ARCHITECTUREDESIGN STUDIO

AIRMAILYS BAERG 540009GWYL JAHN & ANGELA WODA

SEMESTER 1 2013

ABOUT ME

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My name is Mailys Baerg and I am a 20 year old student currently undertaking my third year doing a Bachelor of Environments and majoring in Architecture at the University of Melbourne. I was born in France, but spent a number of years in Canada, Chad, Botswana and now Australia. Having spent so many of my childhood and teen years in different countries, I quickly developed a love and passion for traveling. It is not surprising then, that with that love came an underlying appreciation for different cultures, and a keen interest in architecture soon developed. I believe my love for architecture not only grew from the design aspect of it, but also from the cultural. When I see a building, I don’t see only the aesthetic side, but I see a culture, influenced by social, political and environmental factors.

Prior to beginning this course at university, my knowledge and ability in digital tools were limited, and although the quantity and quality of skills that a student must learn in order to become a part of the design realm today is a significant challenge for architectural education in the age of digital technologies, in today’s technological day and age, it is increasingly important for us to have the means of expressing our ideas in more ways than hand-drawing. The course has provided me with an opportunity to develop skills in a multitude of Architectural digital tools, whether it be 3D modelling, 2D drafting, rendering or presentation. I am keen to learn the essential skills in digital architecture and expand my knowledge on creating structures that would otherwise have been impossible to create a few years ago without the tools that are at our disposal today.

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CASE FOR INNOVATION

PA R T 1

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C O N T E N T S

1.1 Architecture as a Discourse ........................5

1.2 Computational Architecture .......................13

1.3 Parametric Modeling .................................17

1.4 Algorithmic Explorations ............................23

1.5 Conclusion .................................................25

1.6 Learning Outcomes ...................................27

1.7 References ................................................29

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Figure 1: Sourced: http://www.designboom.comFigure 3: Sourced: http://www.highsnobiety.comFigure 3: Sourced: http://www.jameslawcybertecture.com

1.0 ARCHITECTURE AS A DISCOURSE

The word ‘discourse’, as defined in the Oxford dictionary, originates from late Middle English, denoting the process of reasoning, thus signifying a generalization of the concept of conversation within all modalities and contexts. It is important to remember that “architecture is as much a philosophical, social or professional realm as it is a material one, and it is through the consideration of architecture as discourse that one can engage with it as visual culture.” 1

Too many definitions of architecture view it merely as a form of art, a simple object designed by a professional, an architect, and then analyzed and critiqued by the general public or society in which

it is found, similar to that of other artists who create works comprising of paintings and sculptures. 2 It has generated debates that revolve around questions of style, grounded on little more than ‘moralistic arguments’. 3

Richard Williams in his book, however, disagrees with this notion and suggests rather, that architecture should instead be viewed more as a “collaboration between a range of social and professional practices that sometimes, but by no means always, lead to buildings”, 4 rather than products in space or mere physical objects.

Having mentioned these two differing views, it is mm

Figure 1. PEGS, McBride Architects, 2011 Figure 2. Cloud House, Mcbride Architects, 2012

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important therefore, that we not only view architecture as merely a work of art, but also as a means of generating discussion or discourse related to issues in society, culture and the environment. Most of what we know around us is ultimately mediated by the built environment, thus, to create architecture is essentially to build vision, construct knowledge, and influence people’s perceptions. Architectural discourse is both technological and cultural. It provokes thinking. It’s a method of building community. It is a means where ideas can be transferred and it opensup opportunity for architecture to progress. Architecture, then, as a discourse, discipline, and form, is “instrumental to the construction of our mmm

identities and our differences, to shaping how we know the world.” 5

Likewise, the proposal for the Gateway Project requires an ‘exciting and eye catching design’, and should encourage the generation of new, inspiring and bold ideas that engender a new discourse. New and radical design ideas, technologies, principles, materials and ways of thinking in architecture are cause for much discourse in recent years; consequently the integration and use of these design conditions, such as parametric modeling, could bring Wyndham City to be a participant in the current discourse.

Figure 3. Cybertecture Egg, James Law, MumbaiFigure 2. Cloud House, Mcbride Architects, 2012

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The Ordos Museum by MAD Architects [Fig1] is a good example of a controversial building that has created a large discourse surrounding it. The building is somewhat reminiscent of Buckminster’s geodesic domes, and forms a mysterious and abstract form that ultimately fosters an interchange, a timeless advance within Chinese tradition and their future. Furthermore, it is fitting that the external layers act as a sort of defense that shelters the history and culture of the city.

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Figure 1: Sourced: http://www.archdaily.comFigure 2: Sourced: http://www.designboom.comFigure 3: Sourced: http://www.artrick-playground.comFigure 4: Sourced: http://www.archdaily.com

Figure 1.

Figure 3. Ordos Musuem Interior Figure 4.

ORDOS MUSEUM

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Figure 2. Ordos Musuem, MAD Architects, China, 2011

Figure 4.

Although a beautiful piece, the sculptural museum has also revealed some inevitable conflict in the modern Chinese civilization between their long standing traditions and their dreams of the future. The architects who worked on this project would have had to have been aware of the delicate provision of minority cultures and its future potentials. I believe that buildings such as these are exciting and provide such opportunity for the community to be revered in the modern world today, as the Ordos Museum has.

Figure 1: Sourced: http://www.guardian.co.ukFigure 2: Derix. C [2011] Feed Back, John Wiley & Sons: ChichesterFigure 3: Sourced: http://www.archiscene.net

AL-BAHAR TOWERS

The Al-Bahar Towers [Fig.1], Abu Dhabi, are an inspiring set of architectural feats, reflecting a vernacular architectural style. Designed by Aedas R&D for an international design competition, they reflect both cultural and environmental factors, as well as the enormous potential of digital modeling and designing. Aedas maintain three principal areas of research and development - computational design, advanced modeling and sustainable design. 6

These towers incorporate a number of the Middle East’s traditional architectural concepts, and thus this makes them all the more fascinating as they incorporate historical and contemporary cultural influences. The Middle East has long been known for its sustainable architectural features such as solar screens, cooling courtyards, ventilated domes and self-shading geometries. 7 In more recent times, however, curtain wall glazing has been a prominent feature in modern buildings. Applying both these facts together, the Al-Bahr Towers were inspired by Islamic and regional vernacular architecture, adopting a flexible and modifying shading screen [Fig2] derived from the traditional wooden lattice shading (Mashrabiya) 8. This adaptive system adjusts when subjected to direct sunlight, and therefore, provides much

needed shade for the indoor environment, while reducing energy consumption.

The designers have utilized computational design technologies and methods to produce numerous geometric rules that underlie the design of the towers by generating algorithms that would essentially correspond through geometry. It is essential to realize that the team of designers adopted a “class of highly parallel evolutionary, adaptive search procedures”, in the words of John Frazer, to achieve their ultimate design goal.

So does the move towards ‘modern’ methods of creating architecture through computational design mean that all traces of tradition will be lost?

I believe that perhaps people struggle to grasp or accept the new radical ways of designing buildings because they fear losing traditional methods and materials, however, I think this building is a perfect example of how we can continue to use computational design technologies to create innovative designs, yet retain aspects of ‘old ways’. I find this building particularly enhanced by the fact that Aedas has attempted to conform to cultural, environmental and social factors, and believe that the design creates a greater discourse in this way.

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Figure 1. Al-Bahar Towers CGI, Aedas, 2012

Figure 2. Al-Bahar Towers CGI, Aedas, 2012, Self Shading Geometries in all their forms

Figure 3. Shading System

Figure 1: Sourced: http://www.jmayerh.deFigure 2: Sourced: http://www.solaripedia.com

METROPOL PARASOL

Metropol Parasol [Fig1] was designed by J. Mayer H. Architects, a redevelopment of the Plaza de la Encarnacion in Seville, Spain and has essentially become an icon for the medieval city.

