EXPRESSION OF INTEREST (PART 2)

A r c h i t e c t u r e D e s i g n J o u r n a l

S T U D I O

A I RA D e s i g n J o u r n a l b y H e n d y Y u d h i s t i r a

S t u d e n t I D : 5 5 1 4 8 6

My name is Hendy Yudhistira. I’m a sec-ond year architecture student in The University of Melbourne. I grew up in Bekasi, a town in Jakarta’s Greater Re-gion. I moved to Melbourne in 2010, in order to finish a degree in architecture. I did virtual environments in my first year of university. Studying Rhino was really helpful for my previous design studios. I was able to express my ideas in a whole different way using computer programs. I consider my study in Virtual Environ-ment unsuccessful, because I did not end up with a very satisfying model, even though I could pass the subject. There-fore, I aim to develop my skills and have a better understanding of computer ar-chitecture by doing design studio air.

table of contents

03Architecture As Discourse

Computational Architecture

Parametric Modelling

Algorithmic Explorations

Learning Outcomes

07

11

15

17

18

Conclusions

21Tesselation

Case Study 1.0

The Matrix

Case Study 2.0

25

33

29

35Prototype

Technique Proposal

39

Learning objective and outcome

41

Part 1

CASE FOR INNOVATION

In recent years, architecture is not only seen as an individualistic form of art, but also a complex form that relates to the complex environment surrounding it. According to Williams (2005), there are a number of dif-ferent ways to approach architecture: architecture as a form of art, ar-chitecture as a symbolic realm, and architecture as spatial experience.

Defining architecture as a form of art, according to Williams (2005), is misleading. Architecture, unlike any other form of art, goes through lengthy and complex designing process to be created. Take painting as an example. A painter is given a blank page, a paint, and all the free-dom he can get to express his ideas. Architecture, in terms of design space, has a lot of limitations, including size of space, the function and the form of its surrounding environments. In other words, it is essen-tial for an architecture to relate to its environment. Moreover, unlike a painting, architecture involves a lot of experts, including the architect him / herself, a geotechnical engineer, structural engineer, etc.

Viewing architecture as art is a very narrow paradigm. In fact, there are kinds of building that is not intended as art (Williams 2005), which broadens the approach, and allows various types of interpretations. This kind of approach is called architecture as sign.

Another important approach in architecture is relating to its surround-ing environments. Frank Gehry (2005) explained that a building-“interacts” with its surrounding building in different ways. It can be pas-sive, stoic, or it could be a passionate player. The interaction is what makes architecture different from paintings and other form of art. It has a broader meaning beyond the aesthetics of the building. A build-ing can accomodate social and political aspects of a city. This is when a building becomes a passionate player. Most importantly, it needs to be open to interpretation, question, and use. The complex interaction behind a design process and its openess to interpretation and discus-sion is what makes architecture, a discourse.

One of the aims of creating the gateway project is to create a spatial experience that contributes to the urban landscape. It also needs to communicate an idea to the users. These following precedent projects are a few examples of architectural designs, which reflects those prin-ciples.

ARCHITECTURE AS DISCOURSE

WEEK 1

3 ADS 3 //CASE FOR INNOVATION


KEBONY KREOD SCULPTURE

Kebony KREOD structure is an award winning piece de-signed by Pavilion Architecture. As the name suggests, the material used for this project is Kebony. It is a sustainable alternative to tropical hardwood (Bustler 2013). Sustain-ability is one of the aims of this project. Using parametric design tools, the designers were able to create a struc-ture, which is not only functional, but also eye-catching. With the unique structural design, the architect is trying to enourage sustainable and forward thinking, in terms of building method, in this digital era (Bustler 2013). Despite the fact that this is not a permanent building, the main ideas that it’s trying to convey will challenge and inspire other designers to move forward in terms of design meth-ods to create sustainable architecture. As previously dis-cussed, the architect should think beyond the aesthetics of the building. Architecture should have a significant im-pact, and in this project, the impact would be preserving the environment. The fact that materials are scarce and will be depleted, Sustainability is a factor that should be taken into account in today’s architecture.

