evidence. our own concepts were not as strong as the critics would have preferred, as they were merely products of our experimentation. neither did we have enough evidence of our own concept, no stop-motion videos or multiple iterations. it was our understanding that following the eoi we would then begin to modify and further explore ideas and make design decisions.

having said that, the crit was not a great success but feedback from the critics was generally helpful. suggestions of using different thickness of ribs to control light was similar to our original idea of dense and open weaving as the tunnel’s surface, and the idea that the exterior and the interior of the tunnel could be used to create different reactions to each other, so that the tunnel was multi-functional in a way, were inspired.

reflection

after much deliberation, my group and its members came to the conclusion that we had reached the end of the road as far as our initial concept, urban growth, was concerned in terms of physical forms. we had various other ideas for developing the tunnel before deciding that 1. a tunnel was generic as a form of road-affiliated ornamentation, which we felt unnecessary to add to yet another landscape, and 2. that we were not fully utilising the advantages that parametric modelling, as a design tool, was making available to us. we entered week 9 in brainstorming mode.

wyndham city is already home to a number of public artworks, including the notable “seeds of change” (2003) at the eastern interchange of the princes freeway. the city is hoping for a successful addition to their repertoire, with a new artwork planned for the western interchange. this artwork is to indicate arrival into metropolitan melbourne and should cater to all audiences. in this eoi we hope to put forward a strong case for a design technique: parametric modelling. we hope to convince critics of its merits by demonstrating the success of previous projects created using this technology, particularly by means of successfully communicating a message.

- introduction to expression of interest

weeks nine-twelve brainstorming for a new concept

13

site analYsis

in order to produce a new design concept, we went back to the site analysis to pinpoint exactly what wyndham was about. a peruse of the wyndham city council website showed links to shopping precincts, the werribee zoo and the western treatment plant (werribee wetlands). further research into one of these, the wetlands, uncovered historical information about its development as a site and the importance to greater melbourne of this. such a important link not only to wyndham, but greater melbourne, was a strong concept we decided would be most suitable for the gateway.

precedents

new YorK citY watershed

research into prior uses of parametric design in landscape architecture unearthed the nyc watershed landscape, which was parametrically designed to create an ecosystem that would provide uncontaminated water to the city. furthermore, the landscape was developed to be a recreational site as well, so that the watershed design would be accepted as being part of the landscape. our gateway will not be juxtaposed with the landscape but seek to become a part of it. parametrically designed landscapes can have an impact equally effective as parametrically designed sculptures.

werribee wetlands (western treatment plant)

in terms of site context, the extensive werribee wetlands, adjacent to wyndham, were the basis of our development of the gateway proposal. home to the western treatment plant, the wetlands are an integral part of the identity of western melbourne and greater victoria. the wetlands now host many different ecosystems and bird habitats, thanks to the rich sewerage sediments onsite. we wanted to give visitors to wyndham a taste of what they could experience in this great man-made wetland area, which has thrived as a natural system, and perhaps even try to imitate its success. the key distinguishing feature between the werribee wetlands and the gateway proposal is that whilst both will be man-made, the gateway will utilise parametric design in its layout.

coastal salt marsh

according to parks victoria, the werribee wetlands is partially comprised of costal salt marsh. this has local significance particularly to wyndham as it is located in graham’s wetland reserve which is managed by the wyndham city council. coastal salt marsh environments are dynamic ecosystems that have regularly changing water levels. as a general rule, tidal salt marsh will experience daily low tide, mean low tide, high tide and very high tide. the gateway proposal draws on this natural water level change to create a dynamic and ever-changing gateway.

concept development

group decision made to find new concept

researched site context: werribee wetlands

concept of a landscape gateway, rather than a sculptural gateway, formed

further research into water landscapes: unearths precedents of nyc watershed &

salt marsh at werribee wetlands

salt marsh environment as inspiration for changing landscape

decision made: form of gateway will mimic forms and motions of real salt marsh

environment (tidal patterns)

voronoi developed to mimic salt marsh. layout is strategically decided to be

symmetrical and thus clearly “man-made”.

weeks nine-twelve concept development

14

low tide mean low tide high tide very high tide

in order to make the gateway dynamic, we drew inspiration from the natural tide change of salt marsh environments. the water change will hide or expose the forms to create different visual aesthetics in different seasons and also daily, with melbourne’s unpredictable weather. the presence of a water body will (hopefully) attract some wildlife to create further natural change in the landscape.

(diagrams: parks victoria)

coastal salt marsh: forms and dYnamics

landscape laYout: voronoi development

1 2 3 4

these diagrams explain the concept behind the development of our design for the “changing landscape”.

1. the first diagram depicts a free-form line, which emulates the flowing form of natural landscapes. the rectangle is the boundary surface defining one half of the gateway.

2. secondly, control points of the line were extracted via grasshopper. these points became the base for the voronoi pattern.

3. thirdly, these control points of the voronoi were extracted and reinterpreted as new curves via grasshopper to give an organic cell like structure. to create the contours of the mounds, new curves were offset inside the shapes at intervals.