The form generated from clues taken from the excavations sub-surface 9, and from that, a pixel pattern was implemented. The undulating waffle-like structure [Fig2] creates a seamless transition between all its different elements via the expansion, contraction, bending and opening of the individual parasols.

Although an enormous architectural feat, the project’s ultimate success depends heavily on the reaction of the surrounding community. It has undoubtedly engendered a large discourse surrounding its launch, as the general public has debated whether it is a work of art or a piece of architecture. I don’t believe it is one or the other, but instead, a beautiful, sweeping piece of sculptural work that has attracted economic, cultural and social growth to the metropolis. Likewise, the Wyndham City has the same opportunity to create such a piece with the Gateway Design Project, thus instigating a new discourse and a heightened sense of awareness.

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Figure 1. Metropol Parasol, J Mayer H Architects, Spain, 2011

Figure 2. Metropol Parasol Section

1.2 COMPUTATIONAL ARCHITECTURE

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Figure 1. The Times Pavillion, Nex Architects, London, 2011

Figure 1: Sourced:http://architypereview.comFigure 2: Sourced:http://architypereview.com

The last couple years in architectural design have seen the significant emergence of computational design and manufacturing techniques, thus assisting in the process of redefining the practice of architecture. Former visionary architectural projects from the likes of Greg Lynn generated numerous debates about ‘blob’ versus ‘box’ 10 through his creation of the ‘Blobwall’ [Fig1, p20] and the notion of digital aesthetic and form. Earlier 3D modeling software such as 3D Alias.

Wavefront modeling software such as 3D Alias Wavefront and other programs based on animation are slowly being weeded out and replaced by modern and more versatile software such as Rhino and Grasshopper. Such programs as these are redefining the use of digital tools by creating new and critical opportunities in the design process, construction and fabrication.

The Times Eureka Pavilion in London [Fig1 ]was designed by NEX Architects and was informed by the plants and vegetation grown in the nearby vicinity. The geometric network of timber struc-tures is essentially a bio-mimicry of leaf capillar-ies [Fug2], having been derived from the cellular structure of plants. The structure itself was, in the words of NEX Principal Alan Dempsey, “designed using computer algorithms that mimic natural growth…” Without the use of computational de-sign tools, such as 3D modeling and digital manu-facturing resources the designers and engineers would not have been able to meet structural needs and create such a complex configuration.

Computation ultimately creates the opportunity for designers to increase their capacity so they have the ability to work in highly multifaceted and complex situations, in accordance to Ahlquist

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Figure 2. The Times Pavillion

and Menges’ definition of computation as ‘the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.’ 11 This radical and new process encompasses the ability of human creativity and exploration along with the use of computers to achieve more complex and intellectual design outcomes which would otherwise have been without computers. Among the endless opportunities within computational design lies the ability to create numerous rapid iterations and variations of one design, thus changing the way designers can work. 12 In this way, representation is being replaced by simulation, and the crafting of objects is moving towards the generation of integrated systems through designer-authorized

computational processes. 13

Moreover, such digitally industrialized systems have become increasingly affordable and accessible, and as a result, the generation of digitally manufactured buildings is progressively becoming less expensive and more efficient than the design process of traditionally planned and produced buildings. Computational design has allowed us to generate and discover architectural spaces and concepts through the positioning of certain elements, their configuration and the relationship between them. This is demonstrated through the network of shapes creates for the surface of the Times Pavilion, Londin [Fig1]. In doing so, we are able to produce new environments in which to explore multiple simulations, as did Nex Architects [Fig2] and virtual experiences.

Figure 1: Sourced: http://glform.comBLOBWALL PAVILION

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16Figure 1. Blobwall Pavillion, Greg Lynn, 2005

The Blobwall, by Greg Lynn [Fig1], was engineered as a material study which fundamentally explored the use of computational design in the coming age, by investigating modular structures and space separation. It illustrates how the combination of repeating forms or components can create rather beautiful (in my opinion) organic structures. I believe that the development of this wall is essential in considering the implications on the future design and construction industry. This was only possible due to the modern age of digital or computational design and manufacturing technologies.

As a result of computational design’s escalating reputation and the nature in which it takes form, one could perhaps argue that architecture is losing any formalism and materiality it once contained in traditional architecture, thus creating alienation tool’ and remote from the real business of creative

design” 14, it is undeniable that emerging design and production technologies are undoubtedly creating a nonreversible impact on the evolution of architectural production today and wll continue to do so in the future, as it always has in the past.

Furthermore, it is imperative to note that there is a significant difference to preceding architectural theory in that the new parameterization tools essentially do not enforce one particular formal language or style. Unlike preceding, radical architectural buildings of their time such as Corbusier’s early buildings, new emerging technology is not responsible for the production of such ‘alien’ buildings. The designer ultimately decides how to implement the tools into their design, and which parameters are the priority for their designs and which are not.

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Figure 1: Sourced: http://ming3d.com1.3 PARAMETRIC MODELING

Figure 1.

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Figure 1

The advent of the use of computational design techniques in architecture has revolutionized the way we view architecture and has created the opportunity for us to use methods such as parametric modeling to further enhance our designs and push the boundaries of creativity. Architectural masters such as Le Corbusier and Walter Gropius were ultimately the fathers of modern architecture, and thus paved the way for the computer to be used as a design tool.

Parametric design is a method of allowing us to intelligently and creatively develop architectural objects based on a set of rules and relationships. These rules and relationships are defined in parametric software such as Rhino and Grasshopper and allow the design to be easily manipulated in order to rapidly generate multiple iterations of the design in 3D. Parametric modeling

has allowed for more complex free form shapes. Furthermore, multiple reactive and repeating components can be produced. In the words of Kolarevic, “parametrics can provide for a powerful conception of possibilities, replacing in the process stable with variable, singularity with multiplicity”. 15

“Parametric approach to design, if consistently applied from its conceptual phase to its materialization, profoundly changes the entire nature and the established hierarchies of the building industry, as well as the role of the architect in the processes of building.” 16 Unlike the role of masters such as Meis van der Rohe in the design process in their day, architects are now designing a set of principles encoded as a sequence of parametric equations rather than merely the specific shape of the building.

Figure 1: Sourced: http://openbuildings.comFigure 2: Sourced: http://openbuildings.com

Figure 2. Sketches, Frank Ghery, 1997

GUGGENHEIM MUSEUM

Frank Gehry can be classified as a ‘second generation digital architect’, in that the use of parametric design techniques in his creations only apply to the progression after the initial design process that consists of sketches [Fig.2] and paper models. In the creation of Gehry’s Guggenheim Museum in Spain [Fig.1], the design team incorporated computation and parametric modeling to fundamentally transform various aspects of the building, but the initial design process was still ‘traditional’, devoid of computers. 17 In reference to the design process, Gehry states that, “I started making shapes that were hard to draw. That led us to the computer…which made me realize the possibilities and the level and degree of accuracy you could cerate in your documents and your relationships because of the software.” 18

Composed of a group of free flowing volumes, the museum is draped in thin sheets of titanium. The use of parametric design technologies has allowed

Gehry to create irregular organic and curved shapes making up a set of exterior panels and contours. Without computers, Gehry would not be able to implement his designs even though revolution in architecture has already moved ahead of him.