Like Kebony KREOD structure, the Gateway Project should convey a meaningful idea to its users. Of course, It should be able to stimulate a conversation and interpretation. 3D modelling softwares, such as Rhino and Grasshopper, will be able to help designers, to achieve these aims. Kebony KREOD structure inspires me to create a design, which structure is eye-catching and functional at the same time. It delivers a unique spatial experience, which gives a pos-itive atmosphere to an area. These concepts will be sig-nificant for the designing process of The Gateway Project.

Location : Peninsula Square, EnglandArchitect : Pavilion ArchitectureCompletion : 2013


Burnham pavilLionLocation : Chicago, USAArchitect : Zaha Hadid ArchitectsCompletion : 2009

Same as Kebony KREOD, Zaha Hadid’s Burn-ham Pavilion is a temporary structure. It was exhibited in Chicago in 2009. The aim of cre-ating this urban sculpture is to encourage ex-ploration and so that the users would consider the future of Chicago (Zaha Hadid Architects, as cited in Design Boom 2009). Again, the idea of moving forward is embodied in this design. However, rather than conveying the idea of sustainability, this project is focusing more on the idea of form. The structure is mainly made up of non-euclidean geometry, shaped like a topography map, which could be the represen-tation of Chicago’s topological map. It’s trying to encourage the useof fluid forms, by fully

utilising digital technology that is available in this era. With the aid of computer technol-ogy, we can move forward from rigid, platonic solids, to fluid form such as this one, because the current technology allows us to do so. This is the representation of Daniel Burnham’s vi-sionary plan of Chicago: “reinvention and im-provement on an urban scale and welcoming the future with innovative ideas and technolo-gies” (Design Boom 2009).

The idea of fluid form is very important in the Gateway Project, specifically, the idea that it contains. The design will sysmbolise the vision of Wyndham City to keep moving forward.


COMPUTATIONALARCHITECTURE

WEEK 2

It is argued that advances in com-puter technology have influenced building designs and construction practices, by allowing architects and builders to construct very complex forms that were difficult to achieve using traditional construction tech-nologies (Kolarevic 2003). The phys-ical form of architectural design is always changing from an era to the other. The renaissance is known for its astounding façade, pillars, and arches, modern architecture for its platonic solids and monumental buildings. The form of architecture changes as more efficient construc-tion & design methods are invented. The introduction of CAD technology influences the form of recent archi-tectural designs, as well as the pro-cess of designing. One of the most prominent features of computer-aided architecture is the ability to generate forms and alter them until a desirable outcome is achieved.

Today, The process of describing and constructing a design can be more direct and more complex, due to the greater facility and speed to extract, exchange, and utilise infor-mation, with the help of computer technology (Kolarevic 2003). There-fore, it expands the possibility to ex-periment. It is even argued that to-

Many argues that computation has brought us one step further in the world of architecture. This section will elaborate the use of digital technology in con-temporary architecture, its possible advantages and disadvantages for the Gateway Design Project, and architecture in general. Arguments will be sup-ported by citing from relevant sources as well as examining relevant prec-edent projects.

-day’s architectural design process is emphasising on “finding the form” in-stead of “making the form” (Kolarevic 2003).

Today, the technology allows archi-tects to move on from platonic solids to undulating curves, which in turn, allows new ways to express an idea. In addition to the features previously explained, computers are capable of generating a four-dimensional mod-el that contains all qualitative and quantitative dimensional information necessary for design, analysis, fab-rication, and construction, and also time-based information needed for the sequences of assembly (Kolarevic 2003).

One example of building that utilises this feature is Walt Disney Concert Hall, which will be examined in this journal as well. In addition to the ca-pability of generating models, com-puter architecture allows architects to fabricate virtual model into physi-cal 1:1 scale building, for example, Frank Gehry’s Nationale Nederlanden Building in Prague, Czech Republic. The glass panels on the building were cut using digitally driven cutting ma-chines, which translate the informa-tion directly from digital software.




