T H E S T O R Y S O F A R . .

P U B L I C P A V I L L I O N / L O C A L A R T S P A C EZ A C G O L D B E R G

Taking some of my original inspiration, I had a look at some of the patterns which were the essence of the design so far. Patterns as a concept means repetitive in na-ture, whether simplistic or complex.

The common theme from this spread is a) the four sided connections, and b) the simplicity of the connections.

The concept was using this as a guideline, and then from there making a complex, interesting pattern from this starting point.

The natural shape, the form of the structure. The structure needed to have a natural flow (implement-ed through experimenting with nodes/surfaces within grasshop-per.) However, some of the forms allowed room for error - such as potential overlapingvt, and needed to be a focus throughout the final process.

PUBLIC PAVILLION / ARTS SPACE:

My final studio air design specifically for Merri Creek is titled the public pavillion / local art space. After much deliberation about what the use of the structure would be, these two simplified op-tions I believe best showcase the design.

Public Pavillion: General public access, meeting area

Arts space: Space for local artists to be celebrated.

My interpretation of the brief, and its Questions or which I want-ed to address/encorperate by the end of the design proccess are as follows:

1) where can one seek the numinous, the sacred?

2)In a world contracted by motor travel and telecommunica-tions, how can one experience vastness?

3) Implementing the idea of self-commissioned architecture, propose an architectural intervention that will express, sup-port, amplify or question continuous relationships between technical, cultural and natural systems.

4) Consider stakeholders of your project.

5)Design, test and build innovative, surprising and beautifulthree-dimensional form.

6) Seek to use environmentally friendly, innovative materials.

D E V E LO P M E N T o f

F O R M

PA N E L S

D E V E LO P M E N T o f

The paneling process was the next development stage. As per this diagram, materi-als such as timber, moulded white plastic (EFC) and steel were considered as optionts - with a potential steel framed backing. A moulded white plastic material was the option to be persued with, placed onto the steel framed construction as a panel.

This diagram highlights the development of form, from the untouched smooth surface, to the more ‘rigid’ panelled version. Also a notable inclusion was the room for a tree - (perhaps unplanted) to grow and interact with the structure. This highlights a con-nection with the site that few structures can claim to have. Being at one with nature.

A perspective sketch, demonstrating my envisionment for the site, and how potentially it could sit in the landscape of merry creek. The scale is an important factor in the design, and going with something approximately this size (3m high, 15m long) allows for human interaction, but also more importantly, doesn’t disrupt or disfigure the landscape in a harmful manner.

The contours of the site are extreme-ly relevant, and are a vital part of the design proccess. The contours dic-tated the actual shape of the design, using the levels of the contours as anchor points. For example, at 3m, 1.7 and 0.2m the design is anchored into the ground, giving it the stabili-ty needed to exist from an engineer-ing perspective.

The colours highlight too the dif-fering levels for which the contours exist, and the steepness.

S E C T I O N S 1 : 1 0 0

Sections

East Section

West Section

North Elavation

P OT E N T I A L

C O N S T R U C T I O N

P R O C E S S

C I R C U LAT I O N

Circulation in a design is ab-soloutely crucial to the sus-tainability of its success. In this particular design, the contours of the site, and the scale of the design allow for human interac-tion all around. Users can walk around every aspect of the struc-ture, and, dependant on where they stand/sit, achieve an array of desired effects. Closedness, ope-ness, exposure, hidden or being connected to nature.

Starting to consider how the structure could be built, transferred from the parametric process to the real life design. The dia-gram illustrates a potential process of having the steel framework built off site and then delivered. The frame work could then pieced together in three seperate pieces (as above,) with the moulded panel to be placed on top. Further, glass panels will be encor-perated to allow light to pass through the structure.

Additionally, given the structure is primar-ily used as a meeting place, and secondar-ily used as an art space, having a clear flow is paramout. The structure evokes a sense of closedness whilst being completely open with no dead space/points.

This allows a 360 degree view of not only the site, but the art work within the area of the structure. Moreover, the free flowing circulation of the design allows the struc-ture to exist as a sculptural piece in its own light.

C O N S T R U C T I O N

P R O C E S S

A sketch highlighting the potential build for the structure, using steel in the framing, and creat-ing pillar points.

The 3D printing process proved to be more complicated than I anticipated, so the resulting model was a prototype. (As above)

The issues with printing the structure were linked with the thickness of the panel, and the complexity of its shape. In order to have the model properply printed (and therefore a reflec-tion on how it would be interpreted into reali-ty,) the thickness of each sides needed to be at least 2mm. (The current thickness was less than .7mm.)

I used grasshopper to offset the panel surface, to 2mm, but then had the issue of overlapping. ( As pictured on the next slide.)

Each surface of each Panel was offsetted to 2mm in length, and every pnael was joined together using a boolean union command. From there the panels were arrayed over the curved polysurface.

In order to complete this action surface points were created on rhino and then offsetted to a spe-cific length.

This image demonstrates this particular action to a more extreme point, (in scale approx .4m) Whilst the desired effect was strong, producing an arrayed section of panels accross the curve proved to be difficult due to the offset.

Creating an offseted panel is important to the design as it allows for many specific aspects to shine through. Having 3 dimensional panels to this shape allow for light to penetrate through, as well as the opportunity for Conversing with nature, and moreover a sense of wonderment when entering or observing the structure itself.

The final panel consisted of a few tedious but necessary procceses. Without detailing too greatly the exact steps, basically the joining needed to be stronger, the thickness needed to be larger and the overlapping needed to be eradicated.

