PROGRESS JOURNAL

389978 Thuy Tran

ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR

CONTENTS

01. CASE FOR INNOVATION LIGHT AS AN ARCHITECTURAL DISCOURSE FEDERATION SQUARE 01. YAS MARINA HOTEL 02. BEIJING NATIONAL AQUATICS CENTRE 03. COMPUTING IN ARCHITECTURE 05. FEDERATION SQUARE - PENROSE TILING 06. STOREY HALL RMIT 06. PARAMETRIC MODELLING AIRSPACE TOKYO 07. AQUA TOWER 08.

02. RESEARCH PROJECT SCOPE OF POSSIBILITIES GRASSHOPPER DEFINITIONS 11. CASE STUDY: ARTICULATED CLOUD 13. EXPRESSION OF INTEREST 15. STRUCTURAL RATIONALISATION 17. INTERACTIVE MATERIAL 19. DIRECTIVE LIGHT & SHADOWS 21, KINETICS 23. REFLECTION 24.

REFERENCES 26.

CASEFOR

INNOVATION

Melbourne’s Federation Square is a personal architectural interest. It has given Melbourne an identity, just like the Eiffel Tower did for Paris, and the Taj Mahal for India. Having grown up in Melbourne, the exposure to exciting architecture is infinite with the city’s mixture of historical, modern, high-rise and low-rise buildings. What separates Federa-tion Square from the rest is the urban experi-ence that is captured when walking through this space. Known as Melbourne’s meeting place, it highlights the social culture of the city in its ability to interact with commuters through restaurants, bars, and media.

It is able to transcend into a different urban

experience as the sun goes down. With theaddition of bright lights integrated with the ignites the feeling of cultural andtransparent Penrose-tiled surfaces, it captures the essence of Melbourne’s nightlife. Hav-ing experienced the aura that is exerted by Federation Square personally, the architecture incorporated with the urban planningsocial stimulation. It encapsulates Melbourne’s modern and innovative architecture, but the space also acts as a communal area, where interests are shared and events are celebrated.

There were many conflicting opinions about the Federation Square since its inception. It was labeled one of the world’s most ugliest buildings in 2009 as it was considered to be “frenzied and overly complicated, the chaotic feel of the complex is made worse by a web of unsightly wires from which overhead lights dangle.” (Crawford, 2009) However, since then it has gone on to win numerous awards, including five awards in 2003 at the Victorian Architecture Awards.

The intricate details of the surfaces and the mixture of different geometrical structure is what forms this piece. Its surface is covered by the Penrose tiling system. It pursues the illusion pattern, however when it is shifted, it is not the same.

CASE FOR INNOVATION:Architecture as a Discourse

Federation Square,

Melbourne, Victoria 2002

01.

“Works of architecture frame our lives; we inhabitat them; they define our movementthrough cities; they moralise and discipline.”

Richard Williams

LIGHT AS ANARCHITECTURAL

DISCOURSE

When an architectural piece is built, it is on display 24/7 in its visual environment. Its’ presence can sometimes be enhanced to fit the time of day with the engagement of shadows during the day, and the bright lights during the night. These external elements enhances the perceptions of an architectural piece by maximizing its’ appearance through space and its sur-roundings. The relationship between light and architecture is sometimes achieved to pursue functional purposes, other times; it is an aesthetic addition to enhance the building’s visual appeal.

Yas Marina Hotel,

Abu Dhabi, United States Emirates

The Yas Marina Hotel is an example of innovate and futuristic architecture. It was designed by Hani Rashid and Lise Anne Couture of Asymp-tote Architecture, who are based in New York. It consists of two hotel buildings which are linked together by a shell that covers the span of the Formula 1 circuit. The shell, which is its most prominent feature, is made from monocroque steel and glass and its form is reflective of the nature of speed and aerodynamics.

The structure is highlighted throughout dif-ferent times of the day through its interactive response to its environment. The skin of the building is reflective of the sky during daytime and when night falls, the shell is lit up with LED coloured lights that incorporate live video feeds. The diamond-shaped glass panels that make up the shell are reflective of the sun,

which was purposefully chosen because of its high response to natural light. The mono-croque steel outlines the shadows and this allows for intriguing shadows to be reflected onto the surface. It’s the transparency in the glass panels that allow the steel framing to be highlighted through the shadows, and also let natural light shine into the building.

Although Asymptote Architecture is just the name of the design company, it poses as an indication of the direction they were for in this architectural structure. In general math terms, an asymptote is “a line that continually approaches a given curve but does not meet at any finite distance.” By looking at this struc-ture, the exterior shell looks to be a separated from the two hotels. This could be an analogyfor the tan graph, in that the two hotels are two

asymptotic lines and the shell is a tan curve. These lines run parallel to eachother and will never meet, just like the curve will never touch the lines. All properties of a tan graph are reflective of the Yas Marina hotel, because although they are all separated elements, the hotels are linked together through an asymp-totic exterior shell.