Walt Disney Concert Hall, located in Los An-geles, California, is an assembly of undulating smaller pieces that forms into one complex form. The complexity of the design is Frank Gehry’s rejection to modern architecture, where “less is more” and “form follows func-tion”. It is an expression of freedom and cre-ativity by breaking acceptable social norms. Of course, freedom and creativity could also be related to the purpose of this building as a musical concert hall and the home of Los An-geles Philharmonic Orchestra. One of the key elements in Walt Disney Concert Hall is how it responds to its surrounding environments. The building stands amongst other iconic structure with cultural values. Gehry decided to break down the scale into smaller pieces in order to respect the iconic buildings. Yet, the build-ing still stands out with its sophistication and lustrous exterior. The presence of the building gives more opportunities for social interactions and intimacy. It gives new life to a district of private places and conventional architecture.

Frank Gehry utilises computer program to con-tain all quantitative and qualitative required in the whole project. In addition to using computer program as a designing tool, Frank Gehry utilises the program to communicate the project infor-mation to all participants of the project including architects, engineers, general contractor, sub-contractor, and the owner (Stanford University 2001). Stanford University research (2001) has shown that 4D model is useful to visualise the project, refine the interior and exterior scaffold-ing strategy, installation of the complex ceiling of the concert hall, analysis of construction, and communication of ideas. In the designing pro-cess, Rhino was actually used to import NURBS based geometry from CATIA, add names to the geometry, break up the geometry, and finally, convert the geometries to VRML (Stanford Uni-versity 2001). Even though the software used in this project is more complex, the idea of visual-ising the project, refining the design, and com-municating will be useful for the benefit of The Gateway project.

walt disney concert hallLocation : Los Angeles, CAArchitect : Frank GehryCompletion : 2003


kaohsiung port terminalAs the name suggests, Kaohsiung Port Terminal is a place, which main purpose is to dock ships and board people onto the ship. However, the design intent has a deeper meaning than that. Designed by Reiser + Umamoto architecture, this building is scheduled to complete by 2014. The build-ing is located in Kaohsiung’s harbour district in Taiwan, and it is intended to revitalise the area by transforming it from an utilitarian industrial zone to a place of recreational use (World Archi-tecture News 2010). Another essential element in Kaohsiung Port is how it connects to the sur-rounding environment. The existing pedestrian pathway is amplified by creating a continuous elevated public esplanade along the waterfront (World Architecture News 2010). The boardwalk in the waterfront space connects the new pop music centre, the arts centre, and the shopping districts. The place will be a very important land-mark in Kaohsiung Port Terminal by giving a new life to the city.

The utilisation of complex non-eucleidan ge-ometry in Kaohsiung Port Terminal is an evi-dence that it was designed using computer program. Reiser + Umamoto Architecture pro-posed a “dynamic 3 dimensional urbanism” (Bustler 2013). The undulating shapes of the building is a result of manipulating shapes in digital programs. Using 2D media to create this building would have been very difficult, in terms of precision, because the building con-sists of angled and complex forms. Here, com-puter program is used to refine the form of the building, and then, all information is translated back to 2D media as floor plans for the build-ers. It is not clear whether Reiser + Umamoto utilises the same complex 4D modelling tools as Frank Gehry’s Walt Disney Concert Hall, but it is very clear that digital software is proved useful, in terms of communicating an idea to the people involved in this project including experts and the stakeholders.

Location : Kaohsiung, TaiwanArchitect : Reiser UmamotoCompletion : 2013

PArametricmodelling

WEEK 3

Parametric design tool is a part of computater architecture. This section will explain the definition of parametricism in architecture, the advantages and disadvantages sof using Parametric design tools, and how parametric model-ling changed the process of designing in the world of architecture.


The previous section discussed about the benefits of computation in gener-al. However, in computational archi-tecture, there are two types of design tools: conventional design tools and parametric design tools. Parametric design, as the name suggests, utilises parameters to create a form. In con-ventional design tools, changing the form of an object is very difficult, es-pecially when the object is complex, because changing one element of the object could require adjusting other parts of the object (Woodbury 2010).

