a materialisation of place

architecture design studio AIRjames nicholas freijah, 537512 team 09, group 0304 daniel and kirilly

Part A: Case for Innovation

IntroductionMe and My Thoughts...011

My Virtual History...013

Architecture as DiscourseTheory...014

A BIG Idea...017Memorial Shame...019

Computation in ArchitectureTheory...021

Computing Tradition...023Optimization...025

Parametric Style WarParametric Thought...026

Algorithmic ExplorationsContour/Sectioning...028

Definition Development...029

Case for InnovationConclusion...031

Learning Outcomes...031

table of contents

Part B: Design Approach

Design FocusPrecedent Studies...How Sectioning Benefits Design...035

Sectioning for Society...037Sectioning for Culture...039

Case study 1.0Matrix of Progressional Iteration...040

Matrix Results...043Speculate...043

Case study 2.0Sectioning for Society...047Sectioning for Culture...049

Sectioning TechniqueDevelopment...051

Virtual Prototypes...053Physical Models...055

Proposal...057

Design ApproachConclusion...061

Learning Outcomes...061

Part C: Project Proposal

Design ConceptMaterial Explorations...064

The Premise...067Definition Workflow Diagram...068

A Materialisation of Place...073

Tectonic ElementsConstruction Workflow Diagram...075

Technical Drawings...077

Final ModelConveying Design Intent...081

Evocative Images...089Stop Motion Videos...091

Project ProposalConclusion...093

Learning Outcomes...093

BibliographyReference List...094

Image List...095

part a: case for innovation

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(i) Human Ignorance, (ii) Ignored Progression, (iii) A Topography of Deforestation, (iv) A Process of Accumulation, (v) Transitional Culture, (vi) Momentary Culture, (vii) Human Ingenuity: Achievement and Tragedy, (viii) The Catastrophe of an Accident. Folio produced from Visual Arts.

The pencil and computer are, if left to their own devices, equally dumb and only as good as the

person driving them.1- Norman Foster

Norman Foster suggests that the out-come of good design is derivative of the Architects level of conceptual input to drive pencil and computer devices. I simi-larly agree, and further argue this state-ment denotes the architects journal as the key tool for documenting the design-ers intuitive process of personal explora-tions and pragmatic workflow of research and analysis, to assist their expansion of knowledge within the contextual sphere of the project. The journals synthesis of interdisciplinary studies generates an in-formed expression of interest, formulat-ing architectural concept and theory to drive the devices of design.

My name is James Nicholas Freijah. I am a current third year Architecture Major within the Bachelor of Environments ter-tiary study program at Melbourne Uni-versity. Prior to university, my only other experience within the space of design was during my secondary school elec-tive subject, Visual Arts. It was at this time that I developed a passion for the creative process and abstract expression/communication of my ideas.

Society needs a good image of itself. That is the job of the

architect.2- Walter Gropius

The creative design process should be applied to positively impact modern soci-ety. This concept is what currently excites me to learn the practice of architecture, however by no means was this idea revo-lutionary in the early-mid 20th century when it was expressed by Walter Gropius. Historians argue the motif of propagat-ing ideology through visual communica-tion existed and has been widely prac-ticed across disciplines, not just through architecture, over the course of history. The earliest architectural example that comes to my mind are Roman Triumphal Arches. Monuments symbolizing civic, moreover Roman power, these structures were further used by Roman Emperors to propagate their justification to rule. Com-paring Roman Triumphal Arches and the Gateway Project, a parallel can be drawn between the similar building typology; a monument/marker of entry, loaded with preconceived propaganda. Although the Roman Arch implied control over society, the current concept of using architecture to inspire a social condition has changed to embody the propagation of a good social image.

1 Norman Foster, I Like Architecture: Quote #48. 2 Walter Groupius, Architects and Architecture Quotes and Quota-tions. Accessed 29/03/2013

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(ix), (x), (xi) and (xii) A select set of images from digital iterations to a montage of the final physical model

My first and only other experience using digital tools to contribute to the design de-cision-making process, was during the Vir-tual Environments elective. Our assignment brief was to produce a life sized wearable lantern, inspired by some natural phe-nomenon. I chose to explore the process of metamorphosis. Through a process of abstraction, I moulded a basic shape syn-thesized from the metamorphic life cycle of a monarch butterfly. Utilizing a contouring method to computerize this form, I further manipulated the shape in Rhinoceros and prepared it for fabrication with the panel-ling tools plug-in. My results far exceeded any expectation I had at the beginning of semester. One aspect that seemed more impossible than most, was fabricating a 1:1 scale lantern. However, as I reflected at the conclusion of module 4, the relationship between digital model and digital process have the capacity to output tangible puz-zle like pieces that made reconstituting the digital form into a physical model, a much easier process then once thought. This opened my eyes to the benefits of prefab-rication. I similarly accepted that by using digital tools I was able to greatly further the intricacy and level of complexity in my design. Through this project I was begin-ning to understand the application and benefit of digital technologies, a rapidly evolving discourse at the forefront of ar-chitectural practice and design.

In an initial exercise, within the first 20 minutes of our week one tutorial, we were asked to note down what we believed the role of grasshopper and/or the digi-tal design community encompassed in the modern design environment? This exer-cise forced the formulation of individual thoughts and later a class discussion re-garding the discourse of architecture as it is being shaped by the digital dialogue. Despite my surprise at being asked to qualify a somewhat uninformed opinion on the core concern underpinning the subject. I managed to construct my initial response derivative of the content pre-sented in the first Design Studio Air lec-ture earlier that day and the theory/tech-nical knowledge I developed from Virtual Environments.

I wrote that grasshopper as a design tool, moreover modeling through any digital aid, does have a place within the wider community of architecture and de-sign. I supported this statement by ar-guing that ...so long as these tools are used to best aid and facilitate the incep-tion and communication of the design in-tent - concept and theory - the presence of digital technologies will forever have a dynamic impact on the discourse. My first hand experience using digital tools during Virtual Environments exposed the high control and efficiency, complex form and physical model generation ca-pabilities provided by digital technology. Combining this existing knowledge, car-ried through into the subject, with digital modellings variability, real-time adapt-ability and fluidity (moreover parametric capabilities) suggested in the lecture, I synthesized an initial response that sup-ported digital tools at the forefront of developing possibilities, creating new design vocabularies and new innovative architecture.

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my virtual history

Acknowledging the truism that built form has undergone a series of changes, docu-mented throughout the progression of history, is fundamental to describing Ar-chitecture as discourse. While both new and old forms come and go, the theoreti-cal ideas underpinning those designs will forever remain. Thus innovation is relative to current standards and everything that has come before. The affect is a cycle of recycling building blocks, creating a dia-logue between precedent, culture, poli-tics and every day life to derive a new lan-guage that influences design. This build environment invokes a specific response3 from the social community and surround-ing context, hence identifying why we as Architects need to actively contribute to the ideas driving change for the best, in the discourse of Architecture.

To make architecture is to map the world in some way, to inter-

vene, to signify4- Thomas A. Dutton

In his quote, Dutton recognizes that de-sign is a manipulative push, propagat-ing ones subjective ideology to reshape the world as they see fit, and effect the discourse of architecture. Although tra-ditional thinking recognizes the potential for built form to affect social change, the architectural output is more concerned with the aesthetics of built form.5 Within the current rethinking of architecture, one must upset these traditional modes of envisaging6 design, challenging the notion of innovation through architec-ture that plays in positively shaping so-ciety.

3 and 4 Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Re-constructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), p. 1

5 Leach, Neil, ed., (1997). Rethinking Architecture: A Reader in Cultural Theory (London: Routledge), p. xiii6 Bjarke Ingels Group. (2009) Yes is More: An Archicomic on Archi-tectural Evolution (China: Taschen), p. 87

architecture as

7, 8 and 9 Architectural Record. Building for Social Change: Fer-nando Botero Library Park.

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G Ateliers Architecture, a small Colom-bian firm with offices in Brooklyn-New York and Medellin-Colombia, engage the discourse of Building for Social Change. In many respects, the design outcome of their Fernando Botero Library Park proj-ect reflects being inspired by the Parthe-non of Ancient Greece; rectilinear in form, the building is sited atop the acropolis of San Cristbal offering society a cool and urbane6 image in a landscape dotted by informal brick construction. In addi-tion to symbolizing a stronger, future-oriented urban image for society, the Library Park offers a community center for the underserved.7 Designed through a process of community involvement, the founding architect Orlando Garcia indi-cates that the desires and dreams [of the people] are reflected in this building.8 Garcia similarly recognized that as part of understanding the sites context, they needed to work within the reality of their means. Constrained by time, budget, and the local workforces ability, the design utilizes cheap and locally sourced materi-als to propagate an achievable idealized future in the best interest of the existing community. The architecture communi-cates a dignity and respect for knowledge and society, embedding itself into the collective memory of the village,9 forever contributing to San Cristbals architec-tural discourse.