Similarly, Foster’s Gherkin Building [Fig.3] employed parametric modeling in order to make the building more energy efficient. Computational tools were used to develop curved building shapes, put through digitalwind simulations. Moreover, parametric modeling enabled experimentation with the curvature of the building in relation to sun exposure. 19

While Gehry and Foster design in their heads and implement ideas with computational tools, a new generation has adopted the computer itself as the generator of design.

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Figure 1. Guggenheim Museum, Frank Ghery, 1997

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Figure 1: Sourced: http://www.flickr.comBMW WELT

Figure. 1. BMW Welt, Coop Himmelb, Germany, 2008

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Figure. 1. BMW Welt, Coop Himmelb, Germany, 2008

Coop Himmelb may be classified as one of these architects. In one of his remarkable and renowned architectural masterpieces, the BMW Welt [Fig.1] in Munich, we see a demonstration of radical parametric modeling techniques. Offering new ways of controlling form, parametric modeling has allowed Himmelb to create architecture that reacts to its context, both social and environmental, thus permitting an entirely digital workflow from design to manufacturing. This particular building demonstrates that we do not neccessarily have to adhere to ideaslised typologies. 20

The overall design was driven by the simulation of anticipated loading scenarios. Without computational technology, these simulations would not have been possible. One entire spatial structure [Fig.2] is enabled by the combined capacity of two girder grid layers. Parametric modeling and computational design tools have made the realization of the design possible.

Although this form of generative design is becoming increasingly popular in practices around the world and engenders a lot of affirmation, there are pockets of disagreement that emerge regarding incompetence, scripting issues and ultimately, the role of an architect within the design process. Robert Aish and Robert Woodbury argue that mmm

modeling “may require additional effort, may increase complexity of local design decisions and increases the number of items to which attention must be paid in task completion.” 21 One may argue that the current trend toward convolution leads to new design issues. These problems ultimately require a deeper understanding of geometry, computer software and mathematics. Most importantly, it is vital that the architect must be the master of and control the tool, rather than the tool control the architect.

So why use parametric modeling and computational design technologies? Why not use traditional methods of designing architectural masterpieces?

Contemporary or ‘modern’ architecture is demanding for an increased level of articulated complexity, something that is impossible to do by humans alone. The benefits of parametric modeling are immediate, by reducing the effort needed to produce and analyse design variants. It is vital to remember architecture’s role as a communicative device and therefore, as a means of creating discourse. Parametric modeling techniques enhance and create endless opportunities for the Gateway Design Project to make a statement and communicate not only radical architectural design, but also social, cultural and environmental factors.

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1.4 ALGORITHMIC SKETCHES

As a part of the discourse on architecture in terms of computational and parametric design techniques, additional experimentation into the use of Rhino as a means of communicating our ideas in relation to these topics has taken place. Through these basic algorithmic explorations within Rhino and Grasshopper, it allows us the opportunity to further enhance or demonstrate the integral and useful role that computational design techniques could play in the creation of the Gateway Design Project.

Figure 1 displays the use of a combination of curves, arcs and points to ultimately define a meshed and lofted surface. These points can later be altered in Grasshopper to modify the form of whatever object is being created. A similar although far more complex technique may have been used by MAD Architects in the designing of the ORDOS Museum in China.

Techniques used in figure 2 consists of creating various geometries by using a voronoi algorithm. This particular workflow demonstrates parametric modeling as defined by particular relationaships, that can then be implemented onto a surface and ultimately be applied to the facade of a building. Similar instances might be seen in the Times Pavillion, London, where the surface is generated through a network of shapes.

Figure 1. Arced Surface Created in Grasshopper

Figure 2. Geometries created by Voronoi Algorithm

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Figure 3. Grishell Geometry Defined on Surface

Figure 4. 3D Representation of pipes using grishell geometry

In comparison, the use of a gridshell is used in the exploration in figure 3, as another means of developing complex surface patterns. This technique reveals a geodesic surface, and can be changed by adjusting the reference number of the input points, thus further demonstrating the point made throughout the discussion computational and parametric design that Grasshopper allows us to make quick and easy iterations to our forms without having to start all over again. A well known masterpiece by Foster & Partners that uses this same method is the British Musuem’s Great Court. This method and would be fundamental in the Gateway Design Project, saving both time and money.

Furthermore, we can then use this gridshell to apply other dimensions to the surface, as in figure 4, where the geodesic lines have been transormed into 3D pipes. Many architectural projects are using parametric design to create gridshells. Such designs include the British Museum’s Great Court by Foster & Partners.

All these explorations ultimately share one common element, in that they exhibit increasing potential for Grasshopper to be used to create more complex free form shapes, in less time, thus generating a rapid yet accurate design process.

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1.5 CONCLUSION

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I believe it is vitally important to remind ourselves that architecture is not merely a building that stands only to meet our physical needs. We are once again reminded of Richard Williams’ notion that architecture should be a means of capturing social, economic, environmental and cultural factors of the surrounding area. Architecture should generate discourse, and parametric design would enable us to create that, with the ability to form new and innovative geometries that push the boundaries and ultimately break the stereotypical rigid and traditional forms. Therefore, I believe that parametric design is the appropriate approach for the City of Wyndham’s new Gateway project, as it would convey to the world that this modern metropolis is at the forefront of architecture and digital expertise. The formation of an innovative and radical sculptural installation would propel the City of Wyndham into the centre of architectural discourse, thus engendering social, cultural and economic change and development in the area.

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1.6 LEARNING OUTCOMES

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Prior to commencing this course subject, my knowledge on computational and parametric de-sign theory, and more importantly, architecture as a discourse was extremely limited and I did not grasp the fundamental concepts related to these topics. Through the analysis of numerous archi-tectural masterpieces, and relating to parametric modeling and computational design, I was able to form my own discourse and develop a more profound perception on what these were and how they can be used to enhance any design idea.

I have come to recognize parametric modeling as a means of modeling design criteria into design representations, thus enabling comprehensive ex-plorations of far-reaching possibilities beyond that achievable with conventional or ‘traditional’ tech-nologies. Moreover, I see parametric modeling as a means of connecting disciplines and cultures by engendering a new discourse through archi-tectural design. It has been fascinating to learn of conflicting views on this new method, from those who believe it is the new style of this modern day and age, as evident in architectural practices such as that of Nex Architects with their Times Pavilion and Coop Himmelb’s BMW Welt, in contrast with others who consider it incompetent and deem the roles reversed, where the computer is now in con-trol of the designer.

Moreover, I have also come to distinguish the rela-tive difference between computerization and com-puting. Computational design methods provide the opportunity for designers to implement their ideas, or sketches into the computer, mapping it out in programs such as Grasshopper enabling us to generate more complex structures and forms. In comparison computing is more of a tool that in part, controls and dictates our design process and may affect our final product result. It has become evident through the analysis of architects and buildings that some practices or individuals may use both computing and computerization some-where in the design process, or they may choose to only implement computerization techniques in the final stages of their design to make it reality, such as in the case of Frank Gehry’s Guggenheim Museum.

This subject has also started to equip me with es-sential skills in parametric modeling techniques through the introduction of Grasshopper. My pre-ceding knowledge of these techniques was non-existent, and although I clearly have a long way to go in developing my competence, I am certain it will equip me well for future reference and use, as I wish it had in previous studios to enable me to create designs that I could not model accurately at the time, which is undoubtedly frustrating.

