MATERIALITY, PERFORMANCE, ORNAMENT

W6

WEEK 6 79

WEEK 6 80

WEEK 6 81

FURTHER EXPLORATION AND FABRICATION

WEEK 6 82

Construct a physical model making reference tocase study projects and provided CUT definitions.

WEEK 6 83

Criteria

Framing views

Hiding

Progressive Reveal Progressive conceal Directional views

Filtering

Technique

Aperture size

Layering

Density

Directional Extrusion

Materiality

Based on our research, precedence, and our combined group efforts in establishing our group criteria. We took this opportunity to really apply Kalay’s selection process and narrow down what we considered successful and not successful.

This assisted us in anaylsing and determining which fabricated outcomes were success-ful in regards to our concept. We fabricated a number of different kind of design and definitions in order to analyse a significant portion of the exploration we had dones so far in reference to our recently established criteria

WEEK 6 84

WEEK 6 85

387915_BeltasJap_1

Matrices by Beltas Jap

Beltas’ fabrication of a number of matrices meant we were able to more easily and closely analyse the transpar-ent qualitites of a few of the matrices we had created.

WEEK 6 86

387915_BeltasJap_1

WEEK 6 87

We fabricated the matricies using the lazer cutter. Due to time and in experience alll of these lines were cut outmaking the cuttign time quite long for each sheet ( and the resultant expense) in the fu-ture we would put more time into preparing these documents and cut out as many circle as possibe, because as is evidnet in the images of the fab-ricated modes, where theholes were most dense, hence the most cutting was evident, chuncks of pa-per were removed forming big apertures.

WEEK 6 88

WEEK 6 89

The reverse engineered case study was fabricated using the card cutter. this created a dif-ferent cleaner kind of cut, however, so that pieces wouldn’t fall out tabs were created which were difficult to cut on a curve and the resultant finish was a little messier than hoped.

REVERSE ENGINEERINGLUCY GRIFFITH

WEEK 6 90

We combined the matrix definitions and our knowledge of the voronoi to create some explora-tions in perspex. The matrix was used to create an etch which altered the transparency.

PERSPEXSHENIA LAY

WEEK 6 91

WEEK 6 92

I also trialled a perpex model which ibased on my experiments from the reverse engineering exercise. I now know that a medium etch is too deep for perspex- particulalry when it becomes a very fine structure like the end of this one. The end has begun to break off because the transporta-tion of this model has cause the etch to crack all the way through.

PERSPEXSHENIA LAY

WEEK 6 93

POLYPROPELENE TRIALSHENIA LAY

This trial in polypropelene by She-nia Lay we believe achieves all of our specified criteria most effec-tively.

WEEK 6 94

WEEK 6 95

FINAL TECHNIQUE DEVELOPMENT

WEEK 6 96

After receiving feedback on our fabrications we endevoured to make a new strategy which did not involve the vo-ronoi. The voronoi had danger of aperture form and placement becoming arbitrary and would fall under scrutiny if the form could not be more thoroughly and be strongly supported by our design argument. We were however pleased with the effects of the polypropelene model and wished to continue down this path as it addressed all of our criteria.

Our next strategy was derived from an exercise from the Exlab tutorial 4- Draw a grid of points in two directions. This definition involved transforming with multiple attractors. The effect was an explosive creation of apertures which upset the regularity of a grid.

This technique was developed by combining it with our previous work. By layering we could create a similar progressive reveal/conceal, and the creation of focus points was still viable. To make an effective contrast and in order to fabricate thickness was added by extruding the curves. Filtering created through layers of the gridded pattern was a welcome new effect. Another new element to this design was the collision of the apertures which emphasised areas of density against those of diffusion and heightened transparency. Another aspect of these collisions was that we were unable to weave this design which was our initial inkling in terms of fabrication. This was the final technique which we developed further for our EOI.

97

EXPRESSION OF INTERESTLUCY GRIFFITH, BELTAS JAP & SHENIA LAY

98

The brief for the Wyndham City Gate Project asks for a design to enhance the physical environment through the visual arts. We have addressed this requirement through exploring the creation and refine-ment of site lines experienced by people passing by in their cars on the freeway. To achieve this, our

technique was to use grasshopper to Optimise Transparency.

Optimisation is a technique applied to a design concept to achieve the best possible outcome. It is com-monly used in computational design to create an Optimal Structure. In our case, we are looking to apply optimisation to achieve an optimal experience of perception. This experience will be optimised through

changes in transparency levels.

Our precedence described a number of techniques through which transparency can been achieved.

OPTIMISTATIONTRANSPARENCY

99

Precedence 1

research Pavilionarchim menges, 2010University of stUttgart

The Research Pavilion by Achim Menges appears both opaque and porous when viewed from different angles. These opposing perceptions created by directional visibility are accomplished through the use of layering.

100

Figure 1,2,3

Precedence 2

living mUseUmdr_d lab, 2005art academy stUttgart

Directional visability is created in the Living Museum project. This results in undulating filtering.