4. finally, the original curves were removed to leave gaps at zero level between voronoi mounds. the pattern was trimmed at edges of surface boundary. the final pattern was mirrored to create the second half of the gateway.

nb: all images taken from final group submission panels with consent from the group. no plagurism intended.

rhino model: onsite

weeks nine-twelve design development

15

materialitY & construction

whilst the original concept imitates a wetland environment, the final gateway will be based only on inspiration from its form, and not its materials. the mounds will be concrete moulds with hollow insides that can be filled with soil and shrubs planted at the top. this way the voronoi-based pattern will not be altered over time by natural erosion, as a mound constructed from soil would do, and as such it will require little maintenance compared to a natural landscape. the gateway itself measures 80 metres in length and stretches 15 metres out from each edge of the road. this area would be excavated 4 metres and a waterproof retaining wall constructed to define the gateway’s boundary. the mounds would be mould cast onsite using concrete and be arranged and fixed in the voronoi pattern. after being filled with soil the tops would be partially sealed by jute mesh to prevent soil erosion when the mound is submerged. there are a range of suitable plants for this environment that are local to the area and a full list can be found on the wyndham city council’s website. from this list we have chosen rhogodia candolleana (seaberry saltbush) and atriplex paludosa (marsh salt bush). as these are salt marsh environment-specific plants, the water body in the gateway will be sea water.

materiality

merits of design

to emulate the concept of a “changing landscape”, the gateway will be changing in 3 ways. firstly the water level will be dynamic, changing according to weather cycles. for example, when it rains the water level will be higher, hiding some of the mounds, but when the water body evaporates the water level will go down and expose more mounds. secondly, the reflection of the sky on the still water body will be a different colour depending on either the weather or the time of day, this is shown in our photo montages. thirdly, the underwater lighting will act similarly to street lights, in that it will sense darkness and switch the underwater lighting on, creating an entirely different effect to that of the daytime. (show video)the changing landscape concept will be successfully achieved by means of all three techniques. thus the landscape will look different each time it is visited.


road gradient 1/100

reinforcing steel

retaining post

waterproof membrane

light

soil

concrete

reinforcing steel

concrete slabcable

general section

when finalising the design, we found ourselves at a cross road with two paths: man-made or natural. since our concept was to imitate a salt marsh, there was a strong argument for natural materials. however after much deliberation we have decided to take the “man-made” path as the properties of non-natural materials will have several advantages over natural materials, namely longevity and low to no maintenance required. although we want the design to be dynamic, we do not want the pattern to get lost in soil erosion as would naturally occur in a wetland. however the dynamic nature of the design will not be lost entirely due to other techniques.

a changing landscape

during dAy

during sunset

during night

weeks nine-twelve final model

16

dYnamic landscape: water levels

low tide water height 1 m

high tide water height 2 m

very high tide water height 2.5 m


weeks nine-twelve final model

17nb: all images taken from final group submission panels with consent from the group. no plagurism intended.

site plan: site b

wyndham is a city that is growing rapidly. an innovative gateway design will seek to improve the city’s image, aesthetically and to put wyndham on the map as a city of significance. this is an important step in the future development of the city and thus the design process should not be taken lightly. we have chosen site b for this particular reason, as it boarders the road to wyndham only which emphasises its connection to wyndham. the shape of the site is also ideal as it is before the exit ramp to the petrol station. our proposal has taken into account the context of the site, from the nearby western treatment plant to the existing environment of the site. we believe that this proposal will create the desired image for wyndham, now and in the many years to come.

- introduction to final project (panels)

18

week thirteen reflection

when i first enrolled in ads3: air this semester, i was expecting a normal studio, with a major project based on the theme of air (such has been the case for previous studios). little did i know what a rollercoaster of a ride i had just gotten onto; and now that the ride is over and i am about to get off, i can look back with thoughtfulness over the journey that was ads3: air.

initially i had some experience with rhino, but had never used any of its plug-ins. the skills that i have gained in this subject are those that you do not realise you are lacking in until they are presented to you. dabbling in parametric design was not something i would have ever thought about doing myself, and the dedication of an entire semester too it was both intriguing and terrifying. when out of your comfort zone you tend to freak out.... the introduction and sharing of precedents helped to ease us in. working in groups allowed us to concentrate on our learning of grasshopper, as each group member had different strengths that helped to ease the overall workload.

the week 8 switching of concepts was a risky, and scary move for my group. however i think it forced us to pull our heads in and really draw out an idea, whilst time was ticking away from us. whilst our initial concept was based on simple experimental cut definitions, we weren’t afraid to have to go all out and do something crazy for the last four weeks if it came down to it; we would have done whatever was needed to achieve what was required of us. even though it turned out that we ended with what could be described as a couple of voronoi patterns, the context and arrangement made the real difference between standard and exciting. whilst our gateway may seem basic, especially relative to others, i believe that we successfully fulfilled both the gateway project brief and the leaning objectives for this subject. had we left ourselves more time, of course we could have further developed the final scheme, but the same could be said for any project – it is rarely ever finished to perfection when the due date arrives. we are proud of what we achieved and it has given me a taste of the possibilities for use of parametric design in future projects.

seed cathedral heatherwick studios

Documents

ADS3: Air Final Journal Submission