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1.7 REFERENCES

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1 Williams. R [2005] Architecture and Visual Culture, Edinburgh: Edinburgh University Press, p. 103

2 Williams. R [2005] Architecture and Visual Culture, Edinburgh: Edinburgh University Press, p. 107

3 Leach. N [1997]. Rethinking Architecture: A Reader in Cultural Theory, London: Routledge, p. xiii

4 Williams. R [2005] Architecture and Visual Culture, Edinburgh: Edinburgh University Press, p. 108

5 Dutton. A & Mann. L [1996] Reconstructing Architecture: Critical Discourses and Social Practices, Minneapolis: University of Minnesota Press, p. 1

6 Derix. C [2011] Feed Back, John Wiley & Sons: Chichester, p.38

7 Derix. C [2011] Feed Back, John Wiley & Sons: Chichester, p.38

8 Derix. C [2011] Feed Back, John Wiley & Sons: Chichester, p.41

9 Mayer. J [2010] Metropol Parasol, Seville, John Wiley & Sons: Chichester, p.73

10 Lynn. G [1998] Why Tectonics is Square and Topology is Groovy, Bruxelles: La Lettre volée, pp. 169-182.

11 Ahlquist. S & Menges. A [2011] Computational Design Thinking, John Wiley & Sons: Chichester

12 Burry. M [2001] Scripting Cultures, John Wiley & Sons Ltd: West Sussex

13 Ahlquist. S & Menges. A [2011] Computational Design Thinking, John Wiley & Sons: Chichester

14 Frazer, John. H [2006] The Generation of Virtual Prototypes for Performance Optimization, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss, Rotterdam: Episode Publishers, pp. 208-212 15 Branko. K [2003] Architecture in the Digital Age: Design and Manufacturing, New York; London: Spon Press, p. 17

16 Branko. K [2003] Architecture in the Digital Age: Design and Manufacturing, New York; London: Spon Press, p. 18

17 Neil Leach [2009], Digital Morphogenesis

18 Arcspace, Frank Gehry, Available: http://www.arcspace.com/exhibitions/unsorted/digital-project/, Last Accessed 28th March 2013

19 Magazine Design Book, Gherkin Building, Available: http://www.designbookmag.com/thegerkin.htm, Last Accessed 28th March 2013

20 Bollinger. K [2008] Form, Force, Performance, p.22

21 Woodbury. R [2005] Multi-level Interaction in Parametric Design, Berlin: Springer, p. 151

Images

http://www.mcbridecharlesryan.com.au/#/projects/pegs-junior/

http://www.artrick-playground.com/bar/Ordos-Museum-by-MAD/21/655756

http://www.archiscene.net/firms/aedas/al-bahar-towers/

http://www.solaripedia.com/13/393/Metropol+Parasol+Shades+Sunny+Seville.html

http://www.jmayerh.de/19-0-Metropol-Parasol.html

http://architype.org/project/times-eureka-pavilion-2/

http://glform.com/exhibits/sci-arc-blobwall-pavilion

http://openbuildings.com/buildings/guggenheim-museum-bilbao-profile-1314

http://www.flickr.com/search/?q=bmw%20welt

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DESIGN APPROACH

PA R T 2

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C O N T E N T S

2.1 Design Focus .............................................33

2.2 Case Study 1.0 ..........................................43

2.3 Case Study 2.0 ..........................................47

2.4 Technique Development ............................49

2.5 Technique Prototype ..................................55

2.6 Technqiue Proposal ...................................61

2.7 Algorithmic Sketches .................................63

2.8 Learning Objectives & Outcomes...............65

2.9 References.................................................67

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Figure 1: Sourced: http://www.suckerpunchdaily.com

Figure 1. Fallen Star

2.1 DESIGN FOCUS

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The research stream our design team has decided to focus on is Biomimicry. This field of design approach was chosen as it presents many opportunities for the Gateway Design Project and would greatly benefit the City of Wyndham. Biomimicry would enable us to explore pioneering and optimized concepts and ideology, thus create efficient structures capable of material efficiency and force transmission. Furthermore, it would enable the team to draw directly from the surrounding context, thus making it more relatable to the City of Wyndham itself.

What is biomimicry? How would it benefit the project?

With the rapid incline in the use of digital design technologies in the architectural industry, comes the opportunity and ability to develop and apply biologically inspired frameworks into our designs. One such individual who believes in biomimicry in architecture and has had a significant influence in this field of research is Michael Pawlyn, who studies naturalstructures and processes in order

to help solve man-made problems. Pawlyn states that, “If you look beyond the nice shapes in nature and understand the principles behind them, you can find some adaptations that can lead to new innovative solutions that are radically more resource efficient.” I agree with this statement, and believe it is important to remember this as the team begins to research and develop designs that become architectural imitations of nature.

Biomimicry in architecture is created through drawing upon structural and functional properties in nature and applying them directly to various building components. In doing this, we can create innovative building skins or mechanical systems. Ultimately, what we want to achieve is optimal building performance, which consequently leads to more efficient structures that blend in with their environment.

I see biomimicry as a tool for sustainable architecture. With it, we can ultimately build a more efficient structure.

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Figure 1: Sourced: http://inhabitat.comFigure 2: Sourced: http://inhabitat.comFigure 3: Sourced: http://inhabitat.com

Figure 3.

The MMAA Building in Qatar [Fig 1,2,3], designed by Aesthetics Architects GO Group, begins to express how functional biomimicry can dictate design decisions in terms of form, orientation and material selection. Also known as the ‘cactus building’, it has become well recognized for its intentionally designed ability to adapt to its context, which in this case, is a desert. It is fitting, therefore, that the architects have designed it to imitate a cactus and its capacity to protect itself in such harsh and dry climates.

The design intention was ultimately to create an energy efficient building that addressed local climatic issues, mainly the sun. The sun shades on the windows can be opened or closed in relation to the temperature and direction of the sun, thus mimicking the activity of a cactus, which performs transpiration at night rather than during the day in order to retain water.

The architects used one of nature’s amazing plants and used it to their advantage. By using a highly adaptable and optimized desert plant and its system, the cactus, they were able to realize a building that has similar attributes and provides optimal indoor conditions all day round, with a malleable shading system that relies on the intensity of the sun to function. Thus, in the fitting words of Janine Benyus, the designers have created a ‘conscious emulation of nature’s genius’. 1

Figure 2.

MMAA BUILDING

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Figure 1. MMAA Building, Aesthetic Architects GO Group, Qatar

The ICD/ITKE Research Pavilion at the University of Stuttgart, built in 2011 [Fig.1] is a contemporary biomimicry architectural building, constructed from plywood. This pavilion imitates nature’s functions and extracts one or more functions from a specific part of nature and applies it throughout the design. The team developed the concept for this bionic pavilion using the plate skeletal structure of a sea urchin using modern computation techniques and simulation methods. 2

The pavilion integrates the biological structure of the sea urchin’s skeleton, or more particularly, the sand dollar’s morphology, into the material and structural systems, which inevitably generates a certain modularity which also enables the design to be highly adaptable and performance based. The

The plates of the pavilion have been individually placed in a geometric formation to obtain optimal load bearing capacity, yet some allowance remains for the structure to be somewhat deformable.

Every last detail of the pavilion is embedded in biomimicry, down to the simple joints [Fig.4], thus making it an ‘abstraction of good design from nature’. 3 The finger joints that connect the geometric modules on the pavilion were inspired by the technical polygonal plates of the sand dollar, which are linked together at the edges by calcite protrusions [Fig.3].

Furthermore, without the provision of computational tools and parametric design technologies, this DESIGN

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Figure 1: Sourced: http://placebrandingofpublicspace.word press.comFigure 2: Sourced: http://icd.uni-stuttgart.deFigure 3: Menges. A [2012]Figure 4: Sourced: http://icd.uni-stuttgart.de

Figure 2.