Precedence 3

resPonsive sUrface strUctUrearchim menges, 2010resPonsUve sUrface strUctUre

This precedent focuses on aperture size and directional focus. The size o the opening depends on the state of the weather and responds to climate. This explores a progressional conceal and reveal.

101

Figure 4

Figure 5

Precedence 4

3d sPacerachim menges, 2006/7

The 3D Spacer explores filtering. This was achieved in this project through layering of pat-terns as well as constricting the fabric as certain areas resulting in a more dense, more opaque section.

102

Figure 6, 7, 8

Precedence 5

loUvre abU dhabiateliers Jean noUvel

The dome of the Louvre also creates filtering. Variations between greater and lesser transparency were achieved through aperture size, density and layering.

Figure 9

103

Figure 10 - Layering, Density and Aperture Size in Dome

Figure 11- interior perspective

104

Our approach to this design project and to transparency took Kalay’s two step design selection process from Architecture’s New Media. Firstly we produced a number of design candidates through the breadth first approach by trialling of a range of pos-sible outcomes.

Secondly the “right” or “best” approach was selected by critically analysing our results using selection criteria.

The recurring themes of most interest to us in the precedence were refined into an exploration criterion; Framing views, hiding, progressive reveal and conceal, directional views and filtering.

The techniques we defined to achieve these aims are; aperture size, Layering, density and material qualities.

Each design exploration was tested against our criteria to find the most optimal design outcome.

criteria and techniqUe

Criteria

Framing views

Hiding

Progressive Reveal Progressive conceal Directional views

Filtering

Technique

Aperture size

Layering

Density

Directional Extrusion

Materiality

105

Our initial exploration was used the matrices. A more thorough exploration of the transparent qualities was successfully achieved through the fabrication of a variety of definitions. The fabricated pieces achieved a num-ber of transparent qualities which we analysed in relation to our criteria and discussion of the techniques which grasshopper created through various definitions

matrices

106

This form is created by the Surface Grid and Image sampler. It produces a mix of hid-ing, progressive reveal and framing again through a progression of aperture size. An Image sampler could be an effective tool in identifying site lines on the freeway which we may choose to or focus on.

matrices- fabrication

The first definition uses Overlapping pat-terns and multiple maths functions. The original grasshopper definition looked quite different to the outcome. The density of circles created using the maths function resulted in entire sections of card being removed. The fabrication resulted in an interesting creation of framing. The math-ematical nature of the definition creates a symmetrical layout which doesn’t lend itself effectively to a site specific response. Also the repetitive nature of the design doesn’t really exploit the potential of grasshopper in anyway when this definition fabricated in this way. Essentially it doesn’t show off the brave and interesting design which Wynd-ham asks for and that can be achieved us-ing an evolving architectural discourse.

107

The rotate output creates clumped holes hence focused views and hidden portions with minimal or no perforation both which were contrasted against a regular grid. Density was the main technique and the only fabricated matrix to disregard aper-ture size.

The use of a rectangular grid rectangular and a maths functions An undulation of reveal is created in this definition. created a filter. The fabrication using card allowed us to bend this model to try distorting the pattern. The perfora-tion affected how much the form bent but the intensity made it fragile so we could not push these models too far. The most successful exploration of the fabrications was most successfully achieved through differences in lighting because lighting makes the difference and proves/ shows transparency

108

Figure 12 - The Restaurant Aoba- Te by Hitoshi Abe explores filtering using aperture size

Another reference to Kalay’s design selection process is the re engineering of a cut case study which exemplifies Kalay’s description of case based design by prototyping. This is useful where similar problems have been dealt with in the past and are revisited to understand the benefits and faults of the approach. “Prototypes” she says “are the most common formalism used to capture and apply architectural cases” (pg 23) A number of the case studies related to our specified criteria.

cUt case stUdies

109

Figure 13 - The BANQ Restaurant looks at directional transparency through layering.

110

The project we chose to reverse engineer and prototype was Tokyo Airspace by Faulders Studio.

In our analysis of Tokyo Airspace we discovered the creation of filtering through layer-ing. There are no intentionally framed views, however the interplay of pattern between layers achieves areas of density and diffusion altering the opacity levels much like the Louvre Abu Dhabi.

reverse engineering

111

Directional views are created by the ability to see out of the building during the day, and into the building during night time. This creates a reversal in transparency over time.

112

Our further explorations combined the matrices and the re-engineered case study. A sophisticated design application which could be fabricated was when the matrices were combined with the reverse engineering.

fUrther exPlorations

113

We tested perspex for its “total” transparency quality. This “total” transparency was altered through a matrix driven etch and the apertures were inspired by Tokyo Airspace. Viewed at a distance, this experiment appears completely transparent; the closer you come, the more clearly you can see the subtle changes in opacity created by the etch. The overly transparent quality of the material however was a restricting factor in this prototype.

vornoi perspex shenia

114

To connect the technique explorations to the context and intent of controlling the site lines on the freeway, we attempted a layering technique which refined focal points, as opposed to the previous layering examples which created a filter.(slide)

Translucency in materials was tested with a mid strength opacity using polypropylene.