In retrospect, change in todays archi-tectural discourse is strongly driven by digital tools. Through employing a com-putational process, the designer is more capable then ever before to engage in continuous evaluation and iteration, combining new and old ideas as building blocks in an algorithmic framework that encompasses a more holistic architec-tural discussion. The issue that arises is discerning whether or not the subjectivity of the design intent is in fact fore lead-ing society into the best possible future or fore personal gain by those driving change. Innovation in the best interest for whom? is a fundamental concern in the debate regarding finding a new style for current society.

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A mountain of residences on top of a cathedral of car cul-

ture.10- Bjarke Ingels

Symbolically titled, The Mountain con-tributes to the architectural discourse of Denmark, moreover the world through redefining the concept of a vertical sub-urbia. Denmarks topography is flat and the urban fabric of Copenhagen is mea-surable using square perimeter blocks. When the planning sketches for the new district of Orestad were released and they consisted of a master plan populated by square perimeter blocks, BIG Architects were not content to continue the trend of fitting every program, regardless of scale or activity, within the same mould11 of a traditional modern skyscraper. In order to meet Orestads political agenda, to cre-ate an integrated city, BIGs contribution was to create an Orestad biopsy where the programmatic mix of the living and working, public and commercial would integrate freely, like a city itself.

The approach taken by BIG Architects in-dicates their will to create social change through actively engaging with the dis-course of Scandinavian architecture. When the client asked for two separate buildings, a condominium and parking structure, BIG approached the design through a programmatic symbiosis. The parking structure became a podium for living as the housing grew above. The result was apartments transformed into courtyard houses offering large gardens

and generous views, a holistic design rather than the erection of a standard apartment slab next to a parking block. Contextually, it seems the neighboring suburb crosses the canal overflowing the parking block all the way from the ground producing a stepped hillside of private backyards on the south side fac-ing the sun. This offers an urban, high density living space with suburban quali-ties, dramatically improving social living standards and the discourse of residen-tial architecture and design.

The north facade, facing the city, engages in the digital discourse of architecture. In order to create a naturally ventilated parking space, a perforated facade is re-quired to allow air to pass while keeping snow and rain out. In keeping to the proj-ects mountainous theme, digital technol-ogy was used to map and perforate the image of the Mount Everest massif onto the north facade. This created a sharp im-age of the Himalayas from outside and an organic pattern from within.

The Danish Poet Soren Ulrik Thomsen contributed to the architectural discourse of Copenhagen, when he criticized the in-ner city as being suburban in his essay, Copenhagen the suburban neighbour-hood in upright position. The Moun-tains suburban living lifestyle and moun-tainous high-rise embodiment, combined with Copenhagens flat urban fabric, be-comes a literal embodiment of that unin-tended metaphor.12

10, 11 and 12 Bjarke Ingels Group. (2009), p. 84-87

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(xix) and (xxi) Personal Photographs from WTC Memorial Park(xx) 13 New York Observer, We Remember. We Rebuild. We Come Back Stranger! 14 NBC News, Freedom Tower is out, World Trade Center is in.

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We Remember. We Rebuild. We Come Back Stronger!13

- Barack Obama

The World Trade Center Memorial and Freedom Tower was project that de-manded a high level of public interest. The original Twin Towers were a sym-bol of American architectural culture and economic leadership, therefor this rebuilding needed to re-establish and propagate these lost values. Further-more, the design needed to embody the emotional constituent, memorializing the act of terror that caused loss and hard-ship to befall the American people and in time, other nations of the world.

Political debate regarding the outcome of design for the New York City site, had major implications on the Architecture that was produced by Daniel Libenkind and his team. The perceived danger of fu-ture terrorist attacks meant that political action imposed additional constraints on design creativity and forced the inclusion of a number of safety features in prepa-ration for any future incident. Even the name of the pinnacle tower needed to be changed from the Freedom Tower to One World Trade Center as it was seen as a liability for future terrorist attacks.14

Public interest contributed to querying whether or not the design should have proceeded to be something innova-tive, driving architectural discourse, or remain constrained within a traditional

linage of the skyscraper, architectural style. The freedom tower is not limited to the discourse of symbolism, formality, political drivers or aesthetics. However it is was designed in recognition of the necessity for function, incorporating the above, and significantly motivated by the discourse of sustainable architecture. In the optimistic spirit of rebuilding, the design further engages urban discourse. The project provides a connective tissue in dense downtown New York, creating a new urban center and reclaiming former program area. Libenkind contributes re-tail, commercial and office space, cultural amenities, residential units and open parkland to the surrounding urban fab-ric.15

The discourse surrounding this memorial did not remain subject to architecture. The act of terror itself that occurred on September 11, lit the fuse justifying an arguably unrelated war. Paul Krugman asserts that the memory of 9/11 has been irrevocably poisoned,16 when the atrocity of the act should have been a unifying event, the result was a course of action leading to a war fought under the premise of terror but actually for US claims over oil. The war is perceived to have hijacked the atrocity, casting a shroud of shame over the commemora-tions. As a result, this has detracted from the significance of the memorial existing to honour and remember those impacted by the September 11 terrorist attacks.

15 Morphopedia, World Trade Centre Design Proposal. 16 The New York Times, The Years of Shame.

memorial shame

Computation is redefining the practice of Architecture17

17, 19 and 20 Architectural Design, Computation Works: The Building of Algorithmic Thought. March/April 2013, Vol. 83:2.

Gregory Lynn18 in his TED presentation on calculus in architecture (2005), creates an argument that generalizes architecture as being modeled off of nature as it was perceived and measured by the technol-ogies available at the time. Lynn states todays model of natural form, is one that is calculus based, whereby we should use digital tools to formulate our visual ex-pressions. Lynn argues that by combining natures embodiment of optimized form through evolutionary natural selection, and the continually developing depth and breadth of digital technologies to analyze and visually reproduce these phonomania, the outcome supports the idea that digital tools generate a new ar-chitectural language.

Reflecting on my knowledge up to this point, my initial response that defined digital tools as a medium for assisting the formulization and communication of design ideas, was not by any means in-correct. However in retrospect, the state-ment barely scratches the surface in the discourse surrounding computerization and computation in architecture. Through engaging in course content I would now define the role of digital tools in design as being best viewed along a continuum. At one end of the spectrum, computer-ization refers to applying digital tools for the digitization of preconceived design ideas19 recorded using analogue medi-ums into computer representations, while at the other end computation refers to the digital synthesis of design ideas where program and site-specific context are incorporated at later stages of the design/decision-making process.20 Envis-aging the computer as a designers virtual

drawing board to assist with project re-finement and communication is now a common practice within the architectural sphere, defined as applying digital tools for computerization. Leading software such as Graphisofts ArchiCAD and/or Au-todesks AutoCAD and Revit facilitate the process of digitizing analogue work. On another level computerization is not just representational however inspires inno-vation when preconceived ideas through sketch or physical model can only be rationally realized through digital media. One such practice is Gehry Technolo-gies, pushing new boundaries with their highly conceptual ideas. Computation in architectural practice is however where the designer generates and explores ar-chitectural spaces and concepts within a programmed environment. Through a process of writing and modifying a/successive series of algorithm(s), the de-signer is able to reference element place-ment, configuration, relationships and any other necessary design constraints, to generate a parametric solution.21 Technological developments, in the field of computer-aided design, moderate the standard of digital tools used in an ar-chitectural practice. This statement infers that the discourse surrounding innova-tive design derivative of digital tools in architecture is forever linked to technol-ogys offerings; A source of consistent innovation or avenue of recurring limita-tions? Designers of the modern practice investing in methods at the computa-tion end of the digital tool spectrum are considered to be cutting-edge, pushing boundaries in the discourse of delivering the next major style.

A recurring concern evident from class discussion, is that our designs this se-mester would be limited by our ability or inability to use the Grasshopper or other select digital tools to their full potential. This concern is consistent within the digi-tal design community, that the designer is limited by their human skill level and/or the limitations existing in the program it-self. Another cause for concern is that the process of digital design, again through parametric modeling programs such as Rhino and Grasshopper, are sometime extensively form centric. As a result, a holistic architectural approach where structure, flow, function and form is gen-erated from the program defined by the brief, is being substituted by shifting fo-cus to developing a form generative of a figurative, award winning, highly concep-tual idea(s). In these cases, the structure and program of the design come second-ary to the form and subject to its bound-aries and aesthetic maintenance.