This obstacle could limit the possibil-ity of exploration. Therefore, to over-come the limitations, one needs to utilise parametric design tools. What differs parametric design tools to its conventional counterpart is, instead of creating design solution by ma-nipulating the model directly, design-ers establishes relationships of parts, build a design, and edits the relation-ship (Woodbury 2010). One of the ad-vantages of using parametric design tool is the system’s ability to keep the design consistent with the relation-

relationship (Woodbury 2010). With para-metric design, a designer is able to modify a form by changing the parameters of that form.

Parametric design could become the uni-fied style of the 21st century. Unified, in this context, does not necessarily mean lack-ing variety. Patrik Schumacher (2010) ar-gues that unified style means consistency of principles, ambition, and values. In terms of principles, there are a certain positive & negative principles, which can be used as a guideline for parametric design. Modern-ist architecture is known for its segregative functional zoning. This is typical to Louis Kahn’s buildings, such as Esherick House and Kimbell Art Museum, which he referred to as served and servant spaces. Segrega-tion of spaces using zones is something that should be avoided in parametrisicm, along with rigid forms, simple repetition, lack of order, and rigid functional stereotypes (Schumacher 2010). On the other hand, the positive principles include: “all forms must be soft, all systems must be differentiated and interdependent, all functions are para-metric activity scenarios, and all activities communicate with each other.” (Schum-acher 2010).

For the benefit of this project, the utilisation of parametric software allows more time and freedom to experiment. As previously said, in conventional design tools, if one el-ement is changed, other parts of the ob-ject will need adjusting. Because Grasshop-per is able to overcome those limitations, it means that less time will be needed to do the same amount of work, which gives the designer more time and flexibility to keep refining the model until a satisfying result is achieved. Using the Grasshopper plug in will provide a better capability to create a form that is hard to achieve using Rhino or any other conventional computer-aided designing tool. The principles explained above will also be taken into account for the development of this project. These fol-lowing precedent projects are examples of designs created using parametric methods and principles.


The aim of this project is to create a archi-tectural landmark inspired by the aesthetics and forms associated with speed, movement and the artistry and geometries, which form the basis of ancient Islamic art and craft tra-ditions (Mondo Architecture 2013). The de-sign outcome is very fluid, which embodies the initial concepts of the project. One of the most prominent features of Yas Hotel is the tesselated form of its external cover. The curvilinear geometric gridshell has approxi-mately 5,000 glass panels, which vary in size from about 450mm to approximately 3 me-tres in maximum dimension (Mondo Archi-tecture 2013). Using parametric design tool, the multiplication of the pattern was done by the computer, while the architect controls the parameters. Using this method, the architect will be able to create tesselated surface that follows the flow of the form. Without the utili-sation of parametric design software, creat-ing structure of the glass panel would be diffi-cult because the size of each panel is unique.

Another factor of parametric design that became an advantage in this project is the ability to make changes at one point without having to alter oth-er parts of the model. There were a number of changes made in this project, especially with the lighting. The tesselation of the surface was tested against the response to the lighting effect (Mondo Architecture 2010). According to Brian Stacy, from Arup Lighting, which manages the lighting in this project, “As the project’s design evolved so did the luminaire design; and vice versa” (Mondo Architec-ture 2010). The evolution of the design was made possible by the versatility of parametric design tools to refine a model and also the 3D software that handles the lighting design. This shows that parametric design tool would be the most effec-tive method of designing in the Gateway Project, because refinements occur constantly, and the time is very limited. Using parametric design will also help to create a form that is fluid and also add a certain characteristic on the surface. I have al-ways been interested in buildings with tesselated surface such as the Yas Hotel.

yas hotelLocation : DubaiArchitect : AsymptoteCompletion : 2009



Algorithmicexplorations

WEEK 4


In order to get a better understanding on Parametric de-sign tools, I made a number experiments on definitions that I found in the internet. This is an example of a form that utilises Tesselated surface. It actually reminds me of The glass panels on the external surface of Yas Hotel.