The voronoi used in this model was inspired by Tokyo Airspace however our next aim was to depart from the voronoi because its pre-prescribed mathematical form has little connection to our design intent.

Despite this, this iteration most successfully achieved our set criteria and used a variety of our specified techniques.

The layered planes create a progressive reveal in one direction and conceal the opposite direction. Altera-tions in aperture size and density between layers re-sults in directed and framed views and effective hiding. A filtering effect is achieved through the semi opaque material, and also through viewing the model at an angle when the patterns overlap rather than align.

115

116

This is next step in refining our concept with ex-clusion of the voronoi. This approach was based in the week 4 Ex Lab Grasshopper exercise using attractor points and is combined with the layering matrix. It aims to achieve all the best of the qualities of the polypropylene model. In addition, this tech-nique uses both framing and filtering combining the focused views of the polypropylene model and the filtering created in Tokyo Airspace.

Distortion of the grid also achieves this focus and density which was emphasised in the rotation out-put explored in the matrices. The distortion of the gird creates an illusion of a 3D form, where it ac-tuality it is not. Creating 3D form would be the next path for further exploration.

The final example used digital documentation to manually fabricate the model

117

Proof of concePt

118

The following series of photographs display the gradual optimisation of the selected site lines. One of the many criteria is it successful in is framing views. This is demsonstrated through the tunnelling views to specific focal points.

effect of movement

119

120

conclUsion

121

The aim of this technique is to explore and ultimately redefine and enhance the site lines on the freeway through subtle inter-ventions and optimisation of transparency levels.

We have approached the challenge of creating an innovative design using Grasshopper, a computational design method. The parametric nature of the grasshopper software allows for many iterations of a design. Each iteration can be optimised to suit the intended experience at different locations at a site through incremental changes.

The innovation of our approach reconceptualises the use of optimisation and transparency. Transparency is often thought of in relation to the characteristics of a certain material, for example glass, where full penetration is allowed for vision and light. Our approach goes beyond the one dimensional understanding of visibility through materials. We are exploring how transparency can create multiple perceptions. Directed by optimisation, our technique can enhance the physical environment through visual arts by manipulating transparency in terms of: framing views; hiding; progressive reveal and conceal; and filtering.Strategic hiding, focused views, and designed site lines are the result of successful optimisation of transparency.

Despite the simplicity of the concept, our approach integrates many worthwhile themes; patterning is apparent through layer-ing, and distortion of repetitive shapes. Materiality is addressed meaningfully through the concept of transparency and visual perception is core to the optimisation of experience and affected by the movement of cars travelling past on the freeway.

While our design is specific to the brief of the Wydnam gateway project, it all relates to a much broader context as well. One obvious factor, being that the experience is accessible to anyone driving on the freeway and another, being that the nature of the design process involves progressively evolving technology that contributes prominently in the discourse of architecture

The next step in our design work will be to go to site a select significant landmarks or focal points to be the design driver in specifiying our site lines.

122

WEEK 9/10 123

PART TWOPROJECT PROPOSAL

WEEK 9/10 124

WEEK 9/10 125

THE GATEWAY PROJECT:SITE VISIT

Figure 1- Site Visit

WEEK 9/10 126

Upon visiting the site we discovered a very vast and flat landscape. This kind of context meant that we need to create a powerful argument in order to drive our sightline. We selected a phrase out of the project documentation which assisted the creation of an arguement, “intensive relationship between the natural environment and the activities of human settlement.”

During the EOI we had decided to focus on “enhancing the natural environment through the visual arts,” and this was going to be furthered by exploring the relationship and con-nection between the manmade and natural which could be descirbed through the idea of transparency.

Figure 2- Site Visit

WEEK 9/10 127

The site visit was a great help in directing the development of our design to suit the context. We decided to span the layering across the road to make it easier for the changes in apertures to be experienced by drivers.

We selected a number of views to frame that were good representation of the natural environment, against which the manmade structure would be contrast. The selected views were: the horizon to the North East (above image); the mound between the freeways, a portion of sky, and the horizon to the south east when you finish around the bend

PLACEMENT ON SITE

SIGHTLINES

WEEK 9/10 128

in order for the drivers to have an effect view through the apertures, the tun-nelling efffect will need to be viewed at an angle.

We have chosen to use Corten, otherwise known as oxidised or weathering steel. Corten is a steel which rusts. The rusting effect can be seen as a description of Rowe and Slutzky’s description of transparency being ambivalent. Use of steel shows human intervention; the steel rusts overtime because of the impact of water and air. This shows us the reation of nature towards human impact and the result is the two elements blending together within the structure.

DIRECTIONAL VIEWS

MATERIALITY

Change over time has been as concept that has been emphasised over this project because of the sculpture’s presence on a freeway. Change as you move past it is a change over time that must be taken into account and this has been particularly encouraged through stop motion photography. We have not achieved a stop motion animation because we have chosen to focus on working out other technical and presentation issues, however we did take a series of stills moving past our EOI proof of concept model. We did this to demonstrate that we have taken into account the ideas of moving past the structure and how it may change as a result of this movement. This movement describes one of our key criteria, progressive reveal and conceal.