I personally find that in any process of design, preference is given to one or more aspects over others. This leaves the remaining architectural elements to be worked in around their footprints. The process of defining what is and what is not more important is highly subjective, indicating a pluralism of thought and process in design. Computation, driven by the architect or the computer is an aspect of design that is significantly con-tributing to the discourse of architecture.

18 TED Ideas Worth Spreading. Greg Lynn on Calculus in Architec-ture. 21 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48

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Since the great fire of 1871, Chicagos Architectural practice has significantly contributed to the discourse of architec-ture. The fire effectively left a tabula rasa from which Chicago could be rebuild, combining turn of the century industrial technology innovation and the economi-cally driven ideology developing at this time to produce the best possible archi-tectural typology to suite. The Chicago skyline has since become a timeline of skyscraper history.22 From Henry Hobson Richardsons Marshall Field Wholesale Store of 1885, derivative of the early sky-scraper consisting of characteristic steel structural frame clad in masonry material, to the Art Nouveau of Louis Sullivan, ever famous international style of Mies Van de Rohe and so many more, Chicago has been home to the rise of the 20th century modern skyscraper.

Studio Gang did not want it to stop there, as their new Aqua Tower is to become a highlight of the 21st century on this time-line of skyscraper of history. Aqua Tower brings to Chicago the latest in digital technologies to define a sculptural con-dition that goes beyond its inspired stri-ated limestone outcropping common to Chicagos Great Lake. The formal gesture presented by the sinuous shape has been optimized to employ a strategy of ex-tending individual apartment views and to maximize solar shading.23 Imbedded within a parametric model is the ability to qualify these constraints as parameters of design and act on achieving their op-timization through a coordinated process of change.

Applied to this subject, computation through the generative modeling tool GECO could be used to provide environ-mental feedback regarding solar shading. GECO creates essential live linkages be-tween 3D modelling software and analyt-ical platforms providing the opportunity to restructure conceptual design to its optimized form or for a desired effect.24Studio Gang have further interacted with the discourse of Chicago architecture by choosing to constrain their design to Mies legacy of a rational structure.25 Although Gang have approached this design with the preconceived idea of generating a form based off of a natural phenomenon and employ a rationalized structure, I would consider their design process to be situated further towards the computational end of the spectrum. They have used digital tools in this case to inform and generate optimal form/horizontal partition profiles to satisfy secondary constraints and drive the ar-chitectural decision making process.

These are strong indicators of areas known to benefit design using computa-tional tools. Structural rationalization is one field of research my group has ex-pressed interest in exploring. Another, strongly related to the compositional outcome of Aqua Tower, is sectioning. Through a process of creating views and maximizing solar shading, Studio gang devised the optimal sinuous shape for each section. For the gateway project, it will be the job of my team to devise our own theoretical underpinning from which to drive the optimal sinuous shape, sec-tionally represented, if this is the path we choose to pursue.

22, 23 and 25 Arch Daily. Aqua Tower / Studio Gang Architects. 24 Architectural Design, Computation Works: The Building of Algo-rithmic Thought. March/April 2013, Vol. 83:2

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The San Fransisco-based architects Lisa Iwamoto and Craig Scott practice an interdisciplinary process of designing. Committed to pursuing architecture as a form of applied design research,22 the Voussoir Cloud is an installation explor-ing form generation through the per-formance characteristic of folded wood laminate along curved seams. Engaging with the context for which the installation has been designed, Southern California Institute of Architecture gallery in Los Angeles, the final product is a site spe-cific landscape of vaulted form generated by the tesselation of three dimensional petals.

In order for studio IwamotoScott to have achieved this complexity in the overall tessellated form of individual petal with slightly different geometries, a compu-tational script was developed to calculate the curvature of each piece.23 The per-formance of these individual pieces have been reconstituted to act as voussoirs, designed to explore the structural idea of pure compression. Originally expressed by Antonio Gaudi who used hanging chain models and inverted the pure ten-sion they represented to realize Sagrada Familia in complete compression, Iwa-motoScott use computational hanging chain models to refine and adjust the profile lines as pure catenaries and form finding programs to determine the purely compressive vault shape.24 In order for the installation to maintain structural compression every component relies on each other, furthermore the encompass-

ing vaulted forms rely on the three walls of the installation space to maintain the entire structures pure form. The structur-al and material strategy of coupling pure compression and ultra-light material is an attempt to conflict normative architectur-al reading, confounding structural logics and only possible through the optimiza-tion of forms generated by computation.

Optimization; whether it be of form, structure, material performance or over-all performance of the design intent within its intended context, is a design constraint that has significantly contrib-uted to the architectural outcome of the Voussoir Cloud project. Through the use of digital tools IwamotoScott have ratio-nalized the form of each voussoirs into a harmonic curvature working structur-ally in pure compression. Optimization is benefitted by computation and in this case facilitates tesselation in this project. This is a research field my team has ex-pressed cause for pursuing as our area of interest defining our approach towards the Gateway Design Project.

IwamotoScott architects further embody this growing concept of interdisciplinary research in architecture. By this they re-fer to acquiring knowledge on necessary topics from the experts in that field. This is to further inform the design decision making process, creating the best pos-sible solution. Taking an interdisciplinary approach is far more costly and time con-suming, although benefiting the accuracy and complexity of design outcomes.

22, 23 and 24 Voussoir Cloud by IwamomoScott with Buro Happold.

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The discourse of documenting innova-tion in architectural history denotes the use of style to quantify the classification of specific design characteristics and the architectural expressions of such pio-neers. Historical records indicate politi-cal, social and economic motivators, the Zeitgeist or spirit of the time, as facili-tating this necessity for innovation. It is commonly asserted that the continuous adaptation of design ideas are only ever publicly observed and recognized, out-side of architectural circles, by the style of design they embody.25 In our current era, perceived to be transitional and lack-ing any universally homogenous ideas, architectural design finds itself without a dedicated style causing critics to render any use of the term as ambiguous with-out direction or meaning and incapable of symbolizing current design innovation. The dialogue in search of innovation for an elusive new style, is argued to have been found in Parametricism. The con-tention of this article is to engage in this discussion of style and incorporate my own expression of interest proposal in ar-guing for what might come next.

Parametric modeling is defined by a set of equations that

express a set of quantities as explicit functions of a number of independent variables, known as

parameters.26

A parametric entity is a computer gener-ated design derived from a set of rules that precisely define a sequence of oper-ations (an algorithm) which have the ca-pacity to integrate additional constrains, definable within the algorithm, and have the active ability to relate and change the resultant output in a coordinated way.27 Thus the process of designing becomes very fluid and efficient, needing just mi-nor alterations to the parameters within the definition to coordinate a generative output. An issue which arises is that Al-gorithms dictate an explicit process, an informational data flow that is strictly followed no matter what the implications might be on other parameters. Therefore it is arguable that to be an effective para-metric designer, you need to first under-stand the relationships that govern what the output might look like or its implica-tions on other design constraints. Ensur-ing that a continuous process of feed-back and evaluation can be intuitively engaged throughout the design decision making process. On the other hand, when design is generative of computation that is not explicitly controlled by the design-er but rather a non-specific form finding process, the output is not architecture in my opinion. Unfortunately, parametric design can often be classed and advo-cate a computer generative form finding process. Therefore I argue that digital tools are more informative within the design decision making process when used to aid the expression and elabora-tion of somewhat preconceived ideas.