The arrangement of nodes is actually pretty simple. There are three number sliders. The first one on the di-vide node works to increase the quantity of the patterns. The other two are connected to offset nodes. If the num-ber sliders are tampered with, we can see that the angle of the curves changes. Here is the result of the experi-mentation:

I multiplied the amount of geometric patterns and set the angle so that it resembles the shape of diamonds. The result is an organic form that resembles the fluidity of Yas Hotel’s external cover. This definition will be taken into account for the Gateway Project.


CONCLUSIONSWith the availability of computer technology, de-signers are able to take a step further in the world of architectural design. Computer technology is a new media that allows more freedom and creativi-ty, in addition to the conventional two-dimensional media. Despite the fact that there are still a num-ber of disadvantages, the advantages that it offers compensates for it.

For the Gateway Project, using Computer program, especially Parametric Design Tool is the most ef-fective way to create a modern piece of architec-ture, with the possibilities that it offers. In compari-son to conventional computerised design tools and two-dimensional drawing space, It provides the designer the ability to do more exploration and re-finement, because there are time constraints in this project, and parametric design tools is relatively more time efficient. In addition to time efficiency, using parametric design will allow the designer to create a fluid, organic form that delivers a sense of excitement and aesthetics that the project is try-ing to achieve. This is only achievable with the aid of parametric design tools. The gateway will be a modern piece of architecture that will have a huge impact on the image of Wyndham City.


LEARNING OUTCOMEAt the start of this subject, I had a very mini-mal understanding on digital architecture, even though I took Virtual Environments in the first year of my studies. We learned the basics of Rhi-no and briefly discussed parametric modelling. However, my limitations in computer software became a hurdle during my semester. After do-ing this subject, I realised that there are so much more to do with with Digital modelling tools, es-pecially with Grasshopper. Doing the readings and doing research on the relevant precedents have actually broadened my knowledge. I be-lieve that parametric design tools would provide more advantages than disadvantages. It would give me more flexibility to experiment. Through-out the semester, I aim to develop my skills in computer software, which would be very useful for my career.


Part 2

EXPRESSION OF INTEREST

TESSELATIONIn this project, we aim to create a gateway, which is not merely a gateway, but also a structural landmark, which embodies the message of development and moving forward in Wyndham City. Using the latest cutting edge designing and fabrication technology, it will become an icon of mo-dernity of Wyndham City, as well as challenging fellow architects and designers to explore the possibilities offered in today’s world of architecture.

In the previous part of this journal, I showed my interest in architecture projects that utilises method called tesselation. So what is tesselation? The dictionary definition of tesselation is ar-rangement of shapes losely fitted together, especially of polygons in a repeated pattern without gaps or overlapping. In this design project, instead of simply applying tesselated pattern on a form, we are trying to find the root concept of tesselation by examining a number of precedents, not only the modern ones, but also architectural landmarks with historical values. This kind of approach was undertaken because we feel somehow limited by the range of design choices of-fered by the tesselation approach.

Before we start our design explorations, we started to write a number of preliminary arguments based on our current knowledge of tesselation. In terms of aesthetics, we believe that by ap-plying tesselated pattern on a form, we will be able to emphasise and further define a form, so that it stands out in a bold way. Creating a form that stands out is one of the aims of the gate-way project, but we believe that tesselation does much more than that. The repetitive nature of tesselation creates a dynamic form, which aesthetic is in its entirety, not the single elements. Therefore, it is perfect for viewing from vehicles travelling at high speed, because viewers would not have time to look at every single detail to read the aesthetic of the object, instead, they will read the sculpture as a bold, holistic form. In addition to repetition, we also considered a number of architectural effect that would make our structure unique and has a distinct characteristics. With a structure that reacts to the changing environments, the users can experience different experience in different times and perspectives.

21 ADS 3 //EXPRESSION OF INTEREST

Design focus

FORM

The overall form will be the first component of the structure that the users will experience when approaching the gateway. By creating a dynamic form, the users will experience two different experiences upon leaving or entering Wyndham City.