I have recently researched for an essay for history. It was focused on Japanese architecture during the 1960s. I find Japanese architecture fascinating, particularly their ideas of the life-cycle of manmade things which is a theme which keeps popping up through out Japanese architectural history.

A major difference between Western and Japanese architecture is the understanding of life-cycle. The Western ideas of monumentality hope for something that will last forever; for example, the Parthenon is constructed of marble; hence the structure is still standing today. Lin describes this approach to timelessness as the “backbone of western civilisation”(pg 44) which portrays permanence and certainty. The Japanese however have always seen perish-ability as a natural part of life. With the support of emerging modern science, it became “clear that a permanent and absolute existence does not exist.”(pg44)

The Ise Shrine demonstrates the Japanese approach to timelessness based on lifecycle. This theory encourages humans to accept and expect decay. With the point of view of lifecycle, come strong ideas of rebirth, renewal and growth. The Ise Shrine is taken down and rebuilt every 20 years and yet it is still considered the oldest building in Japan. Concepts of renewal and growth were connected very strongly to Shinto and Buddhist ideas of lifecycle.

The idea of a building, a material, an art work having a lifecycle I believe has a strong link to our new focus on the blending of manmade and natural and selection of material. It is part of the natural over taking the manmade and causing it to change and bow to its pressures- the affects of the atmosphere.

CHANGE OVER TIME

WEEK 9/10 129

WEEK 9/10 130

Figure 3- Ise Shrine

131 WEEK 11/12

132

WEEK 11/12 DEVELOPING FINAL SUBMISSON

WEEK 11/12

WEEK 11/12 133

FABRICATIONTEMPLATES

WEEK 11/12 134

PLACEMENT OF GATE-WAY ON SITE

WEEK 11/12 135

We chose to fabricate our 1:100 model out of alu-minum and paint it with a rusting paint (Dulux Design- Rust) to represent steel and corten. inorder to paint on the we also needed to use a primer so that the paint would hold and to protect the aluminium.

FABRICATION OF THE 1:100 SCALE MODEL

MATERIALS- DULUX DESIGN RUST PAINT -DULUX DESIGN RUST RUSTING SOLUTION-WHITE KING RUST GUARD SLS ETCH PRIMER FOR ALUMINIUM-0.3 ALUMINIUM FLASHING

WEEK 11/12 136

The templates were printed and our group divded the three layers between the members. For ease of fabrication we di-vided the model into 3 segments which were oined together atthe end. I used the template to etch the pattern onto the 0.3 auminium flashing, and then cut out the holes.

The result of manual fabrcation was that different approach-es and styles of cuttin created different effects on the alu-minium. Some layers were completed with a smooth finish whilst others became more wrinkly and bumpy.

CUTTING

PAINTING

Once all the pieces were cut out we could be-gin to paint them. Firstly, we needed to coat all the aluminium with the primer. We then painted on the black rusting paint. This was recoated after 12 hours. Once the second coat was dry the rusting solution was applied with a little water to assist the rusting process. Again this was recoated after a 12 hours inter-val. Once the first rusting solution was applied the model was filmed to document the grad-ual change. This film was then compressed to a 50 second clip during which there is an evident change from black to orange.

WEEK 11/12 137

RUSTING

WEEK 11/12 138

1:100 FINAL MODEL

1:1000 MODEL

1. 6MM OXIDATED STEEL SHEETING2. 250UB WITH 20MM INSULATION3. STEEL BRACING4. 70MM INSULATION5. FOOTING

1

5

4

2

3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

WEEK 11/12 139

The title we chose for our work was ambivalence. Ambivalence was a word used to describe the concept of phenomenal transparency by Rowe and Slutzky. It means to have multiple perceptions; simultaneity between two conflicting elements, contraditctory feelings towards something. I think this is an approriate description of our final outcome. Ambivelance describes transparency - the ability to see through one thing to another, hence seeing two things at once. It relates to the concept of the interconnection of manmade vs natural, which are two opposing forces which are juxtaposed yet working in unison, as well as two elements concurrently viewed in the final design. Finally it is descriptive of the optimisation of transparency. The optimisation of a quality, or a concept is opposite to the more commoly used optimisation of a stucture or other performative qualities which are optimised through mathematics and physics.

The second model was a 1:1000 model of the entire design (previous page) which was made from white card.

When considering the construction pro-cess, our main concerns were directing water away from the material and using the correct layering so that the material effect would be seen from the outside and the inside of the tunnel. We offset the material from the ground so that water would be able to run away from the structure to prevent excessive corro-sion which would be detrimental to the structural integrity fo the material. We also attempted to include internal brac-ing to keep all of the layers together and counter-act bending.