25 Adam N. Mayer, Style and the Pretense of Parametric Architec-ture. June 1, 2010. < http://app.lms.unimelb.edu.au/bbcswebdav/pid-3815829-dt-content-rid-11839005_2/courses/ABPL30048_2013_SM1/ABPL30048_2013_SM1_ImportedContent_20130121032620/Adam%20Nathaniel%20Mayer_%20Style%20and%20the%20Pre-tense%20of%20%27Parametric%27%20Architecture.pdf>

26, 28 and 29 The Architects Journal, Patrik Schumacher on Parametri-cism: Let the Style Wars Begin. May 6 2010.

parametric thought

Patrik Schumacher on the other hand, first communicated his argument ad-vocating the rise of Parametricism as the next mainstream architectural style in his Parametricist Manifesto of 2008. Schumacher similarly recognizes style as a powerful asset for communicating architecture to society, however concur-rently acknowledges that the concept of style had lost traction and creditability within architectural discourse because of the tendency to simply regard style as a matter of appearance or short-lived fash-ion.28 Schumacher see style as denoting unity of difference between architectural epochs;17 indicating paradigm shifts in architectural thinking and their subse-quent cycling of design innovation.

parametricism offers a credible, sustainable answer to the crisis

of modernism that resulted in 25 years of stylistic searching29

Schumacher radiates an affiliation with the current avant garde within archi-tectural society. In reaction against the former prominent architectural style of Modernism, this group advocates Parametricism as the next mature style to drive architectural innovation. I also agree that digital tools are an immense source of innovation in design, similar to what were new concepts developed by modernists relative to an era of revival-ism and socialist movements proceed-ing. However does this innovation justify Parametricism as becoming a style in itself. Not only was modernism a reaction to prior architectural ideology, but the Zeitgeist was motivated by the industrial revolution forcing technological develop-ment and architectural innovation to be driven by the machine. One might sug-gest that Global Warming could be the

driving force of current innovation and although Schumacher sees Parametricism as a sustainable option, I believe he is referring to the longevity of the style not its environmental implications.

An example which does use digital tools to develop a parametric solution to aid the development of buildings environ-mental system design, is RMITs Design Hub. This building has an outer-skin that is parametric in composition while integrating automatic shading and pho-tovoltaic cell technology to improve the buildings internal conditions and re-duce running costs.30 As per this discus-sion, RMITs Design Hub does legitimise parametric design as a successful tool for innovation, however does this justify Parametricism as the next big thing? As disclosed earlier, under the subtopic heading Computing Tradition on page 16, the parametric plug-in GECO is a digi-tal tool that can be used to incorporate environmental modifiers into the design decision making process. I have already expressed interest in engaging GECO as a design tool to further our overall final outcome constrained by environmental modifiers. Parametric modeling has the capacity to engage the inclusion of new constraints, generating an immediate co-ordinated response, a benefit that allows new parameters to be incorporated at any point of the digital phase.

I would like to bring BIG Architects into this discussion because from a previous example I have indicated that they also experiments with digital tools in their practice. BIGs contribution to the dis-course of style comes from their motto evolution not revolution.31 This concept is opposed to the avant gardes approach of finding innovation by reacting against

all of history. BIG suggests that the next style should evolve from our current spirit of the time; adapting, maintaining and/or removing design characteristics through a process of natural selection32 to create a new and efficient style. BIG uses Parametricism as a design tool to aid the creation of their evolutionary concept while Schumacher sees paramet-ric design as the case for innovation.

I have often defined Architecture as a continuous feedback loop, evaluating a problem to synthesize an innovative de-sign solution. BIG suggests we improve the existing body of knowledge, through a process very similar to a feedback loop, by allowing natural selection to circulate the best possible design solutions while filtering out the bad. Parametricism is simply the output of a computational process employable to facilitating the feedback process, digitally defining and altering design constraints to create a grand breadth of innovation. Digital de-sign tools are best conceived as paramet-ric problem solving tools, contributing to the discourse of style through design ideologies derivative of the zeitgeist maintaining humility, not the avant garde Parametricism suggested by Schumacher.

27 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) p. 1130 Sean Godsell Architects, RMIT Design HUB 31 and 32 Bjarke Ingels Group. (2009), p. 12-15

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This is an example of using grasshopper to contour a complex, free flowing form.

Creating a NURBS surface from lofting a series of curves created in Rhinoceros, entered into the Grasshopper definition through the Brep node. Following the definition above, the next step was to repeatedly offset a curve referenced into grasshopper through the curve node. Then extrude all offset curves up, inter-

secting the Brep surface. The final node commanded grasshopper to identify all surface intersections, splitting and ex-ploding them into individual surfaces. In order to view the final contoured model of the original surface, I baked the final node in the grasshopper definition and manually removed the unnecessary ex-truded surfaces to uncover the contoured outcome. This grasshopper definition ef-fectively generates a contoured surface

representation of a form referenced form Rhinoceros using the brep component. It will be interesting to see in the coming weeks how this process is furthered by preparing the result for fabrication. This method of sectioning would only be ef-fective if a malleable material was desired in the final product. In a traditional case of sectioning, requiring straight sections, this definition can be slightly changed to offset a straight curve rather than a circle.

contour/sectioningwk02-03 grasshopper exercise

028

definition developmentwk04-05 grasshopper exercise

029

This is an example of using grasshopper to create fields that drive curve attraction and form. In this example, a field is cre-ated that focus a set number of curves to-wards a set number of points, while evenly spacing those curves back outwards. The curve-ends directed towards the point have been offset a specific circular amount and the whole field itself is created from four curves placed in Rhinoceros. In this example I have elaborated upon a base

definition. The first iteration adds an ad-ditional rotational field, causing the curves to rotate. The second iteration experi-ments with modeling the form in 3D. By incorporating a graph mapping node, the designer can control the profile of the 3D curve. If my site investigations uncover a significant network of lines or we develop a curve pattern, I would be excited to ap-ply this definition. I similarly feel this defi-nition has strong structural implications.

base definition

first iteration

second iteration

As an architect you design for the present, with an awareness of the past, for a future which is essen-

tially unknown.33- Norman Foster

33 Norman Foster, I Like Architecture: Quote #18.

conclusionArchitecture is the product of embed-ding ones concepts and thoughts, the surrounding context and global happen-ings, both current and past to synthesize an outcome for a design solution. Ex-pressing a notion of context, history and ones directional ideology, products of design have the capacity to affect social change, marking an epoch in the timeline of history. As a design group submit-ting a proposal to the Western Gateway Design Project, we acknowledge Wyn-dham as a fast growing municipality in Victoria and endeavour to represent this change through the application of digital technologies to aid our design decision making process. Developing a compu-tational feedback process consisting of and continuously evaluating all relevant parameters, the design solutions para-metric characteristics will enable control and efficient, coordinated change. The knowledge gained through engaging an interdisciplinary study of key constraints, will provide a solid understanding of the characteristics defining these parameters of design. This will inform greater accu-racy to digitally represent the parameters performance characteristics - impacting other parameters and being acted on - in a node based algorithm. Using Grass-hopper in this project, will enable de-sign optimization and hence innovation within our specialized area of interest. Digital tools will further assist Wyndham as building for social change by symbol-izing a progressive culture designing the city of tomorrow.

learning outcomesDuring research and development for Part A. EOI: Case For Innovation, I have gained much insight into the debate re-garding the direction of the discourse within architecture. The current argument is focused on what role digital tools are perceived to play in architecture mov-ing forward. The question that had de-veloped is whether or not computations impact is strong enough that we dedicate its contribution to architectural innova-tions as Parametricism - a style in itself to define architecture of the early 21st century. I have learnt that digital tools are used to define explicit sets of instruc-tions, driving form generation based on the parameters incased within the al-gorithm. Parametrically composed, the result is a live composition of content, enabling efficient iteration and coordi-nated feedback between new and exist-ing constrains as they are intuitively in-corporated or removed by the designer. Through experimentation, I have realized that the designer is formally limited to their knowledge of the digital aid. Fur-thermore, the complex form output is rather generative of the digital tools and not the optimization of ideas and per-formance of concepts brought into the digital realm for computational evalua-tion by the designer. I am excited to ap-ply my design knowledge and developing computational skills in a problem solving approach to the Gateway Project and de-velop a creative, complex and overall in-novative design solution.

031

The installation will enhance the physical environment through the introduction of a visual arts com-ponent. It will have longevity in its appeal, encouraging ongoing in-terest in the Western Interchange by encouraging further reflection about the installation beyond a

first glance.34

34 Western Gateway Design Project. Whyndham City. Contract No. C14449/12. (2011). Page 4

part b: design approach

Banq RestaurantNADAA Architects 2009

Position of view dictates understanding of form. Viewed from a longitudinal axis, a sinuous yet planar, seamless form is materialised. Yet from a lateral viewpoint, the forms fluidity has dematerialised and the structure of individual elements are understood and expressed.

MotionEness 2011

Mobius is a sculptural installation explor-ing the movement of 21 large triangles time-lapse throughout Melbournes Fed-eration square. Placed, photographed, moved in sequential order and photo-graphed again, is a repetitive process that drives a dynamic configuration of static form. Mobius becomes a living and collaborative sculpture that makes sense once filmed in a frame-by-frame stop motion.

Private HouseGramazio & Kohler 2009

Parametric modelling was used to panel the exterior of the house with 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. This precedent in-dicates a sectioning approach taken to control view, allowing both containment and release.

Visual Perception

The individual unit of a sectioned form becomes an expression within a homog-enous whole. This allows a 3 dimensional sinuous form to be constructed from pla-nar 2 dimensional planes.