ICD PAVILION

Figure 1. ICD/ITKE Research Pavilion, University of Stuttgart, Stuttgart, 2011

solutions to their design, they may not have an in depth understanding of the fundamental scientific structures related to nature, thus, the translation of such biological knowledge to architecture has the potential to be shallow. 4

Having said that, and despite these disadvantages, the biomimicry approach could present the opportunity to transform architecture from unsustainable to efficient structures. 5 It is evident that nature’s creations are carefully articulated to fit un with their context, and to optimize their need for energy and material, thus I believe that drawing upon nature’s bionic structures, I believe, would enable us to address specific issues in relation to strength, efficiency and durability.

design may not have been possible. Parametric modeling enabled the simulation of the pavilion to ultimately determine the cell or plate sizes and how they would adapt to the curvature of the form [Fig.2].

It is important to remember that possible implications may arise from the use of biomimicry in architecture. So what issues could arise? When solving any given problem, the issue of how buildings relate to eachother and the ecosystems they are part of is generally not examined. In using the biomimicry approach, the underlying causes of a non sustainable built environment is not necessarily addressed. This is to say, that when researching potential biological

38

Figure 4. ICD Pavilion Plate JointsFigure 3. Calcite Prottrusions on a sand dollar

39

Figure 1: Sourced: http://wallpaperswa.com2.1.1 DESIGN INTENT: RESTATED

“Everyone in Wonderland is mad. Otherwise

they

wou

ldn’

t be d

own here”

40

Figure 2. Diagramatic Representation of Design Intent

A B C

Figure 1. Blobwall Pavillion, Greg Lynn, 2005

Having done extensive research into biomimicry, our design team has developed a deep interest in recursive growth. What is it?

Recursive growth is the process of describing the next term in a sequence in relation to preceding terms. This design focus provides the opportunity to explore a whole range of concepts and ideas, such as geometric repetition and cycles such as a self referential loop. The beautiful thing we have realized about recursive growth is that we have the opportunity to create infinite complexities using relatively simple equations.

We are intrigued and thus interested in exploring the concept of recursive growth, change and progress and believe these ideas have a direct correlation to the City of Wyndham. Through using the concept of recursion in our design, we want to express and promote growth in capacity,

experience memorable. It’s a different approach, unlike one that is common or stagnant. It will be modern, offer a sense of child play, but most importantly, it will be unforgettable. The themes of recursion and repetition also relate to the role that architecture plays in our lives. Life as we know it is seemingly dependent on our physical world, and as architects, we build our world in accordance to what we know and understand, thus it’s an ongoing loop.

We are not only trying to portray a story on a superficial level, but also on a deeper more profound level, about Wyndham City. The story is one of a municipality which is prepared and willing to adapt and ‘generate new growth’ so to speak. Growth and development economically, socially and culturally, that will be an ongoing and generative cycle for years to come.

41

Figure 1: Sourced: http://www.donidexter.comFigure 2: Sourced: http://www.wired.comFigure 3: Sourced: http://www.art21.orgFigure 4: Sourced: http://www.wired.comFigure 5: Sourced: http://www.wired.com

Figure 4. Morning Line, Aranda Lasch, 2010

The Morning Line project by Aranda Lasch [Fig.2] was an experimental project that focused primarily on the exploration of geometrical units using the design technique of recursion. This expressive sculptural installation encloses an interactive environment inside, in which a potential future can be viewed, and changed. I believe that the Morning Line challenges architectural convention in that it is a semi isographic building, directly expressing its content through its structure. In doing so, it has generated a new discourse surrounding its ability to concurrently generate itself and fall apart.

MORNING LINE

Figure 3.

Figure 1.

42

It is a particularly useful precedent in presenting the compositional possibilities of recursion as a design approach.

Having decided to explore the realm of recursive growth and fractal geometries, we selected Aranda Lasch’s ‘Morning Line’ as our initial case study as we felt it related well to our intentions. Using the Case Study as a basis, we briefly experimented with the algorithm by Aranda Lasch, and generated a matrix with the resulting iterations.

Figure 2. Morning Line, Aranda Lasch, 2010

Figure 5.

43

2.2 CASE STUDY 1.0 : MORNING LINE

We found that by manipulating the scale of the exploded brep forms, we were able to produce intricate and delicate repeating geometries. The Y axis represents the shape number selected from the previous matrix, and the X axis represents the scale factor.

We found that the script made iterations of the starting geometry, with no changes except in its scale, thus resulting in geometries that had interesting aggregate configurations. Initially, we felt it did not fit our design requirements as it did not quite contribute to the sense of spatial depth we were looking to achieve, however, upon further investigation and experimentation, we are interested in using the Morning Line algorithm to potentially develop a spatial configuration for the sculptures, to generate a surface application or perhaps to morph the resulting form into 3D components.

3

4

5

1 2 3

4 5 6

0.3 0.5 0.60.4

44

1

2

3 4

5

6

45

2.2 CASE STUDY 1.0 : MORNING LINE

Through our simple experientation in Grasshopper, we were able to produce a range of various repeating geometries that, when put together, generated beautiful and intrinsic shapes and forms. By simply varying the number of sides of our form, we generated some interesting outcomes. The Y axis represents the number of sides and the X axis is the scale factor. All outcomes retain one element in common - the recurrance of the same shape - which then forms a three dimentionality.

46

5.0

23456 1

4.0

3.0

2.0

47

Figure 1: Sourced: http://www.wired.com

Figure 1. PTW Architects, Water Cube, Beijing, 2008

Completed in 2008 for the Olympics held in Beijing, the National Swimming Centre [Fig.1], more commonly known as the ‘Water Cube’, we felt this project would be an interesting building to attempt to reverse engineer as it contained some of the qualities or design techniques that we want to use. The Cube associates water as a structural and thematic element in the design, and conceptually, the simple square box is carved out of an undefined cluster of foam bubbles, symbolizing a condition of nature transformed into a condition of culture. Therefore, it is essentially a cube of water molecules.

The geometry was derived from the structure of water in the state of aggregation of foam. An interesting constituent of the Water Cube is its ability to transform into an emotion engaging entity, with changing moods that directly respond to people, events and changing seasons. Although we may not have our design directly correspond to site conditions or travelers, it may be interesting to incorporate the use of color and light to illuminate our form and create a heightened sense of dynamism.

our form and create a heightened sense of dynamism.

This was simplified into repetitive or recursive units, generating a highly rationalized design. The project is unique in that it’s aesthetic is a pure expression of the design idea, and this is a basic principal that we want to take into our design process.

In our attempt to reverse engineer this particular model, a set of points were initially defined, then a rectangular shape. Subsequently, onto each of the four surfaces, we applied a voronoi mesh algorithm, which was then offset. The iterations were then controlled by a series of factors. We experimented with the thickness of the offset of the voronoi pattern, the number of cells, we applied a 3Dimensional pipe to the pattern and finally we applied 3D ‘Box Morph’ to the surface of the cube. Interestingly, when the 3D pipe was applied to the mesh simultaneously with the number of cells being varied, the connection of the cells did not always occur, thus leaving a non uniform surface mesh.

2.3 CASE STUDY 2.0: WATER CUBE

Curve Offset

Piping

Cell Size

Box Morph 48

Our preliminary explorations of the Morning Line algorithm looked into the design technique of recursion, which is the method of making iterations in a series that relates to the foregoing version. It’s a self-similar growth system, a self-referential loop. There is no end to this recursive growth, a sense of boundless and vastness. The technique demonstrates growth and generation through the recycling of parts of the output into the input of the algorithm.

Upon reviewing our Morning Line and Water Cube matrices, however, we developed another, more simplified recursive algorithm that repeated an input numerous times through the use of clusters. We wanted an effortless form that embodied the idea of recursion and iteration. The resulting matrix illustrates the possible forms that we created with the script through the use of meshing, plane orientation, scaling, voronoi and lofting.