1. 6MM OXIDATED STEEL SHEETING2. 250UB WITH 20MM INSULATION3. STEEL BRACING4. 70MM INSULATION5. FOOTING

1

5

4

2

3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

CONSTRUCTION

WEEK 11/12 140

ambivalence.In architecture, Optimisation and Transparency have been explored extensively. In our approach to the Wyndham City Gateway Project we studied both dis-courses in parallel which have become mutually dependant in our exploration.

Our technique expresses transparency through framing, hiding, progressive reveal and conceal, directional views and filtering,; which were optimised through aper-ture size, layering and density to create strategic hiding and designed sightlines.

Our final design also achieved the conceptual aim to explore the rela-tionship between the natural and manmade, with a particular focus on the enhancement of natural features using manmade design. The innova-tion of our approach reconceptualises the use of opitimisation and trans-parency. We approached the challenge using “Phenomenal Transparen-cy” as opposed to “Literal Transparency” (Rowe and Slutzky, Transparency, 1997) exploring how it can create multiple perceptions. The natural en-vironment and manmade environment become two interpenetrating worlds which are represented by the process of looking through the layers of weathering steel towards a natural backdrop. This result is illustrative of the “intensive relationship between the natural environments and the ac-tivities of human settlement,” which is embedded in Wyndham’s History.

The brief for the Wyndham City Gateway project asks for a design to “enhance the physical environment through the visual arts.” To achieve this we used grasshopper to investigate the Optimisation of Transparency to redefine sightlines on the freeway. To strengthen our investigation we drew a link back to the site. We chose to use the site lines to focus on the “intensive relationship between the natural environment and the activities of human settlement,” a quality of Wyndham emphasised in the project documentation.

In architecture, Optimisation and Transparency have been explored extensively. In our approach both optimisa-tion and transperancy become mutually dependant as we explore the discourses parallel to each other. We have chosen to explore both discourses because optimsation cannot exist on its own. It is a techniques applied to a design concept to achieve the best possible outcome. It is commonly used to create an optimal structure, however, we are applying optimisation to achieve an optimal experience of perception. This experience is optimised through changes in transparency levels. Rowe and Slutzky describe transparency as; simultaneity, interpenetration, and ambivalence. These figurative definitions are ideal for communicating the co-existence and juxtaposition between the manmade and natural features of Wyndham City.

While optimisation is our technical approach and transparency is our conceptual approah, the relationship between nature and human settlement is our design driver for the Wyndham brief. “Human settlement” often has negative connotations. Our intent is to instead bring out the potentials of the site through a man made ob-ject. The optimisation of transparency levels manipulates the experience and understanding of the connection between the manmade and the natural through the strategic management of sightlines.

The discourse of transparency is depicted by Rowe and Slutzky in their book Transparency. They discuss and describe the use of transparency in art and architecture, splitting it into two categories; Literal transparency, an “inherent quality if substance” (Pg23) and Phenominal transparency, an”inherent quality of organisation.” (pg 23)

During the Expression of Interest stage we explored transparency in both the literal and the phenomenal sense to discover a technique which achieved our selected design criteria. The criteria we developed to explore trans-parency in terms of the refinement of sightlines was: Framing views, hiding, progressive reveal and conceal, directional views and filtering. The techniques we used to achieve and optimise these aims were aperture size, layering, density.Following our Expression of Interest proposal, the focus of our design development was imbuing the design technique with a meaningful connection between human impact and natural features. To achieve this we tooka number of steps to further develop our design technique.

Firstly we manipulated the technique from our expression of interest to suit the site. The design stretches across the freeway using both site A and site B. Curving a tunnel over the freeway we are able to control transparency and sightlines across a 180 degree spectrum. We are therefore able to comprehensively manage the sightlines.

Secondly, our selection of views to frame was derived from the concept of enhancing the natural environment using the manmade. Therefore, the selected sightlines were focused on the most signiicant natural features

1. 6MM OXIDAT2. 250UB WITH 3. STEEL BRAC4. 70MM INSUL5. FOOTING

1

5

4

2

3

1. OUTMOST MODEL LAYER

2. INTERNAL MODEL LAYER

3. INNERMOST MODEL LAYER

5. SITE PLAN

4. CONSTRUCTION DETAIL - CONNECTION TO GROUND

SHENIA LAY 390117, LUCY GRIFFITH 389404, BELTAS JAP 387915

visible along the site. They are focused on: the mound between the freeway, the horizon to the North East, a portion of sky, and the landscape and vegetation towards the South East. The selected sightlines are optimal representations of the natural features at the site. As aollective they are emblematic of the natural aspects of Wyndham. The sightlines are only glimpsed for a moment as you pass along the freeway, therefore the framed view itself is not central to the meaning but rather the process of seeing through the layers.

Our third step was achieving directional visibility. Directional visibility is a particularly important aspect of our design in context. It has been addressed to create sightlines appropraite for drivers to experience . To accom-plish this, the major apertures within the grid are placed diagonally through the layers.