Light

The interaction between the structure and natural light will give different shapes of shad-ows depending on the position of the sun, which therefore, will enhance the aesthetics of the structure. This effect will be achieved by creating openings

Structure and material

The form finding process will involve finding the most efficient structure. What I found really interesting in contemporary architecture is how the design paradigm has shifted from or-namental into structural. In contemprary structures, instead of adding ornamental elements as an enhancement to the structures, aesthetic is expressed using the structural elements of the building. By doing so, we will be able to create a structure with minimum material requirements, which would be economical, yet elegant. This is one of the considerations of our design process in order to create an effective structure, without decreasing its aesthetic value.


suburb // melbournelow density // high density

simple // complex

rigid // dynamic


gateway as a transition

Traditionally, a gateway works a transition of two spaces, for example, transition between public and private spaces, between two regions, and so on. In other words, there are two contrasting space conditions and a gateway works as a mark / border between the two. In Wyndham City Project, the gateway will mark the transition from Melbourne to its suburbs, in particular, the ones under Wyndham City Council. I made a simple diagram describing the changes that occurs once an individual passes through the gateway. First, I picked density as my starting point. Density would be one of the most obvious changes that one could notice when travelling between the two areas. The city has a higher level of density in comparison to the suburban area. The suburb has a lower density. Thus, the pattern of activity is more complex in the city, whereas in the suburb, the pattern is relatively simple. The diagram be-low shows the pattern of activity occuring in both city and suburb in Melbourne. In the city, the graph shows a very significant rise in population because non-residents come into the Melbourne to work, which creates a dynamic graph. In the suburb, the movement is relatively stable because there is no significant change in population, even during the day, and most ac-tivities are concentrated at home. In other words, we can see a dynamic pattern of activity in the city and a rigid, stable pattern in the suburb. The gateway would be the mid point of the transition between the two contrasting conditions. Therefore, i’m trying to incorporate both into my design. This is one of the reasons why tesselation is the most appropriate technique to achieve the design because the repetition of rigid geometries create a dynamic form as a whole.


Design focus


case study 1 . 0

One of the methodologies applied in this de-sign project is by reverse-engineering a pre-existing grasshopper definition. This was done in order to get a further knowledge of how a professional design was created on Grasshop-per and explore the possible outcomes by ap-plying the definitions on different types of pat-tern and also by changing the values of the parameters to get various unique results. The project that we chose was the VoltaDom by Skylar Tibbits.

VoltaDom is a modern take on the groin vaults of historical cathedrals. The complex object is created by the repetition of cones of various sizes, with each having its own oculus, which is also varies in size. The VoltaDom is created to transform the circulation experience in one of the connector pathways in MIT. Moreover, due to its dynamic form, one can experience it dif-ferently from different point of views. This con-nector pathway is enclosed with glass walls on

VOLTADOM

two sides. Thus, one can view the installation both from the inside and the outside.

What’s more interesting is the self supportive nature of this installation. The smaller vaults are connected to each other and transfer the load from the top to the ground where it is standing on.

The logic of this project is applying a shape, on a surface, and repeat that shape in order to create a certain pattern on that surface. In this case, the shape used as the pattern is cone with oculus on top. To create a repetitive pat-tern of the cone, a surface is lofted to match the size of the hallway and put inside a box that bounds it. The box works as a mock of the hallway’s 4 walls and ceiling. It is there to make sure that all of the elements match the size of the hallway. Then, points are created on the surface, and finally, cones are applied.

Architect : Skylar TibbitsLocation : Massachusetts Institute of TechnologyFinished : 2012



dragon skinpavillion

gradually shifting positions in order to achieve the final curved form (Arch-Daily 2012). The use of the sliding joints (or can also be called notches) is an ef-fective way to create a self supporting structure. With notches, the structure can stand freely without having to add any extra structural element, because the aesthetic element is also structural. As previously stated, this kind of struc-tural aesthetic is also what we would like to achieve.

case study 1 . 0

Architect : Emmi Keskisarja, Pekka Tynk-kynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD)Location : Hong KongFinished : 2012

This project is chosen as the second precedent because it has a similar design logic as the Voltadom. The form consists of rectangles of the same size, which is bent to mimic dragon scales and put together to form a curved sur-face. It means that the project also coincides with the “rigid to dynamic” logic as pictured in the diagram below.