Motion

The attributes of movement, dynamism and change, creating a sense of motion in immovable structure, can be given to a form adopting a sectioning approach through its frame by frame visualisation.

View Point Control

View is broken and controllable by sec-tion panels. In particular, our panels are louverable towards a/many point(s) dic-tating the extent of which a passerby sees through the void.

precedent studies...

(xxxv) http://www.dailytonic.com/wp-content/uploads/2009/11/gamazio-kohler-riedikon-05.jpg(xxxvi) http://www.dailytonic.com/wp-content/uploads/2009/11/gamazio-kohler-riedikon-01.jpg

(xxxiii) http://www.fedsquare.com/wp-content/gallery/culture-creative-program/mobius-at-fed-square.jpg(xxxiv) http://www.eness.com/?r=I&p=pS&s=b2d959a088dd983e23ad561d0e56374c_MOBIUS_screen_shots_800x450_007.jpg

(xxxi) http://yatzer.com/assets/Article/1513/images/BANQ_restau-rant_by_Office_dA_photos_by_John_Horner_at_yatzer_6.jpg(xxxii) http://www.yatzer.com/assets/Article/1513/images/BANQ_res-taurant_by_Office_dA_photos_by_John_Horner_at_yatzer_4.jpg

xxxi xxxiii xxxv

xxxii xxxiv xxxvi

Metropol ParasolJurgen Mayer-Hermann 2011

The Metropol Parasol is a wooden struc-ture located in Seville. It uses a waffle grid structural organization to create a fluid and homogenous form. Its structure and contouring is clearly understood. Struc-ture and form cannot be differentiated in this design.

Melbourne GatewayDenton Corker Marshall 2000

The Melbourne Gateway is an urban gate-way project for the city of Melbourne. It is a series of columns that create a kinetic relationship with the user who is appre-ciating 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, emphasizing the power of the break in form to create dynamism when pass-ing by.

Digital Origami Emergency ShelterLAVA 2011

LAVAs architectural solution for the 2011 Emergency Shelter Exhibition. Their de-sign intent was to raise awareness and aid for the thousands of people displaced by Japans natural disasters. Their shelter design provides quick, efficient, sustain-able and sensitive inhabitable spaces af-ter disaster strikes. Although the design offered only temporary relief, LAVAs ac-tions contribute to the notion of design having positive social implications and affecting the concept of architecture as building for social change.

Structure as Form

Structure and form become homologous. Structure becomes compartmentalised, within the form and/or visa versa.

Kinetic

A dynamism of materialisation and dema-terialisation of form. The solid and void have a relationship designed at 100km/h to derive the visual perception of motion in immovable structures.

A Sectioning Solution

Sectioning as the optimum design solu-tion to effectively solve a design prob-lem. Taking cultural, contextual and so-cial insight to create architecture that is building for social change.

...how sectioning benefits design

(xxxix) http://www.dentoncorkermarshall.com/wp-content/up-loads/2012/06/MelbGateway_02.jpg(xl) http://maryannadair.files.wordpress.com/2012/11/cheesestick11.jpg

(xxxvii) http://farm9.staticflickr.com/8281/7573071850_db65a3082d_z.jpg(xxxviii) https://www.theimagefile.com/v/tp/250/198/7845805202_4_metropol-parasol-seville.jpg

xxxvii xxxix xli

xxxviii xl xlii

035(xli) and (xlii) see DesignBoom. LAVA: digital origami emergency shelter. Page 031 for reference.

xliii

In a public exhibition held at the Sydney Customs House forecourt, during Sep-tember of 2011, were proposals from var-ious local and international architectural groups that highlighted the need for emergency shelters in disaster zones. The exhibition demonstrated the role of de-sign and construction industries in the af-termath of natural disasters. The Sydney based practice, Laboratory for Visionary Architecture (LAVA), proposed the Digi-tal Origami Emergency Shelter as an ar-chitectural solution that would provide quick, efficient, sustainable and sensitive inhabitable spaces after disaster strikes.

Based on the molecular configuration of a water molecule, LAVA proposes an exterior form with a strict geometric ap-pearance capable of being integrated with other modules generating an in-terconnected village. The hard straight edged exterior form facilitates unit inte-gration. This exterior functionalist form is juxtaposed against the individually carved, softer interior aspect of each ply-wood profile. The result is an undulating interior void, creating spaces for sitting and sleeping. In this example, the striat-ed layering and internal/external profile manipulation of each individual plywood sheet, defines the shelters structure and functional requirements; to provide temporary replacement housing com-fortably inhabited by two adults and one child for daily activities of eating, read-ing and sleeping.35 LAVAs solution is an origami cave; prefabricated in sections from readily available materials including wood, cardboard, and newspaper. This facilitates low cost and short time instal-lation, where units are flat-packed and shipped or dropped via helicopter to be assembled on-site.

This is an example where digital technol-ogies have been used to build for social change. Although we do not associate beauty with disaster, LAVA [have] shown that with great disaster, come great pos-sibilities.36 LAVA have realized the shel-ters interior volume through a process of sectioning. Shaping each individual profile, LAVA have satisfied the interior program conditions and the rigid exterior water molecule shape. LAVAs structural rationalization for the shelter, using only plywood sections and block work be-tween, minimized complexity and maxi-mized efficiency. Although the design only offers temporary relief in devastated areas, LAVAs actions prompt positive so-cial implications.

The Emergency Shelter Exhibition hoped to raise awareness and aid for the thou-sands of people who had been displaced by Japans natural disasters. LAVAs de-sign references a Japanese Metabolist philosophy of using prefabricated cap-sules to define living space. This demon-strates a high level of contextual insight integrated into LAVAs design proposal. This provides a necessary grounding to their computational proposal, which could have otherwise been mistaken as some sculptural artwork. Context is an aspect of the Gateway Project which must be taken into account, and used to drive form making in the design process. LAVA further strengthened the relevance of their design proposal through the inte-gration of context, transforming the shel-ter into an illuminated lantern at night, which would prove a sign of hope to vic-tims.37 Analogous with the Gateway Proj-ect, lighting conditions combined with a sectioning technique, offers to light Wyndhams path into the future.

35 and 36 DesignBoom. LAVA: digital origami emergency shelter.

37 Arch2o. Digital Origami Emergency Shelter, LAVA.

(xliii) (xliv) (xlv) (xlvi) and (xlvii) DesignBoom. LAVA: digital origami emergency shelter. 037

xlvi

xlvii

xliv

xlv

sectioning for society

The concept of the traditional church is transformed into a trans-

parent object of art.38- Gijs and Van Vaerenbergh

The See-through Church project is the collaboration of two young Belgian ar-chitects, Pieterjan Gijs and Arnout Van Vaerenbergh. Located in Limburg, Bel-gium, the church stands ten meters high and is constructed of prefabricated steel members, 100 layers and 2000 columns to be exact. Reacting against the tra-ditional church aesthetic, their design is atypical from height to material and overall rational composition. The tradi-tional heavy masonry, romantic and mon-umental qualities of the typical religious building typology have been substituted for more boutique, intimate and refined expression. The form is an optimized rep-resentation of a multitude of churches in the region, an ideal Gijs and Van Vaeren-bergh have expressed through horizon-tal plates. Reduced to solid and void, the design embodies the essence of a spiri-tual space and its interaction with the surrounding landscape. This approach to design is highly expressionist of contem-porary society, culture and contextual be-havior towards religion, developing mod-ern themes in a rigorously unchanged traditional discourse of architectural church design.

Page 29 of this journal, lists six overarch-ing benefits of a sectioning technique. One such benefit, utilized to its full ex-tents in this project is Visual Percep-tion. Depending on the perspective of the viewer; the church has the potential to materialise, perceived as a massive building, and/or dematerialise, partly or entirely, into the landscape before ones eyes. Moving inside the church and look-ing out at the landscape, the countryside is redefined by abstract lines,39 framing views that offer an alternative picture to those regularly unobstructed.