Our final step was the selection of material. The material became quite important to our design concept. We chose to use Corten, otherwise known as oxidised or weathering steel. Corten is a steel which rusts to a certain extent. A stabilised patina is eventually created and the material ceases to rust. Corten is not a transparent material in the literal sense, however, it embodies transpareny qualities in the phenominal sense. Returning to Rowe and Slutzky, transparency could be defined as; simultaneity; interpenetration; and ambivalence. Based on these definitions, weathering steel is illustrative of the transparency we wish to achieve between manmade and natural, it is contradictory yet mixed together. Use of steel shows human intervention; the steel rusts overtime because of the impact of water and air. This shows us the reation of nature towards human impact and the result is the two elements blending together within the structure.

We have represented materiality through our 1:100 scale model which was hand cut from aluminium and painted with a rusting paint. In the short term, change over time is felt by moving along the freeway through the enahnced sightlines. In the long term change over time is shown by the rusting of the steel work.

Our final technique expresses transparency through framing, hiding, progressive reveal and conceal, directional views and filtering. They were achieved through aperture size, layering and desinsity to createsttrategic hiding and designedsite lines. Our final proposal also achieved the conceptual aim to explore the relationship between natural and manmade. We approached the challenge using phenomenal transparency and exploring how it can create multiple perceptions. Two interpenetrating worlds are represented by the process of looking through the layers of weathering steel towards a natural backdrop.

Our approach also integrates many other worthwhile themes; patterning is apparent through layering, and distortions of repeatitve shape. Materiality is addressed meaningfully through the concept of transparency and visual perception is core to the optimisation of experience and affected by the movement of cars travelling past on the freeway. The distortion of the grid created the illusion of a 3D form when in actuality it is not.

The physical environment is enhanced by the visual arts by taking a vast and monotonous landscape and utilis-ing it in an artistic expression by focusing in on its best natural features and contrasting it against a manmade frame. This realtionship represents Wyndham as a town with a connection to the city and to the country. Innova-tive and up to date as well as strongly connected to community and place.

PART THREELEARNING OBJECTIVES AND OUTCOMES 145

146

As is the case with all design work, it harldy ever feels finsihed or that there was enough time for the concept, technique, model, or final outcome to be resolved to a standard that you would have hoped. And critiques never let it slip either!

The main considerations which were suggested to our group during our critique and that we also would have liked to take further were: The placment of our sightlines; composition of apertures in relation to one another; construction methods and detail; presentation layout. In conclusion it looks like all aspects of our work could have used a little more time. There will always be room for improvement.

Interms of placement of sightlines, I believe we did select good views to be our focal points, however we may have gotten a little caught up in our fabrication process and this influenced the placement of our apertures. Because of technical difficulties of using our definition on a curved surface in grasshopper we decided to create our design using flat panels which we could curve during model making. When we divided this up into sheets we ended up placing an aperture in each of the sheets meaning the holes became quite evenly spaced which took away from our aim of selecting sightlines and our final placement seemed a little regular and convenient.

FURTHER INQUIRY

147

The construction draw-ing we created addressed some, but by no means all of the construction issues present in our de-sign outcome. One of the major difficultiies being that for enormous sheets of corten to be spanned across the entire free-way somekind of trussed bracing system would need to be included be-tween the panels. Given the extensive perfora-tions across the entirety of the gateway, this would need careful plan-ning and placement of truss; most likely in areas uninterupted by sightline apertures.

Also an area our final de-sign we would have liked to have furthered would have been to apply the aperture clashing quality which was present in our EOI. The inclusion of this aspect would have given more variation between openness and density.

1. 6MM OXIDATED STEEL SHEETING2. 250UB WITH 20MM INSULATION3. STEEL BRACING4. 70MM INSULATION5. FOOTING

1

5

4

2

3

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

148

This has been the most difficult subject I have ever taken. I have never worked so hard in my life.

There were a couple of absolutely fantastic things about this studio. Firstly, it was a really in-teresting experience having two tutors; particularly when they had differeing opinions, or more accurately- opinions on different aspects of work. As a result there was a wealth of knowledge and feedback to gain.

Secondly, I loved working in a group. The group situation opens you up to so much peer learn-ing. I learnt so much from my group members. All of us prefered to work in different ways and different styles which meant that dividing up tasks was a really easy but everyone was still able to contribute to all the different sections. Looking at, assisting with and editing the work your group members have done with the same goal in mind as you is a very valuable experience, not only to see the different ways that other people look at the same problem but also to learn the skills which they used to achieve what they had accomplished.

Before this subject my experience using Rhino and grasshopper was very limited. The first time I used either of them was in the Exlab workshop during the summer. It was lucky I did this workshop because I pick things up really slowly, I have to go through them step by step and understand each part so keeping up in the first instance was quite a struggle. However getting to recap all the skills I had learnt and having more time to experiment and work on the definitons, I felt I became much more comfortable with the software and my understanding began to consolidate and broaden.

I found the weekly exercises really useful for developing skills and a knowledge base. Gradually building a knowledge base made it less scary to try out new things as the semester went along. Not only that when I found a definition I particularly liked it was a lot of fun to play around with it and take a break from the overall assignment. We ended up developing our final design from one of the techniques we learnt from the weekly tasks so I think we all agree they came in quite handy.