Algorithmic procedure was scripted in order to precisely calculate each of the rectangular component’s slots for the sliding joints in a


berlin holocaust memorial


Architect : Peter EisenmannLocation : Berlin, GermanyFinished : 2005

berlin holocaust memorial

case study 2 .0This is a good example of how rigid shapes can create an undulating dynamic form when combined. Designed by Peter Eisenmann to commemorate the victims of the holocaust, the Berlin Holocaust Memorial shows how an arrangement of concrete stelae creates a forest of col-umns that form undulate in a wave-like pattern when it is viewed from a certain perspective. It can be seen from this architectural project that combining similar objects of different heights could result in a dynamic form, even though as a singular object, it is actually rigid and seemed lifeless. Therefore, the main emphasis of repetition is in the object as a holistic form, not the single elements.

In regards to the Wyndham City project, the art instal-lation is to be placed on a freeway, which will be main-ly viewed by motorists. Our group believes that this ap-proach tackles this issue, as motorists will not be able to look on the details of the installation, rather to translate it as a holistic form.

Another element to look at is how the stelae help to de-fine space through the interval and arrangement of them as well as the shadows that they cast. One interesting aspect of this project is how it tells stories and how it can stimulate thinking, as well as starting architectural con-versations. This is a piece that is not merely a creative expression of the architect, but an architectural piece.

In our Grasshopper exploration, we tried to imitate this shape by creating points on X and Y plane. Then, squares are applied on those points and extruded to an appropri-ate height. In order to apply the undulating effect of the objects, curve is used as an attractor, so an object near-est to the curve will have the lowest height.


the essence


Dynamic surface Repetition of geometry+


1.a 1.b 1.c

2.a 2.b 2.c

3.a 3.b 3.c

4.a 4.b 4.c

5.a 5.b 5.c


1.d 1.e

2.d 2.e

3.d 3.e

4.d 4.e

5.d 5.e

the matrixThe essence of tesselation that we found in the two case studies became our pa-rameters in our Grasshopper exploration, which is documented in this matrix. We tried to make as many outcomes as pos-sible by applying different patterns on various shapes. This was done in order to see the different architectural effect created by applying different methods.

Some of the outcomes are quite interest-ing. As seen in the first batch of out-comes, using curve attractors create rip-pled effect on a collection of circles on a 2D plane. Due to the different sizes of circles, the two dimensional objects look three dimensional when put together. I suppose this is one of the main features of the repetition of pattern. In the second and the third one, similar method was used. However, the objects are extruded, which creates a series of same sized 3 dimensional shape that resemble Peter Eisenmann’s Berlin Holocaust Memorial. The objects create a dynamic undulat-ing forms when it is seen from a certain perspective.

I personally like the fifth outcome where a dynamic undulating surface is formed by a collection of strips, connected by notches. The odd protrusion and assym-metricality create a dynamic form, which would deliver different experiences ac-cording to the point of views of the us-ers.



PRELIMINARY prototypeRather than being a representation of our final design, the model is intended as an exploration towards the most efficient technique to create the gateway. For us, creating a physical paper model draws inspiration, which later can be applied on Grasshopper when the final model is being created. We tried to create a model that follows the essence of tesselation that we found in the precedent project: curved / undulating surface + repetition of geometry. Thus, we tried to create a curved form using rigid geometry, in this case, a square. The one pictured follows the same logic as the Dragon Skin Pavillion. A piece of paper with adequate thickness is cut into small square parts. Then, four notches are cut to work as joints that links one part to the other. The difference between out model and the dragon skin pavillion is, instead of bending the ma-terial, we created a score line, which divide the square into two triangles. The result is a sharper looking object. What I personally like in this model is how it can support itself, without adding any extra structural elements. This model represents one of our aims to create an efficient model, that is stripped down to its core material requirements, but still retains the aesthetic values. At this point, we believe that notches are our solution to create an effective self sup-porting structure.