The answer was the panel on the left (after much deliberation.) The definition in grass-hopper was altered to have a back structure on each panel, (simple joining the points together - and then offsetting it.)

This back structure mimiced in a sense what the steel in real life scenario would be able to do - give support.

Further, joining the 4 seperate panels and making them more linear was a necessary step to avoid any overlap along the surface. What was left was a nice smooth panel that could be arrayed over the complex curved shape.

To demonstrate the control over the para-metric modeling tool, I offseted each par-ticular row of panels (horizontally) to a spe-cific heights. The reasons for this were so no overlapping would occur, different textures and heights would be visible, (ie. some vines/fauna could go at different heights.) Moreo-ver, consistency and a range of pattern would be presented throughout the structure, giving interesting and eye catching effects. The final structure allows for ease of human movement, as seen by the scaled pictured to the left.

These diagrams provide evidence the proccess that would be in-volved in creating the structure on site, from the steel framework, to the moulded panels to the bolting down of the panels. First the frame work could be delivered either wholistically, in seperate parts or built on site. The most likely scenario would be constructioning the frame together from seperate parts (approximately 4-5.) From there added structural integrity would be added to where the gap is (As learn from the first 3d printing attempt where this structurally failed. )After the frame work is completed the panelling would then be moulded and bolted down.

Demonstrating how the design could be brought to site, split into 3-4 moulded sections (as was what eventuated in the 3d modeling proccess.) This allows speed, accuracy, low cost and low wastage when building the struc-ture. The moulded panels could be placed and bolt-ed directly onto the steel frame structure.

This diagram highlights an exciting feature that the design could encompass. Allowing the gap for the tree to grow and flourish demonstrates the sus-tainability of the design. Whilst slightly ambitious, the feature of the tree could provide a historic landmark on the creek itself. Perhaps planted for a charitable cause and maintained through-out the existence of the design.

Render demonstrated the panels placed onto the steel structure, with the steel structure still evident.

As highlighted the bolt would be placed on all 4 cor-ners of the panel, taking the tensile strength and keeping the panel safely in place. This proccess would be repeated for every panel.

FINAL MODEL

ADRESSING THE BRIEF/ APENDIX/ AFTER THOUGHTS

Aspects I picked out to be the most prudent or relevant from the brief were as follows; and were carefully considered throughout the entire parametric design proccess.

1)In a world contracted by motor travel and telecommunica-tions, how can one experience vastness?

2) Implementing the idea of self-commissioned architecture, propose an architectural intervention that will express, sup-port, amplify or question continuous relationships between technical, cultural and natural systems.

3) Consider stakeholders of your project.

4)Design, test and build innovative, surprising and beautifulthree-dimensional form.

5) Seek to use environmentally friendly, innovative materials.

Chronologically, answering and implementing these points after the design proccess:

1) Vastness is defined as a large state of open-ness, and in its literal sense difficult to experience in an urban dense area. How-ever, on a smaller scale, the Public Pavillion attempts to encor-perate vastness into its design in subtle ways. The open aspects of the design gives a sense of vastness in terms of the feeling of being exposed, being encompassed within nature (on a small scale,) and having a complete 360 degree in many areas within the structure.

2) Relationships between technical, cultural and natural systems is a fine and very interesting balance. The design firstly had to be obviously parametric - unable to be designed without the aid of computers. Therefore, this resulted in a design scheme completely reliant on computers - the opposite of my own personal design history. The complexity of the panels is a very technical proc-cess, yet, it also allows growth of natural proccesses within it. For example, the gap allowing for the tree to flourish, and the holes within the panels allowing for fauna , tree vines and other natural elements to grow in and around it. Additionally, the relationship between natural and technical is further emphasied with the interaction between the site and the structure. The structure is placed directly on the contours, look-ing relevant only to the site itself. To coin a famous Frank Lloyd Wright phrase, “the design would look completely out of place anywhere else.”

The last aspect was cultural, and this can be interpreted in dif-ferent ways. Cultural could mean historic, an appreciation for the cultural aspect of the land itself - something I explored at the begining of my design proccess but inevitably moved on from it. The way I interpreted and encorperated ‘culture’ into my design was through the option of using the design as an arts space. This therefore allows the cultural art element to be part of the design scheme, with the concept of allowing inspired, local artists op-portunities to present their work on display withinthe structure - attracting people and resulting in a cultural relationship with the design.

3) Stakeholders could be a vast range of people. Anything from srudents, locals, Local councilors, parkland managers, musicians, artists, animals, visitors/tourists, children, teachers and many more.

4) The two features of the design from an aesthetics point of view is the natural shape, and then the panelling on top of it. The natural shape was a long proccess of lofting experimental curves together, and attempting to make a smooth, innovative surface that flowed with the contours on the site. The rational of the shape was purely to follow the contours, and to also have an opportunity for interesting 3dimensional, parametric panels to be created over the surface.

The innovative panels are justified through both aesthetic and practical reasons. 1.) Ease of construction/ formation. 2) Allowing the natural play with light and shadow, thereby allowing users to control how they want to use and interact with the site. (Whether they want to be exposed, hidden etc.)

Additionally, the panels as aforementioned allow for fauna and vines to directly impact and grow around the design itself.

5)The structure is environmentally friendly in its limited use of material - there would be very little waste and cost in creating the structure. Further, there would be minimal disruption of the site and its natural habitants. (the structure is built and placed directly onto the contours.) Moreover, the plastic is low cost, durable, wa-ter resitant, and corrosion resitant, highlighting its sustainability and practicality.