Most of the programs I have used significantly for the first time this semester. Doing this subject I have had a crash course in indesign, illustrator and autoCAD. Knowledge and greater profficency of my group members in these areas was of great help and inspiration to me, par-ticularly when it came to producing this journal,where I was required to compile all of our work from all of these different programs on my own.

PERSONAL REFLECTION

149

One of the really valuable things I learnt in this subject is the effectiveness of line drawing. I am not skilled at rendering and generally not friendy with computers so when it came to putting together presentations and final boards for previous studios I was always at a loss for produc-ing good drawings. Line drawings are definately a skill that I would like to develop and use in the future. I have learnt so many skills on a variety of programs throughout this semester not just the required Rhino and Grasshopper. I believe I will be able to use what I have learnt in this subect in many other areas and definetly next semester. I am now very motivated to learn about illustrator and indesign more thorougly and improve my presentaiton skillls after being overwhelmed and inspired by the journals and presentations that I have witnessed from my group members and other peers this semester.

Syles of fabrication was also quite a learning curve. Using the laser cutter was very exciting, and although they may not have been entirely successful fabrications in the technical sense, the fabricated prototypes helped so much in futhering our design process. By experimenting with many types of materials we learnt quite a bit about digital fabrications; how far you can etch into perspex without it breaking; card cutting; leaning to take extraneous lines out so extra time is not taken recutting holes, and the resultant material qualities and various effects of each.

Unfortunately, due to the the massive waiting list for fabrication in the last few weeks and the expensive of fabricating our design digitally we did not use this method for our final model. Our final model was hand fabricated. This was also a massive learning experience, and we were all very interested in the path we took to explore the material effects of rusting. The model was the biggest benefit to our investigation of change over time. It was an epic task cutting out every single hole, and a huge congratulations to my group members Beltas Jap and most particular Shenia Lay for their enormous efforts cutting out so much more aluminium and card than I managed. All the swollen fingers and pain from manual fabrication not only reinforced the usefulness of digital fabrication but was a really great group experience, working together and motivatng each other.

Construction our argument was another gigantic task. So much time went into our argue-ment. From the beginning I had trouble with understanding discourse however when I finally figured out what is was it suddeny became easier to research and understand the task and our concept. Starting with a theme like optimisation, ourgroup unwittingly made it very difficult for ourselves. However I think that out need to study a secondary discourse which we chose to be transparency, which we applied optimisation to, really enriched our design, our thinking process, our arguement and ultimately furthered our learning in both digital and conceptual discourses. The combinaton of discourses meant we had to think extra hard and try our best to resolve it all into one coherent arguement.

150

I am always worried about asking others for help in other classes, I am shy of showing my work and don’t want to get help or ask questions for fear of interfereing with another’s workload. But this semester in our group work situation we had such a collaboratve and motivating team. I felt like I had permission to ask questions and get help because we were all working on the smae assignment. We were all great at keeping each other up, and feeling an obligation to get things done and get them done well for a cause that was greater than simply your own personal work.

My biggest disenchantment with university in the past is how selfish it has made me. I feel like I am on repeat saying, “I can’t I’m sorry, I have to do my work.” But in a group environment you are able to get out of your own headspace and have permission to work with others and do something for other people.

Although I don’t believe this style of design is exactly my cup of tea, it was really great learning a breadth of new skill, most of which I believe will be helpful in the future. Even if I don’t base my design solely within grasshopper, there are many aspects of the program which would be useful in elements of different design projects.

After a semester’s worth of study I have formed a couple of opinions on digitally aided design to which I was previously indifferent. I believe the best way that computational design will be implemented in the future will be for it to be intergrated with many other design aspects and techniques. Kalay’s version of design was very mathematical and detached from conceptual design intent because she reduced design down to a series of problems to be solved. As we have learnt through personal research in regards to our group area of study, this is the same kind of method as optimisation. Optimisation is possibly the most well explored method of com-puterisation thus far and is assisting within a greater design concept. I think this interweaving approach is the most beneficial because the best and most useful architecture is a combination of different elements. It is not simply art; beautiful and interesting yet detached from context; it is not purely symbol; full of meaning and function but in danger of being reduced and generic; and it is not simply and experience of place, because you can go to any place and experience it as you wish. Architecture combines all of these elements. The best elements that came out of our design came about after connecting our concept to our site. I think that as long as compu-tational design has a meaning applied to it rather than being a solution to a number of rules or problems then it should be widely accepted and a strong and far reaching discourse to come.

One of the important things I learnt in this subject is the influence of discourse. The fact that something does not need to necessarily be built to be an influential idea, and it’s the ideas that

151

are played with and discussed that become the important element in the furthering of archi-tectural thinking and of any kind of thinking.