In generating this recursive algorithm, we started by defining two curves, one as a starting curve and the second to act as the base for creating numerous repetitions. We then produced several

iterations of the second curve using the perpendicular frame function at a specified curve parameter in Grasshopper, thus resulting in the forms seen in Row 3. Further iterations were developed by changing factors such as the rotation, orientation and scale. The resulting shape formed one cluster, which was then repeated, forming a series of clusters using the same inputs as the preliminary algorithm.

The resulting geometry embodies a very simple structure: a fold-out of circles or curves, which pivot on one designated point. We found these to construct an interesting form, and decided to pursue it and explore further possibilities and forms with the curves.The next set of matrices demonstrates our explorations of various forms by lofting curves in diverse sequences, dividing curves to generate points and creating meshes with points, in particular, the ‘Convex Hull’, ‘Delauney Mesh’ and ‘Voronoi’ (Using the Water Cube voronoi algorithm). The meshing explorations were unsuccessful, thus we returned to lofting. The preliminary form is a result of lofting the smaller circle with the larger circle of its preceding iteration.

2.4 TECHNIQUE DEVELOPMENT

49

50

51

Figure 1: Sourced: http://www.designboom.comFigure 2: Sourced: http://www.designboom.comFigure 3: Sourced: http://www.designboom.com

Figure 3. Korean Presbyterean Church, Plan & Elevation

Having established the preliminary resulting form for our mini sculptures, we found that Greg Lynn’s Korean Presbyterian Church in New York [Fig.1] could be a crucial and relevant precedent in assisting our design ideas. The undulating skin [Fig3], constructed out of wooden planks, generates a layering effect, and is ostensibly similar to that of our recursive layered form.

Figure 3. Ordos Musuem Interior

KOREAN PRESBYTEREAN CHURCH

Figure 1. Greg Lynn, Korean Presbyterean Church, New York, 1999

Figure 2. Greg Lynn, Korean Presbyterean Church, New York, 1999

Figure 3. Korean Presbyterean Church, Plan & Elevation

Figure 2. Ordos Musuem, MAD Architects, China, 2011

The layering of the sections on the church allows a sense of openness to the façade creating framed sight lines into the community. Mimicking the external sectional layering, the interior space produces an open air-like environment. Similarly, our sculpture embodies many of these characteristics mentioned, and generates endless opportunities to explore the effect of light and movement through the curves.

Figure 1. Greg Lynn, Korean Presbyterean Church, New York, 1999

52

53

Figure 1: Sourced: http://lakhimich.blogspot.com.au

Figure 1. Yayoi Kusama, Infinity Mirror Room, 2011

INFINITY MIRROR ROOM

Having evaluated our resulting preliminary form, we felt that the form in itself did not create the whimsical, illusionary effect we wanted to generate. Someone who does create these types of sensations though, is Yayoi Kusama, an extremely renowned artist whose fascination with dots intrigued us entirely. In her famous ‘Infinity Mirror Room’ [Fig1], the room consists of blinking red, white, green and blue lights in a hexagonal shaped, mirrored room. The hexagonal shaped mirrored room is crowded with dots and blinking colored firefly lights, which appear to be infinite in scale due to the mirror effects.

The resulting installation creates a greater sense of space and depth. Her unique and ingenious use of methods such as repetition and reflection

creates an almost obsessive illusion that is infinite.

Needless to say, we found Yayoi’s technique very interesting, in particular, her method in strategic object placement in relation to the mirrors, thus resulting in repetition of angles or lines that creates a visual paradox: an illusion of a space or depth that is not real.

In analyzing Yayoi’s ‘Infinity Mirrors’ installation, we want our gateway design proposal to revolve around themes of visual paradox, illusions and hypnotic effects, infinity and space. Furthermore, we felt that our initial interest in ongoing cycles, recursion and self-referential loops fit well into our themes in order to create a sense of madness.

54

TWO PARTAPPROACH

2. CREATE ITERATIONS OF THE

GEOMETRY THROUGH MIRROR

REFLECTIONS

1. CREATE A GEOMETRY THAT FORMS THE BASE

FOR ITERATION

AIM:THE SENSE OF

DEPTH & SPACE, INFINITY,

RECURSION &VISUAL PARADOX

PRECEDENTSOFRECURSIVETECHNIQUE:

ARANDA LASCHYAYOI KUSAMA

55

Figure 1: Sourced: Sherry Ng2.5 TECHNIQUE PROTOTYPE

56

Figure 1.

The following image depicts the preliminary form unrolled, and laid out in a sequence, ready to be assembled and fabricated. The assembly is relatively straightforward, however, the individual elements, when assembled, do not assume MMMM

indented positions and orientations. This will have to be further developed, as well as specific materials, as this will significantly affect the compositional effects, particularly the material thickness and joint connections.

FABRICATION

57

MIRROR REFLECTIONS

Mirrored surfaces is a fundamental component of our combined design, thus the strategic placement of the reflective surfaces is integral in achieving the desired illusionary effect. We discussed the concept of putting a series of reflective panels, which will be constructed out of highly polished steel on a metal frame, on opposite sides of the Princess Freeway, facing each other and spanning a distance that is sufficiently long enough to create a significant impact on travelers. Instead of merely placing the reflective surfaces orientated on a straight plane, we conducted a number of experiments that explored having the surfaces at various degrees of angles, having more than one reflective plane and different placement configurations. These tests enabled us to visually identify the diverse effects on the sculpture iterations within the mirrors.

We want people to travel through this channel of mirrors, which immediately expands the traveler’s sense of space, through the visual illusion created by the reflections. The sense of depth is aided by the mini sculptures placed strategically on the site, which are recurred infinitely through the layers of reflections.

58

60 90 180

59

MIRROR REFLECTIONS: COLOUR

60

As well as experimenting with mirror reflections in full light, we though it would be interesting to explore the use of color, as did Yayoi Kusama in her installations. Using a small LED light that changed colours every couple seconds, we took some brief photographs in the dark by placing the light in front of the parallel mirrors. The results were very exciting for us, as the lights created an added illusionary effect. You cannot see what is creating the light or colors, so the viewer is left confused as to what is happening. An added bonus, is that during the day, you only see one sculpture, but during the night, as you cannot see where it is coming from, the travelers are left thinking there are multiple sources, when in actual fact, it is just the reflections. We concluded that we would like to further explore the use of colour and light in our Gateway Proposal.

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2.6 TECHNIQUE PROPOSAL

CLUSTER 1

START CURVE

TECHNIQUE

END CURVE

CLUSTER 4

CLUSTER 3

CLUSTER 2

RESULTINGFORM

62Figure 1. Blobwall Pavillion, Greg Lynn, 2005

Using the results from the mirror reflection explorations, we have concurred that the effect required is best achieved with two mirrors standing parallel to each other. However, not only is the reflective panel arrangement crucial, but also the sculpture placement on the site. Although the installations will remain physically static at all times, they will not be visually static, as the travelers will have a different experience along various points in the drive through, thus generating a sense of movement. Just as Yayoi Kusama used dots in her installations, we are using mini sculptures to give a vast empty space definition and dynamic. It creates a moment of illusion, blurring the boundary between the real physical space and the infinite virtual space.

We believe that our proposal for the Wyndham City Gateway is a simple but very effective design that essentially uses shock value to make the

experience memorable. It’s a different approach, unlike one that is common or stagnant. It will be modern, offer a sense of child play, but most importantly, it will be unforgettable. The themes of recursion and repetition also relate to the role that architecture plays in our lives. Life as we know it is seemingly dependent on our physical world, and as architects, we build our world in accordance to what we know and understand, thus it’s an ongoing loop.