By extending the knowledge on this piece, the most interesting factor would be that the diamond glass panels that fill the monocroque steel frame is not static. It pivots through the use of a rod and moves through the force of natural factors, such as wind or turbulence. To have an element which is constantly moving and changing creates a dynamic in which may be considered for the Wyndham Gateway proposal.

02.

The Beijing National Aquatics Centre was erected just in time for the 2008 Olympic Games. It was designed by PTW Architects who are based in Australia, and progressed along with the assistance of engineering specialists, Arup and CSCEC. More famously known as the Water Cube, it became a distinct architectural structure through its literal depiction of water throughout its surface. Based of the Voronoi diagram, the tessellated pattern on the structure’s exterior immediately connect with bubbles and how they behave when they join together. The structure is outlined by a steel frame with ETFE cladding. The ETFE pillows depict bubbles in the way it in slightly inflated to give the surface another dimension. The thicknesses of these pillows are only 0.2mm thick, therefore allowing more light and heat penetration through the walls.

Symbolism is a very strong aspect in this design. Besides the obvious fact that it is representative of water and its functional purpose of the centre, the Water Cube also connects with Chinese culture. The majority of China’s population follow the Buddhist religion, whom are strong believers in the afterlife. The Bird’s Nest stadium, located in China, was a circular shape, in which some took to believe that it represented heaven, while a cube shape portrayed Earth. These two contradicting shapes compliment eachother because they both reference a symbol of Chinese architecture, and highlights their culture.

03.

LOCATION:

Abu Dhabi, United States Emirates

BEIJING NATIONAL AQUATICS CENTRE

In relating this to the Wyndham Gateway proposal, it might be a good idea to research attributes of the city and find ideas that might inspire a concept. The gateway should be an indication of the city and what it represents. Research-ing cultural and social attributes will be beneficial in understanding the lifestyle in which Wyndham wants to portray. By incorporating it into the gateway design, to give it a stronger sense of justification and hopefully, successfully satisfy the client’s desires.

04.

05.

COMPUTING IN ARCHITECTURE

“It is possible to claim that a designer’s cre-ativity is limited by the very programs that are supposed to free their imagination.”

Kostas Terzidis

Science philosopher Jacob Bronowski noted that, “design is the epitome of intelligent be-haviour”. With contemporary architecture testing the limits new technology, the irrational are becoming possible. Intuition and creativity are seamlessly intertwined when it comes to suc-cessful designing. With design, comes engineering. Computers are known to be technological engines, which solve problems within a logical range. They are able to analyse complicated situations and put it into a comprehendible language for humans. The communication and re-lationship between humans and computers is based on the sharing of knowledge. Computers comprehend textural, numerical, graphical and auditory messages. We as humans, possess the ability to come up with new ideas. An example of this relationship would be the use of computer-aided design. An architect designing a new house will need plans and elevation drawings. He/she will then input the necessary information into CAD with its dimensions and specifications making the process efficient and neat. The end result will allow for the legible drawings to be used by different specialised consultants, as computer-aided design is understand on a universal scale by the professional industry.

However, the argument within computer-aided design is that by using it, does it limit our ideas? In the act of translating an idea into a digital file, elements will be lost as computers are not free as our minds. In a way, the constraints set digitally are reflective of reality. Some-times an idea is too imaginative to ever be produced in real life. By having computer-aided design, it restricts some elements which fall into the category of being impossible. Wild ideas are great, but what good is it if it cannot be built?

05.

At first glance, Federation Square seems like a large geometric structure with randomly patterned, tessellated surfaces. The surface however, is based on Penrose’s tiling system. A series of triangles adds to the intricacy of Federation Square’s facade. Its’ sandstone texture adds a natural element to the entirety of the artificial site. The Penrose tiling system is repeated through size, as there are triangular tiling within a larger triangle, and then system is repeated for the larger triangles.

As stated earlier, one of the capabilities of human intelligence is to be able to translate it into an analytical computing system. With the expansion of technology and fabrication in this innovative environment, architecture is able to create intricate and detailed forms due to the computing systems that we have at our aid. Technology was able to process Penrose’s complicated tiling system and process that into a computing system. The formula produced then allowed for a mass production of the tiling sys-tem to be applied to Federation Square’s facade. From the initial process of mathematic analysis, the design process followed, and then construc-tion. All these processes were possible through the relationship between human knowledge and computing it into a technological system. This goes to show that communication between humans and computers is vital in its ability to process information.

TRANSLATING INTELLIGENCE INTO ARCHITECTURE

Roger Penrose was a mathematical physicist whom enjoyed the complexi-ties of mathematics on a recreational level. His most famous contribution to the mathematical field began in the 1970s when he investigated ‘non-periodic tiling’. Non-periodic lacks symmetry and do not form a repeating pattern. He set an analytical formula to the conjoin-ing shapes, basing it on mathematical degrees and size. His work in this field has lead to the erection of some of Mel-bourne’s most recognisable structures.