prototype

second techniqueIn our second exploration of technique, we decided to create a model, which embodies the essential concept of The Holocaust Memorial. The model is made up of same sized boxes, arranged in a gradually shifting positions so that it creates a curved object as a whole. It is elongated, which create a tunnel-like object. For this prototype, we paste the boxes together with glue. However, in real life construction, a reinforcing steel is needed to hold it to-gether, due to safety concerns. Due to the shifting positions of the boxes, people will see protrusions of the element, which create a stalactite-like effect. I believe that this is one of the strongest advantages in this “artifi-cial cave” technique. This is an object that is intended to be built as a large-scaled object in real life, in order to create the desired effect. By doing so, we are also trying to convey a sense of monumentality to the users. I suppose the concern of this type of construction is the cost and material effective-ness, because more material is needed, including the reinforcing steel, which would increase the cost significantly.


prototype



technique proposalThe Essence of Tesselation

One could think of this technique as simply applying a pattern on a form. It could be true, but it could be false, depends on how it is approached. We think that it is merely the essence of tesselation. Using it as a guideline, we did a lot of explorations and refine-ments to develop our technique. There are a number of advan-tages that our technique has to offer, including:

Cost vs Aesthetics

At this point we believe that the priority is creating an interesting experience and enriching the municipality. The second prototype offers a unique interior experience created by the protruding boxes, due to the shift in position. This is the strongest point of our prototyping, which is not offered by the other techniques.

A sense of Monumentality

One of the most important quality of this installation is its scale. The installation is intended to be built as a large scaled object, in order create a sense of monumentality. Creating a sense of monu-mentality will become a bold statement of identity of Wyndham City. The repetition of elements will be able to emphasise the monumental quality of the installation.

Readable at high speed

Tesselation focuses on the quality of an object as a whole, not the quality of the single elements. Therefore, this would be perfect for a highway installation because the users will be able to read the object as a whole without getting distracted by the single ele-ments of the object.

A sense of transition

As previously explained, a gateway is the threshold between two contrasting spaces. The gateway is intended to create an effect of transition from one place to another. Passing through the artificial cave will create a transitional effect. The effect will be achieved when people travel from an enclosed isolated space to a wide open space.

Wyndham City’s New Landmark

The innovative design will enrich the landscape of the developing Wyndham City. It will be a welcoming statement from Wyndham City. The development of Wyndham City is also represented by the use of cutting edge designing technology and fabrication.



learning objective and outcomesIn the mid semester presentation, we received a lot of helpful feedback that would help us to further develop our design. The jury said that one our strongest points is in our second model. By using the model, we were able to represent our “rigid to dynamic” concept and convey it to the juries. There are a number of components that we could improve for our final presentation. First, the use of light could be improved by creating openings on the surface. By doing so, the users can get a glimpse of what is around them, especially with the speed they are travelling at in the highway, flashes of light would create a unique experience to the users. The experi-ence will also be different depending on the the time and weather. Calming light in the morning, flashes of strong sunlight in the afternoon, and a glimpse of the sunset in the afternoon. This kind of interactivity would create a much more interesting installation. Without any interactive ele-ment, the installation would look like a huge lifeless object. We are also recommended to create an interactivity with the landscape. The box can be arranged to slowly decrease and scatter it in places even after a certain distance to create an effect of decomposing. After doing a brief re-search, I found a project that reflect this principle. Corrugated Cardboard Pavilion by Miguel Ar-raiz Garcia and David Moreno Terron uses a similar technique as our proposed technique. What I found really interesting in this pavillion is how the boxes are arranged in a way, so that it looks like stalactites and stagmites protruding from the ceiling and the floor. I personally like how the openings at the top can create a cave-like atmosphere. This precedent project would be further investigated for the next steps.


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