We are not only trying to portray a story on a superficial level, but also on a deeper more profound level, about Wyndham City. The story is one of a municipality which is prepared and willing to adapt and ‘generate new growth’ so to speak. Growth and development economically, socially and culturally, that will be an ongoing and generative cycle for years to come.

63

2.7 ALGORITHMIC SKETCHES

64

An integral part of the design process has been individual Grasshopper explorations and developing core computational principles. Without the help of tutorial videos and online support, much of what we have achieved as a group would not have been possible. The following two illudtrations are only a brief demonstration of the many algorithmic explorations that have been conducted. These particular ones have provided key skills and fundamental definitions that were applied throughout the exploration process and within the matrices.

The evaluating fields defninition above was briefly experimented with in the process of our technique development, however, that result did not produce a conclusive result. The voronoi mesh on the left, was relevent in our concept of recursion, as the pattern builds upon itself and it was also used in the reverse engineering of the Beijing Water Cube.

These brief explorations only demonstrate a very small portion of what Grasshopper is ultimately capable of and the endless opportunities it presents for computational design techniques and parametric modelling.

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2.8 LEARNING OUTCOMES

“Things we do and things we see shortly before we fall asleep

are

mos

t apt

to in

fl u

ence”

66

At this stage, we’ve only reached the prelude to our final design and thus only have a preliminary form. The next step for us is to explore surface patterns and the use of light, possibly using the Beijing Water Cube precedent as inspiration for lighting and color effects and the Morning Line algorithm for surface applications. We would also like to further explore the slight alteration in form and scale for our mini sculptures, not to mention the exact placement of the installation on site and the resulting experience from specified vantage points.

This Expression of Interest design process has been invaluable in helping me develop a repertoire of valuable research, design ideas and computational skills that I will undoubtedly take with me and use in many future design developments. The procedure of generating design ideas has equipped me with the ability to openly preempt and anticipate shortcomings and limitations in our approach and design and also to discuss these in order to further enhance our design. Thorough research of data and precedents has also enabled me to further validate design ideas as well as those limitations and shortcomings by providing sound evidence and inspiration. The analysis of mmmmm

precedents such as that of Yayoi Kusama’s ‘Infinity Mirror Room’ has helped define and characterize our design ideas and outcomes, and generate ideas that otherwise may not have been produced.

A continuous exploration into computational techniques and parametric modeling, done both in a joint effort and individually has deepened my understanding of visual programming and algorithm construction, in particular, with Grasshopper. The learning process has been steep and mentally draining, but undeniably invaluable and crucial, not only on a personal level, but in generating a variety of design possibilities to expand and enhance our preliminary concepts and ideas. Computational design techniques has not only enabled us to develop concepts, but it has also aided in the preparation and making of models and prototypes. Though one may argue that designing without computational techniques just as successful and opportunistic as designing with, it is indisputable that the model making process is simplified dramatically with these tools at our disposal, even to the point where we don’t necessarily have to do anything other than send a digital model to be 3D printed.

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2.9 REFERENCES

68

1 Ibid, p.12

2 Menges. A [2012] Material Computation: Higher Integration in Morphogenetic Design, John Wiley & Sons: Chichester, p. 18

3 Ball. P [2009] Nature’s Patterns – Shapes, Oxford University Press: Oxford, p 17.

4 Zari. M. P. [2007] Biomimetic Approaches to Architectural Design for Increased Sustainability, Sustainable Building Conference, Auckland 5 McDonough. W. & Braungart. M. [2002] Cradle to Cradle-Remaking the Way We Make Thigs, North Point Press: New York

Images

http://www.suckerpunchdaily.com/2012/08/16/fallen-star-aa-dlab/

http://inhabitat.com/qatar-cactus-office-building/

http://placebrandingofpublicspace.wordpress.com/2013/02/01/achim-menges-icditke-research-pavilion-2011/

http://icd.uni-stuttgart.de/?p=8807

Menges. A [2012] Material Computation: Higher Integration in Morphogenetic Design, John Wiley & Sons: Chichester, p. 18

http://www.york.ac.uk/music/mrc/projects/tml/

http://www.alexandranechita.com/blog/?p=417

http://paisajetransversal.wordpress.com/2008/09/03/matthew-ritchie-the-morning-line/

http://flickrhivemind.net/Tags/architecture,modularity/Interesting

http://www.art21.org/search/node/morning%20line

http://www.wired.com/culture/art/multimedia/2007/07/gallery_watercube?slide=8&slideView=5

http://www.designboom.com/architecture/greg-lynn-korean-presbyterian-church-of-new-york/

http://lakhimich.blogspot.com.au/2012/02/yayoi-kusama-at-tate-brilliance-of-life.html

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PROJECT PROPOSAL

PA R T 3

70

C O N T E N T S

3.1 Design Concept .........................................71

3.2 Tectonic Elements .....................................75

3.3 Final Model ................................................85

3.4 Algorithmic Sketches .................................95

3.5 Learning Objectives & Outcomes ..............97

3.6 References.................................................99

71

3.1 DESIGN CONCEPT

The critique that we received on our Gateway project indicated that we had developed an interesting back-story and connotation to our proposed installation or sculpture; however, it was clear that we needed to further refine our form and develop a strategic placement for the sculptures and corresponding reflective surfaces. Our design clearly employed the use of computational design techniques and parametric methods; nevertheless we need to enhance the use of these tools in order to help generate a greater discourse surrounding our gateway design proposal. These improvements would in turn help us to augment our design intention of creating a ‘subtle threshold into Wyndham City that evokes a sense of the strange and absurd’.

Having said all that, going into the project proposal design stage, we will explore surface patterns and

the use of light. Furthermore, we will investigate and determine the placement of the installation on site and the resulting experience from specified vantage points.

Previously, we developed a two part approach to define our design approach. The first part was to develop a form which would ultimately be placed on site and reflected in the mirrored surfaces, thus creating a sense of space and depth. The second part of the approach was to generate a series of reflective surfaces that span along the Princess Freeway. Combined, the aim is ultimately to generate a hallucinatory experience through visual illusions, as though we are taking the users on a hypnotic journey ‘down the rabbit hole’. We will maintain this two part approach when further refining our design proposal.

C R I T I C F E E D B A C K

72

1.DEVELOPSURFACE

TREATMENT

2.MIRROR

PLACEMENT

3.MATERIALS

73

FORM

It was decided that we would retain our form achieved by lofting a smaller circle of the previous iteration. The resulting form generates a somewhat organic, unfurling motion, resembling something similar to a pinwheel. Although we are aware that it is essentially a very simple form, we nevertheless kept returning to it, as it conveyed the idea of recursion more effectively and was visually successful when mirrored. We wanted to stay away from complicated or complex forms that distracted the users from experiencing the infinite reflections and detracted from the more multifaceted underlying narrative, however, we wanted to generate a surface pattern that could potentially cause some visual confusion, thus MMM

contributing to the overall illusion.

In developing a surface pattern, we again returned to the concept of circles (Yayoi Kusama) and an ongoing loop (recursion). The circle is a motif representative of cycles and loops, and contains universal qualities. That is to say that it remains the same at every angle and size, a fundamental rationale as to why Yayoi Kusama’s illusions worked so powerfully with dots. We then proceeded to apply a torus form as a mesh façade onto each lofted, unfurling fold. Furthermore, we have purposefully altered the scale of the torus to grow in each sequential fold. The resulting form is a result of dissimilar configurations of the torus.