Concerning the discourse of Church ar-chitecture in Limburg, present observa-tion indicates an emptying-out40 of such a style. Gijs and Van Vaerenberghs installation is thus read as a metaphoric heritage related reflection of the present situation, materialised at one instance however dematerialised at the next. Their design is illustrative of a dissolvable cul-ture. As an object of art, the traditional architectural capacity of creating a space designed to facilitate a specific function of cultural significance, is diminished. Gijs and Van Vaerenbergh have indicated, the Belgian society is removing itself from the traditional practices of Churches. Therefore the design is an attempt to rectify cultural values within their society, offering a potential to re-use them [the Churches] in an artistic context.41

The poetics of this design are captured by the images to the left. The photograph (xlix) captures Gijs and Van Vaerenberghs See-through Church and the traditional Church it was modeled off. The steeple of the traditional Church is captured min-eralising through the steeple of the see through Church, emphasizing contempo-rary societies changing cultural attitude. From the comments following this article regarding this project in the online mag-azine architecture lab,42 I found one post highly intriguing. I want to use this quote to conclude the section as it demon-strates a variety of opinion and multitude of readings that individuals can have, no matter its relevance to the installation, a quality we hope to inspire within the passersby of our gateway. The subtle jab at our religious entities around the world and the fact that the are becoming more transparent and easily seen through the corrupt and devious ways of their past.43

38, 39, 40, 41, 42 and 43 Architecture Lab: Online Magizine. See- through Church: Limburge/Belgium by Gijs Van Vaerenbergh.

(xlviii), (xlix) and (l) Architecture Lab: Online Magizine. See- through Church: Limburge/Belgium by Gijs Van Vaerenbergh.

039

sectioning for culture

l

xlix

xlviii

Louver panels towards a point

Control over louver direction

Control of panel spacing

Control of panel height

Control of panel width

Map panels along a path(1)

Map image to flat, rectangular surface

(2)

Control over base height

Control number of panels

Control number of points in u and v direction

Map points on an undulating surface

Surface manipulation

Mapped image on louvered panels

Control over image magnitude

Control over base height

Map panels along a path

Controlling panel width (3)

Optimize form

case study 1.0...

louver banq definition combination

Wide, louvered panels along a path with an image

Vector manipulation, image mapping incorrect

Vector manipulation, image mapping incorrect

Vector manipulation, image mapping incorrect

Vector manipulation, image mapping incorrect

Vector manipulation, image mapping incorrect

Create material panels(4)

Divide individual panels into groups of panels

Control height of each group of panels

Control panel plane of extrusion

Louver panels

Apply image to panels

Mapped image on panels following path

Create material panels and panel groups

Control magnitude of image per panel group

Control panel plane of extrusion

Louver panels along path

Louver panels along path with material thickness

...technical explorationvector control height control path & material

matrix resultsOur group engaged NADAA Architects, Banq Restaurant (2009), to generate a predefined explicit design space for case study 1.0. Experimentation with solely the definition provided on the LMS, is docu-mented under the heading banq defini-tion. To extend our design in case study 1.0, we combined the provided definition with algorithms that enabled louver, vec-tor, height, path and extrusion (material) control. Although the matrix is divided by these key extensions to the overall defi-nition, it is obvious that in some cases an overlap exists between groups. The process of iteration involved following an idea of progressive evolution; making small changes in one form, baking it and continuing from that point down stream. Therefore the criteria defining my choice of highlighted outcomes included; fabri-cation, aesthetics, and a strong demon-stration of potential visual proofs of con-cept. No. 1 indicates the visual qualities of louverability and panels defined along a path. Not only will panels offer extend-ed view point control, they can facilitate visual perception under these conditions. No. 2 is a strong example of mapping an image to the section profiles. No. 3 offers an aesthetic compositions of a multitude of factors; image, louver and path. It was further easy to fabricate as demonstrated by the physical model documented on the left. No. 4 is a demonstration of hav-ing the ability within the virtual sphere of turning flat panels into panels with a material thickness, similar to that of the physical model.

speculateIn the case of this exercise, our group did not settle on any of the four highlighted outcomes as potential final designs. One reason for this was that perhaps we felt the image-face of our panels needed to be rotated onto the y-axis, perpendicular to the road. The iterations under vec-tor control were an attempt at doing so, however the outcome was not successful. In light of the misgivings of case study 1.0, our group demonstrated an ability to further the application of our sectioning technique based off of the predefined definition. Within the sphere of an archi-tectural gateway installation, our defini-tion facilitates an extended growth in a sense of a kinetic relationship with the user and landscape. A kinetic relationship can only be developed if an adequate spacing of sections is calculated in con-junction with the image/sign/symbol to be communicated at 100 kilometers per hour. This quality of sectioning-design our group would like to complicate fur-ther when we introduce out concept of materialisation, a growing of form. Within a sectioning design, space between pan-els is equally, if not more important than the panels themselves. Visual perception removes the individuality of single planar panes and grants the viewer a homog-enous, three dimensional sinuous whole. View point control gives the designer the ability to open, close and manufacture the perceived view. These are all abilities which will facilitate the communication of concept and extend the given definition into creating new work.

043

case study 2.0......reverse engineer a project

The purpose of case study 2.0 was to combine our cumulative knowledge re-garding grasshopper relative to our spe-cific research field, developed in case study 1.0, and apply those expertise to reverse engineer a project that embod-ied the technique. As I have previously discussed, our group expressed interest in exploring the possibilities of section-ing to conceive our Gateway Project pro-posal.

The precedent we choose to reverse en-gineer was LAVAs Digital Origami Emer-gency Shelter, a project we have identi-fied as developing/utalizing a sectioning technique key to it conception. Visual-izing the end product, I conceptualized its digital replication in three stages; creating a form, creating a void in the form and finally sectioning the combined product. This was exactly how our group proceed through grasshopper.

The first form created was the dodeca-hedron. As you can see from the com-plex definition above, this aspect of the process was above our level of technical knowledge. Utilizing all resources avail-able, we found a dodecahedron defini-tion searching the discussion board of grasshopper3d.com (the link can be found from the following footnote). 44

The next stage in the process was to create a void within the dodecahedron, representative of the living spaces of the shelter. From my existing rhinoc-eros knowledge base, I could have ap-proached this stage through simply ap-plying a boolean command to the two forms, joining them where they over-laped. However, for the most part we wanted to maintain using grasshopper as opposed to rhinoceros. As it so happened the solid operations functions in grass-hopper; solid difference, solid intersec-tion and solid union, function the same as the boolean command. In this case, as the definition above indicatings, we used the solid difference command. Tak-ing one input from the dodecahedron (A) and a second input from another brep (B - created in rhinoceros to mimic the interior volume of the shelter), this node removed the second form (B) from the first (A), leaving only a void cast in the form of B through the dodecahedron (A).

The final stage was to section the com-bined form, a process already defined and documented in this journal on page 022. As you might recall, you first must reference the brep to be section - in this case was a baked copy of the solid dif-ference - and secondly reference a curve. The curve is offset and extruded through the brep, where it is exploded, split and finally baked. The process requires manu-al removal of unnecessary section profiles prior to completion. As the previous page indicates, fabrication comes naturally.

44 Grasshopper 3D. Michael Herbig. Map Hexgrid on Dodecahedron. Discussion created November 1, 2011. Accessed April 20, 2013

sectioning for society

047

The second precedent our group choose to reverse engineer was the Tonkin, Zu-laikha, and Greer Architects, panelling contribution, Cadence (2008), to the Craigieburn bypass.

This Gateway installation combined sound wall technology and iconic road furniture to communicate a new 32km stretch of freeway linking the Hume High-way with the Melbourne Ring Road.45 The project was designed to have a kinetic relationship with the viewer. Similar to Melbournes Gateway by DCM where the power of break in form was equally if not more important than the panels themselves. The distance between form and void needs to be particularly calcu-lated, as it facilitates motion in immov-able structures experienced at a freeway speed of 110km per hour.

The main series of panel/sectioned wall is over 2 kilometres in length and was solely designed by Tonkin, Zulaikha and Greer. These panels are made from facetted austenitic steel sheets. The sheet metal is modelled in simple concave and convex folds, this produces a gentle undulating wave of steel floating,46 best communi-cated and highly dynamic when viewed at 110km Per hour.

liv

lii

li

liii

(liii) https://lh4.googleusercontent.com/-bNO6pH7S9NU/RtlTJpH0Y-I/AAAAAAAAAK4/0nsdolbXchg/25.jpg(liv) http://www.vulgare.net/wp-content/uploads/8284007_0e7f75221e_o.jpg

(li), (lii), 45 and 46 Tonkin, Zulaikha, Greer Architects. Craigieburn Bypass, Cadence, 2008.

In our expression of this project, we have defined control over; the number of divi-sions, extrusion thickness, louver direc-tion, modularization and vector manipu-lation. An essential component to this definition, which had a positive outcome

(5)

(1)

(3)

(2)

for future grasshopper works in this proj-ect, was vector manipulation. Through this initial aspect of the definition we had engaged explicit control over the panels collectively; number of panels, direction of louver and louver vector.