In the history subject I took this semester, we were learning about Modernism, with its forward thinking futuristic aims. Most of these designs and concepts were unbuilt, quite significantly because of wars. But they kept thinking, and it was this thinking that lead to a really strong and inspiring discourse which was nothing like anything that had gone before because it didn’t look to things that had gone before. It was an attempt to be entirely original. Metabolism, I think is one of the most interesting faculties which came right near the end of modernism. It was a Japanese group founded by Kenzo Tange. Kenzo Tange’s career is incredibly fascinating. Despite being a renowned architect, he classifies himself first and foremost as a philosopher. He claims that all architects of this day and age should be philosophers, so that they can ad-dress the problems of today by looking to the future. I think that this is the aim of this studio, or what I have learnt most from it. From the first lecture it was discussed that we can learn what we need to know for today , to get jobs for today, or we can learn for the future to work for the future, and the future of the discourse of architecture.

152

REFERENCES

PART 1 EXPRESSION OF INTEREST Case for innovationWeek 1- 3

Architecture as Discourse

Melbourne Recital Centre-Burry, Mark & Jane, (2011). The New Mathematics of Architecture,(London: Thames &Hudson)

The Melbourne Recital Centre, (2012). The Melbourne Recital Centre, <http://www.melbournerecital.com.au/abou-tus/the_building>

Pavilion http://www.heatherwick.com/uk-pavilion/

Williams, Richard (2005). ‘Architecture andVisual Culture’, in Exploring Visual Culture: Definitions,Concepts, Contexts, ed. by Matthew Rampley (Edinburgh:Edinburgh University Press), pp. 102-116

Computational Design- Optimistation

BMW

Phaidon, (2008). The Phaidon Atlas of 21st Century World Architecture, (New York: Phaidon Press Inc.)

Main image-Phaidon, The 12 Days of Architecture: #5 München, Germany, (2012) Phaidon,viewed 21/03/2012 <http://www.phaidon.com/agenda/architecture/articles/2011/december/19/the-12-days-of-architecture-5-munchen-germany/>

inside twirl-Architecture Week, Coop Himmelb(I)au’s BMW World, (2008), Architecture Week, viewed 21/03/2012, <http://www.architectureweek.com/2008/0416/building_1-2.html>

other -Architecture Week, Coop Himmelb(I)au’s BMW World, (2008), Architecture Week, viewed 21/03/2012, <http://www.architectureweek.com/2008/0416/building_1-2.html>

inside construct- GlassOnWeb, The BMW-World, A New Architectural Dimension, (2012). GlassOnWeb, viewed 21/03/2012 <http://www.glassonweb.com/articles/article/408/>

SmithsonionFoster+Partners, Smithsonian Institute, (2012). Foster and Partners, viewed 20/03/2012, <http://www.fosterandpart-ners.com/Projects/1276/Default.aspx>

-Burry, Mark & Jane, (2011). The New Mathematics of Architecture,(London: Thames &Hudson)

Voronoi

Cover image- .25, Voronoi , http://pointtwofive.com.au/projects/veronoi/

Jewelery design- Davidson, Scott. Jewelry Design with Voronoi Pattern (Atsuo Nakajiuma).(2011) Grasshopper, viewed 26/03/2012,< http://www.grasshopper3d.com/profiles/blogs/jewelry-design-with-voronoi >

smooth voronoi- 1 Euabierto, Smooth Voronoi, (2009). Euabierto, viewed 31/03/2012, <http://affiliate.kickapps.com/_Smooth-voronoi-3D/photo/1659558/33875.html>

2 Voronoi Diagram, (2008). Digital Architecture Workshop, viewed 31/03/2012 <http://iamcyborg.blogspot.com.au/2008/09/voronoi-diagram.html>

butterfly 1 and 2 Rhinoceros, Voronoi Galleries,(2012). Rhinoceros, viewed 30/03/2012, <http://rhinotoday.com/2010/04/voronoi-galleries/>

Super Yacht-Superyacht Design, Voronoi. (2012) The Superyacht Group, viewed 30/03/2012, <http://www.superyachtdesign.com/concepts.asp?cid=858 >

Dream Boat-Beautiful Life, Comfortable Yacht Concept “Tofi” by Hyun-Seok Kim (2012) Beautiful Life, viewed 30/03/2012, < http://www.beautifullife.info/automotive-design/comfortable-yacht-concept-tofi-by-hyun-seok-kim/>

Awards- Design et al, Yacht Concept Design over 50 Metres Category, (2012), The International Yacht and Aviation Awards, viewed 30/03/2012, <http://thedesignawards.co.uk/yachtandaviation/voting-2012.html>

PART 2 PROJECT PROPOSALWeek 9/10

Fig 1-3 -Photos of Site taken by Shenia Lay and Lucy Griffth

Fig 3 - Continuous Construction, Ise Shrine, Continuous Construction Blogspot (2010) Viewed 20/5/2012 < http://continuousconstruction.blogspot.com.au/2010/11/ise-shrine-japan.html>

Text Reference- Lin, Kenzo Tange and the Metabolist Movement: Urban Utopias of Modern Japan, (2010)