A P P R O A C HPA R T 1

74

CLUSTERS

LOFT

GENERATELOOP

APPLY TOSURFACE

75

3.2 TECTONIC ELEMENTS

The second part of our design approach addresses the issue of reflection and how we will go about achieving this fundamental element or effect in our installation. Leading off of our previous explorations and our conclusion that the best effect was by placing two mirrored planes parallel to one another, we began developing a more definitive and strategic placement on site. Our initial concept was to have a length of mirror sitting on either side of the Princess Freeway; however, upon reviewing this, we concluded that it would then appear as though two mirrored billboards had been placed on site.

Consequently, we returned to parametric methods and used Voronoi to help determine more of a tactical and fascinating placement of reflective surfaces on site. The resulting process was accomplishes by creating a 3D Voronoi box in Grasshopper, extracting a selection of prisms with touching faces that were perpendicular to the ground plane, exploding them and finally placing them one site. It was imperative to select prisms

with faces that were perpendicular to the ground as that enabled a more accurate reflection needed to produce the continuous reflections we desired as stated in our design concept.

The final configuration of the prism or mirror placement on site is intended to evoke a sense of intrigue and curiosity within the travelers, thus beckoning them to return to the site and further explore the two split second ‘flashes’ of infinity experienced on the Princess Freeway. This mechanism encourages people to return on foot and explore the installation by foot, therefore cementing the memory in their minds and attracting more attention. We want to employ the phenomenon of the leader and first follower. The intention is that if one person stops to explore, more people will be intrigued and stop to have a play with the installation as well, and so on and so forth, thus also generating an ongoing chain reaction, similar to that of recursion. One develops into two, two develops into four etc.

A P P R O A C HPA R T 2

76

CREATE A 3D VORONOI

EXTRACTPRISMS

FLIP

ROTATE

EXPLODE

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SITE PLAN

78

This diagram depicts the randomized placement of the prisms on site as determined by the process we undertook. They are arbitrarily scattered between Site A and B along the Princess Freeway. The red lines represent the connections between each mirroring plane and it is along this line of connection that a mini sculpture as developed in Part 1 will be placed to create the sense of depth and space we want to achieve.

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MAPPING EXPERIENCE

80

The complete installation will be composed of both virtual and physical space. The physical space is made up of the mirrored prisms and mini sculptures. In turn, the virtual space is generated through the infinite ‘tunnel’ of reflections created by the prisms. This diagram depicts this experience, with the physical represented by the white dots and the virtual by the red lines.

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PRISMS MATERIAL: FOLLOW ME

Jeppe Hein’s ‘Follow Me’ mirrored installations was a fundamental source of inspiration when developing our mirrored surfaces and their materiality. This particular installation comprises of a square labyrinth of vertical polished steel plates.1 Similar to the effect we want to create with our prisms, this maze of mirrors encourages people to “enter the labyrinth to experience the effect of the work. Once inside, the reflections of participants and surrounding plants and trees are multiplied”. REF The use of high polished steel is more durable and structural than actual mirrors would be, while providing the same reflective qualities. Physical mirrors would not be as constructible and there would be risk of them being easily damaged even just in the construction phase.

Figure 1: Sourced: http://www.urbanghostsmedia.com

82

Figure 1. Jeppe Hein, Follow Me, 2009

83

SCULPTURE MATERIAL: ROMANTICISM Figure 1: Sourced: http://www.contemporist.com

This beautifully crafted architectural shop by SAKO Architects generates a soft organic sculptural façade on the exterior and morphs into furniture and objects on the interior. Again, a fascinating design technique they employed was the use of mirrored ceilings to expand the space and create more depth and visual impact. The net-like surface was created using steel rod, Styrofoam, fiberglass, epoxy resin and a water paint finish. 2 REF This particular building had a significant influence on our sculptures and helped guide our decision to use the same materials to construct our sculpture for several reasons. The first of these being that it enabled us to generate a clean and organic surface mesh with seamless connections, and the second being that the water based paint finish would provide environmental protection and also enable us to create a clean white canvas on which to reflect our lights in the nighttime, allowing that second element of surprise and beauty. The internal steel rod would provide rigidity and structural qualities and also enable hidden connections, thus permitting for the sculpture to be made up of individual sections, brought to site and assembled.

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3.3 FINAL MODEL

86

Our final design proposal for the City of Wydham’s Gateway Project is by no means resolved or complete; however, we see a lot of potential and viability within the design. We want travelers to pass through these designated points of ‘infinity’ along the Princess Freeway and experience a mystifying glimpse of illusion and absurdity, inducing a sense of inquisitiveness. The exaggerated and oversized mirrored prisms scattered on site are somewhat childlike and perhaps even resemble giant toys, thus further enhancing the reference to the children’s book ‘Alice In Wonderland’. You gain a real sense of scale when passing by the sculptures and prisms, and feel as though you have shrunk in size as did Alice in the hall with many doors.

Once again, we believe our design proposal for Wyndham City’s Gateway is simple and subtle, but highly effective in its visual effects. It is perhaps an unusual approach, modern, a little quirky but unquestionably memorable.

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FINAL MODEL

88

89

FINAL MODEL

90

91

FINAL MODEL : LIGHTING

92

93

RENDER

94

95

3.4 ALGORITHMIC SKETCHES

96

EXPLORING A WEAVE AS A SUR-FACE TREATMENT

ADDING A PIPE TO THE WEAVE

EXPERIMENTING WITH

SECTIONING

97

3.5 LEARNING OUTCOMES

98

The feedback provided to us by the critics was critical but constructive and well received. Although, as stated before, our sculpture was very simple in form and fabrication techniques, that was our intention from the onset of the design concept development as our narrative and intended experience was more complex. Having said that, we still appreciated the suggestions for further development in terms of highlighting defined points of impact and exploring how these can be improved and further refined through renders and sketches.

This studio has undoubtedly been a rollercoaster ride, but has been invaluable in teaching me skills that I will carry with me into any other design process I am involved in. Working in a team is going to be inevitable in any field of work, and this process has not only taught me important disciplinary and communication skills, but it has been a cultivating experience in which we were able to bounce ideas off one another and nurture ideas or concepts that otherwise may not have been developed and explored.

The course has also enabled me to develop critical

analysis skills in reviewing my own work and the work of others. This has allowed us to make more critical design decisions and further permitted our team to pursue various design directions. Through the extensive research and use of assorted precedents, we have been able to support our arguments and design approach ideas but also comprehensively expand our knowledge in the field of design and moreover, prepared us with an understanding of architectural discourse so that we were able to generate a new discourse within our design proposals.

The use of parametric modeling tools and computational design techniques through the weekly algorithmic tasks and also within our own explorations and design process has expanded my skills and ability extensively and provided us with the opportunity to generate radical designs.

Looking back to the very beginning all the way through to this point, we have been lucky to have been given the opportunity to learn so many imperative skills in the one studio. Even down to equipping us with assets in developing key graphic design skills through the fabrication of the journal.

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3.6 REFERENCES

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1 Follow Me, Jeppe Hein, Available: http://www.urbanghostsmedia.com/2012/01/mirror-art-3-mesmerising-examples-of- interactive-and-reflective-sculptures/, Last Accessed 2nd June 2013

2 Romanticism Shop, SAKO Architects, Available: http://www.contemporist.com/2009/07/26/the-romanticism-shop-in- hangzhou-china-by-sako-architects, Last Accessed 2nd June 2013

Images

http://www.urbanghostsmedia.com/2012/01/mirror-art-3-mesmerising-examples-of-interactive-and-reflective-sculptures/

http://www.contemporist.com/2009/07/26/the-romanticism-shop-in-hangzhou-china-by-sako-architects

THIS WORLD IS MAD