(4)

Divide, extrude, louver

(1) Division of curve (Number of louverable panels)

(2) Control panel width

(3) Divide panels into 4 modules

(4) Vector Manipulation

(5) Parametric louver point control

tzg architects

049

Wyndham

Melbourne

Sectioning

Spatial Density

Visual Perception

Kinetic Relationship

Visual Control

Addition : Subtraction

Marker Within Landscape

Materialisation

Dematerialisation

Wyndham

Wyndham is a developing city, a place of growth that is aspiring to become a point of focus within a broader spatial context. The people want a sense of place, their own cultural identity within the broader context of Victoria.

We believe that Wyndham wants a Mate-rialisation of place and identity. Drawing from the precedent of Melbourne as the epitome of cultural, social, and economic success in Victoria, the Gateway into Wyndham will initialize the aspirations of a global identity to develop into the future.

Sectioning offers us a unique opportunity for a materialisation of form. Firstly, spa-tial density of form allows for a reference to a solidification and materialisation of place within a landscape. Visual Percep-tion allows for a constant materialisation and dematerialisation as you move along the form. 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 de-sires from its success. The form offers an undulating, yet static landmark within a vast planar landscape, growing in its iconic nature and figurative expression of materialization through height control.

Our group proposes to investigate sec-tioning as our research field for the Gateway project proposal. The dualism of this technique - its innate capabil-ity of visually communicating growth and future oriented connotation being a digital technique - allows us to success-fully communicate Wyndhams future aspirations and ambitions; to materialise its own identity and cultural significance within a broader Victorian context.

concept development

051

sectioning image spacing

proof of concept...

view control height path

...virtual prototypes

sectioning image spacing

proof of concept...

view control height path

...physical models

designing an icon...geographical, cultural

identifiersextrude interact

lviii. Empire State Building

lvii. Guggenheim Bilbao

lvi. Sydney Opera House

lv. Flinders Street Station

...proposalsubtract

The progression of matrices developed in part b, are cumulated here in this con-cept proposal. Our grasshopper defini-tion, driven by a sectioning technique, combines the controllable parameters of image, spacing, view control, height, path, extrusion (materiality), subtraction/addition and interaction. The degree by which we have demonstrated control over such factors is an indication of our ability to communicate our concept for the Gateway project. Propagating the materialisation of a prosperous city of the future, the gateway into Wyndham offers a cultural identity and social standing.

orthographic

Front

Back

Left

Right

...proposal

059

The installation need not be literal or didactic in its refer-

ences, as it may capture a more abstract, aspirational intent and feeling. However, it should aim

to be accessible to a wide public and should explore place making

aspects and qualities.47

47 Western Gateway Design Project. Whyndham City. Contract No. C14449/12. (2011). Page 4

061

conclusionOur group is arguing that sectioning as a design approach offers an innate abil-ity to materialize and dematerialize form. Sectioning has allowed spatial density, visual perception, kinetic relationship, vi-sual control and subtraction and addition to further develop our design intention. Through a parametric design process us-ing grasshopper, our outcome is the cre-ation of a geographical and cultural icon to Wyndham as a growing municipality.

The feedback we received from our mid-semester critique presentation was over-all positive. For the most part, our con-cept was well received and commented as being clearly documented and well communicated. One aspect that caused confusion was the idea that Melbourne would contribute significantly to the ma-terialisation of Wyndham. Our approach consisted of creating a second form representative of Melbourne. This form was a solid surface that dematerialised parallel but opposite to the materialisa-tion of the section profiles representing the growth of Wyndham, symbolic of a transfer of ideas. Within this highly con-ceptual realization of our idea, we cre-ated a far greater issue that was picked up by both guest critics. That the second form facilitated a loss of views, an aspect quintessential to the poetics of a section-ing technique and expression of a kinetic, progressive relationship between user, landscape and architecture. This draw-back can be addressed by bring back the subtlety of design, a quality our group intends to rectify in the coming weeks as we turn to site and begin to address the practicalities of context and construction.

learning outcomesApart from a strong engagement with the brief, the process of computation engaged by our group has yet to call for any site analysis. Digital technologies, in particular the sectioning technique, have strongly informed the optioneering of the brief. Our core concept, materialisa-tion, is intrinsic to the panelized repre-sentation of form. This concept is further enhanced and publicly communicated through the proof of concept, benefits of sectioning parameters. These are controlled aspects within our definition that facilitate and highlight dynamism and change, symbolic qualities of Wyn-dham materialising character. Through a process of iteration, digital technologies assist the process of documentation and visualization of a multitude of responses adopting a section approach, as demon-strated on pages 40-1, 52-3 and 56-7. Vector imagery and photographic evi-dence indicates our groups developing skill in various three-dimensional media. I will particularly highlight the fabrica-tion process, which is so successful be-cause of the homologous nature across digital media. This is an essential part of the digital design process, as outputted physical model are 100% replicas of the virtual prototype, allowing the designer to gage an understanding of how the sectioned-panels work in a physical en-vironment, air. This provides feedback that in turn informs the virtual design. I feel our design is somewhat lacking a contextual grounding, a point commonly critiqued in digital design. I am intrigued to discover how a contextual analysis will inform our design in the final stages of this computational design process.

Design and document an excit-ing, eye catching proposal that

inspires and enriches the munici-pality of Wyndham.48

48 Western Gateway Design Project. Whyndham City. Contract No. C14449/12. (2011). Page 2

part c: project proposal

Material Juxtaposition

Contrasting materials across the installa-tion is one way our group has discussed implementing our theory of change and growth through materiality. We have fur-ther contemplated emphasizing our con-cept of change through varying the di-rection of join and size of cladding sheets across the design.

For example, a visual conflict is created through the use of Mottled Metal and Cor-ten Steel. In addition to the differ-ences in materiality, colour, texture and rigidity, further workmanship during in-stallation can be designed to extenuate dynamism across the form.

Material Dynamism Over Time

Materials that age, grow and change overtime, chosen because they satisfy the specific design intent. A category with significant connotations to our design theory.

An example our group discussed was copper. As this material ages, a chemi-cal reaction occurs with the air, creating a patina that causes its appearance to change drastically over time. We visual-ized this change occurring across the length of the installation, responding to the theme of air, the design would for-ever be in a state of change. In addition to this change in appearance occurring as one travels the length of the Gateway, residences of Wyndham will have an ex-tended experiential relationship as the whole composition reacts overtime.

Immediate Material Changes

Materials used to further emphasise dy-namism, by reacting to environmental changes, for example wind. The dynamic elements are juxtaposed with solid fram-ing systems that ground the form.

Potential materials include, sails, para-chutes and other movable forms. Al-though these lightweight material op-tions offer greatest sinuous moveability, another option is to clad a lettuce framed structural system with moveable rigid metal components that react to the wind. Both options are visually symbolic of dy-namism and change, offering a sense of materialisation and growth.

(lxiii) http://farm5.static.flickr.com/4144/5020617293_fb6ab5fb0e.jpg(lxiv) http://www.designboom.com/weblog/images/images_2/ro-drigo/09_september_2012/01_kineticFacade/airport_01.jpg

(lxi) http://www.topfoodservice.com/Merchant2/graphics/00000001/MSCS001A.JPG(lxii) http://www.keskinisgallery.com/daphne_keskinis/dk_images/past_art_work_2/Copper%20Patina.jpg

(lix) http://farm6.static.flickr.com/5245/5269007882_4743cdf1c2_m.jpg(lx) http://www.cdsmetalwork.ie/wordpress/wp-content/up-loads/2012/06/CORTEN.jpg

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material studies

Stainless Steel Mesh Veil

Swarovski Veil in Wattens, Austria, 2008

The veil creates an ephemeral, translu-cent form that lines the street outside the Swarovski Crystal Factory, dramatiz-ing and highlighting the company within. Engaging the surrounding community, this project exemplifies street sculpture identifying place. The installation has a lightness and transient quality through its stainless steel mesh, juxtaposed by its rigid steel structural members.

Our group relates to the luminescent qualities of the transparent steel mesh material, as it offers another component of design that can potential contribute to our concept of dynamism, movement and growth.

Polymer Sheeting - Normalu Barrisol

Top - Origami Tigers (Australia) designed by LAVA, realized by Barrisol. The crouch-ing digital tigers combine ancient lan-tern making methods with cutting edge digital design and fabrication technol-ogy, bringing the East and West together through tradition and innovation.

Bottom - Federation Squares BMW Stage (Melbourne) designed by Architects Lab and Bates Smart. The ceiling combines seven different quadrilateral shapes to form an elaborate myriad of Barrisol pan-els comprising of the ceiling structure. The entire ceiling area is illuminated by natural light during the day and backlit at night to provide a soft uniform glow.

A luminescent material with dynamic properties allowing it to vary from day to night can benefit our design.

Lighting is an idea our group has dis-cussed and a recurring theme developing in my journal, however not yet incorpo-rated into our design decision making process. Furthermore, as a parameter, light is beyond our control within the digital designing environment. It is much more plausible that this theme is intro-duced into our design through mate-riality. In this material study, our group identified two way to effectively create different experience using lighting; trans-parency and illumination.

Design considerations outlined in the brief, covered in more depth on the fol-lowing page, one specifically asks how the users perception would change from day to night. Our group approached this design consideration through the experi-ence created by materiality and lighting. During the day, a gradation of shad-ing offers a dynamic change from white to black of partially translucent polymer sheeting to propose a sense of materi-alisation. While at night, lighting within these panels expresses a similar process of colour change, a materialisation from dark to light.

Utilizing both transparency and illumina-tion our installation offers dynamism and growth through a sequential variance of material shading.

(xxxix) http://www.dentoncorkermarshall.com/wp-content/up-loads/2012/06/MelbGateway_02.jpg(xl) http://maryannadair.files.wordpress.com/2012/11/cheesestick11.jpg

(lxv) http://www.contemporist.com/category/misc/page/17/(lxvi) http://architures.com/wp-content/uploads/2011/05/Swarovski-Veil-in-Wattens-Fantastic.jpg

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A materialisation of form, using digital technologies to identify

Wyndhams aspirations of place.- J. Freijah, T. Wooley and G. Shin

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the premiseThe premise of our argument reflects a synthesis of key design considerations outlined in the brief and sectioning, a digital design technique with an innate capacity to emphasise and visually dem-onstrate our core concept, dynamism and growth, a materialisation of form and identification of place.

Outlined within the brief is a list of key design considerations and issues to be resolved and addressed. Of these, those contributing to our final form and de-sign theory include; (a) consideration of how our installation would integrate with and/or sits in the immediate and sur-rounding landscape, (b) the decision to create an installation that offers a more experiential approach rather then an ob-ject-centred individual sculpture, (c) the development of an iconic feature, (d) its appropriate scaling, (e) the dialogue cre-ated between sculpture and landscape to compose a Gateway, (f) the creation of an original, innovative and engaging form, (g) how its perception would change from day to night, (h) whether or not the installation would become a literal or ab-stract representation and (i) how specific materiality would furthermore contribute to our designs overall form and overarch-ing concept of place making.49 Employ-ing a sectioning technique that offers spatial density, visual perception, motion, visual orientation and form and void ma-nipulation, we propose a Gateway design symbolic of Wyndhams dynamic and en-riched municipality, an installation iconic of Wyndhams becoming of place.

Our first approach at achieving this goal ended fairly abruptly at the mid-semester presentation. The rationalization of this final form (p. 59) embodied a fairly lit-eral concept of materialisation, with two distinct forms both equal and opposite, one was designed to materialise as the other dematerialized. An analogy visu-ally demonstrated through an increase of panels, panel height and specific panel orientation along a specified curve path growing to Wyndham and drawing from the second form representative of Mel-bourne. As previously mentioned, the major criticism of this outcome was that many benefits associated with sectioning were hidden or removed in this design. The complexity we imposed in this design detracted too much from the effective simplicity of a sectioning technique.

Returning to basics, our definition en-abled us control over the number of pan-els, the spacing between those panels, the height of each panel, the orientation of each panel, the image mapped to the face of the panels and x-y panel rota-tion. These parameters exist and are ma-nipulated to offer a sense of dynamism, change and overall materialisation. As a group we chose to remove the second form in its entirely. Focusing extensively on how we could further achieve an ab-stract representation of Wyndhams Ma-terialization of Place through a Gateway installation defined solely by our param-eters and a pure sectioning technique.

We intend to achieve a greater sense of growth and dynamism across our de-sign through first engaging a contextual analysis. This we begin to define an actual path for installment, offering a sense of size and scale and enabling a straight-forward computational design process defined by our set of parameters to ma-nipulate the final form.

The brief asks that:

The Western Gateway should propose new, inspiring and

brave ideas, to generate a new discourse.50

Through a parametric design process, we propose a concept that achieves materialization and dematerialization, dynamism and movement, solidity and ephemerality; creating an experience that reflects Wyndhams desire to become a place of growth within the wider Victo-rian context.

We find that our design offers innovation brought through the computational de-sign process. A process which has allowed us to realize a desired outcome deriva-tive of our predefined parametric inputs. Furthermore, I would argue the concept for our design facilitates the architectural discourse of building for social change, a notion developed early in this journal suggesting innovation and the legitimi-zation of parametricism having a positive impact on design. Creating a multitude of references that symbolise growth and future development of Wyndhams mu-nicipality, our proposal propagates a new cultural identity, social fabric and geo-graphical marker generating Wyndhams new discourse moving forward.

As a gateway our proposal offers Wynd-ham an iconic landmark that this site spe-cific, place defining and oriented towards the future of Wyndham. Our response is closely related to the brief, however adopts a parametric process of design, unique in that it has a large potential for iteration and addition of parameters that contribute to the analogy of Wyndham as a place of materialization.

49 and 50 Western Gateway Design Project. Whyndham City. Contract No. C14449/12. (2011). Page 5

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1. Define CurveRhinoceros curve input. Curve defined in response to alignment within the greater Victorian context and site specific user interaction.

2. Curve DivideSplit curve into segments. Segment length is parametrically defined using a graph mapper in Grasshopper. Points are concentrated towards the highway road to Wyndham/location of literal gateway, creating a dynamic experiential approach.

3. Height ControlList item control isolates each point. Lines are generated in the Z-Direction from these points with an individually speci-fied height. A parameter contributing to the sense of monumentality and symbolic expression of growth and place.

4. Surface by Loft Loft generated through the lines created in the previous step.

5. Surface DivideSurface grid created on lofted surface. Al-lows image mapping of surface.

6. Image MappingInput designed image. Image is mapped from the lofted surface area using surface grip points to calculate change based off of the image. Creating dynamism and movement in form, iconic of becoming.

definition workflow diagram

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7. Plane form PointPlanes are created in the YZ-Direction off of the points created in stage 2.

8. Section SurfaceA curve is created where the profile of the image mapped surface intersects the planes. These curves are lofted with their respective height defining lines, created in stage 3, to create new sectional sur-faces.

9. Section RotationUsing a mathematical expression, the plane are sequentially rotated 180 de-grees in the X-Direction over the entirety of the model. The affect is a rotation of the sections. Contributing to dynamism and movement, materialisation and de-materialisation.

definition workflow diagram cont.

10. Section to PanelA material width/thickness/volume is given to the sections, effectively creating panels. With further consideration, mate-rials further contribute to our concept of growth and change.

11. Louver PlanesPlanes are louvered towards a point. Fa-cilitates innovation in our design creat-ing views and alternative experiences depending on the users perspective. Contributing to form and void, materiali-sation and dematerialisation.

12. Panel AlignmentSelect panels are aligned to the louvered plane, thus enhancing the sense of mate-rialisation and dematerialisation symbol-izing Wyndhams development of place.

13. Final ManipulationThe final manipulation consisted of bak-ing and preparing the digital model for digital presentation and physical fabrica-tion.

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Alignment

The designs situation on site responds specifically to the municipalities of sig-nificance within the broader Victorian context. Taking from the town halls of Wyndham and her major points of refer-ence, Geelong and Melbourne, to orient the Gateway and position it on site. The line created between Wyndham and Gee-long passes directly through the dedicat-ed site, whilst the intersection created by the line originating in Melbourne dictates a literal gateway location, the commuters transition into the heart of Wyndham.

In addition to dictating the path and po-sition, a strong contextual relationship embedded in our design offered a sig-nificant grounding of place. Contribut-ing and understating of where Wyndham currently sits within the greater context and enabling the senses of growth, dy-namism and change to be positioned/de-signed for greatest effect. The alignment of our design is derivative of our contex-tual research, creating a literal gateway was not initially intended, however a se-ries of events led to justify this outcome.

Marker in Landscape

The height parameter significantly con-tributes to the installation becoming a marker in the landscape identifying place. Juxtaposed against the planar landscape, the design relates a sense of monumen-tality demonstrating Wyndhams growth.

This monumentality combined with the alignment of town halls, climaxes at the point of intersection where we have cre-ated a literal gateway into the city of Wyndham. The progr