Storey Hall is RMIT’s Public Gallery, located in the heart of Melbourne. The building was refurbished 1995 by Ashton Raggat McDougall. He employed the Penrose tiling system, which formed a series of pentagons. This system created a dynamic and radical design with the use of the bright green to complement the arrangement. Being so closely located to Federation Square, these designs are a reflection of the city of Melbourne. By putting an iconic structure into a city, it immediately gives recognition to the place. For example, when a person mentions the Eiffel Tower, the immediate reaction would be to link it to Paris. Federation Square does the same for Melbourne, and to have Storey Hall compliment its design by employing the same tiling system brings forth a sudden architectural theme around that area.

Federation Square,

Melbourne, Victoria 2002

Storey Hall,

Melbourne, Victoria 1996

Kostas Terzidis

06.

“Scripting, as an approach to com-putational design, offers access to whole new ways of exploring design but design always remains at the core.”

Mark Burry

Scripting has become a cultural identity within digital modeling. Its ability to “”adapt, customize or completely reconfigure” the individual’s mode of working has improved efficiency and enhanced digital capabilities. In using such programs as Rhino, its scripting component called Grasshopper allows the user to experiment with different components to build a form or surface. It is primarily an aesthetic production enabling the intricate capabilities of ornate architectural decoration. By looking at parametric forms that are present in today’s architectural society, it can be seen that there’s a clear distinction between parametric design to the ‘average’ archi-tectural building design. Parametric buildings convey a conceptual and imaginative idea, adapting to the changing environment. Its engagement with complexity, yet being able to capture logic through computing exercises the idea that illusions is not short of reality.

PARAMETRICMODELLING

Airspace Tokyo

Tokyo, Japan

The facade of the Airspace Tokyo building pursues the use of computational ar-chitecture. Designed by Thom Faulder in collaboration with digital technologist Sean Ahlquist of proces2, the façade articulates the illusion of cells and their organic nature. The design philosophy behind the idea was the abundant green nature that had previously occupied the site. Made from laser-cut aluminium and plastic composite, the framework is enhanced through the lighting shining through the layered organic patterns.

The design is an indication of Voronoi Morphologies, in which is generated through parametric computer aided software. They are “used as a took to facilitate the translation and materialization of data from particle-simulations and other point-based data into volumetric form.” In doing so, algorithms and parameters would have needed to be set during this inception of this process in order for it to be furthered. The use of scripting allows it to be transferred into something more definitive.

07.

The Aqua Tower is an example of parametric modeling. Located in downtown Chicago, this 86-storey was designed by Studio Gang Architects and constructed in 2007. The building is a large geometric skyscraper sheathed in undulating layers. These concrete slabs create a sculptural illusion on the building’s façade. The form can be considered “blobitecture”, as it creates the illusion of movement through its organic and bulging form. The concrete fins are the fabricated result of parametric modeling. Through the generation of algorithms, complex shapes were formed. Each concrete slab follows certain contours set by a script and their parameters.

This creation was justified by the connection with the topographic feature of the Great Lakes, which are located nearby. Their design philosophy correlates with the site context. Their design char-acteristics support the design concept because it explains their reason behind their parametric element. Although it is illusionistic, it exerts the comprehension of undulation with the topography.In looking at this design, it might be a good idea to look into the site’s topography for the city of Wyndham. It may pose as an interesting aspect to incorporate it into the gateway, and contours may be an concept in which can be explored further.

Aqua Tower

Chicago, USA.08.

09.

RESEARCHPROJECT

10.

SCOPE OF POSSIBILITIES

EXPLICIT GRIDS BOOLEAN PATTERNS SURFACE GRIDS SURFACE NORMS

MATH

FUNC

TION

MULT

IPLE

MA

TH FU

NCTIO

NIM

AGE S

AMPL

ERRO

TATIO

N

INPUT

ASSO

CIAT

ION

OUTP

UTEX

TRUS

ION

11.

Kalay referred to design as a “purposeful activity, aimed at achieving some well-defined goals.” In experimenting with inputs, associations and output in Grasshopper, this activity was an engaging experience in working towards a design solution.

Certain inputs engage with certain surface patterns. From using Explicit Grids, Boolean Patterns, Surface Grids and Surface Norms, we found that these could potentially assist in the prog-ress of working towards a design concept. In connecting these inputs with certain associations, the understanding of Grasshop-per was furthered because the changes in the original could be seen. One of the most capturing associations was image sampler. By inserting a certain image into the script, the perforations on the surface would ap pear accordingly to the chosen image.

This tool could be furthered explored using different images that could be the connecting component between design and a conceptual idea. This component will definitely be explored further to see the type of perforations in can perform and on different inputs.

Rotation and Extrude were the two outputs chosen for this matrix. Rotation changes the arrangement of the pattern through a rotat-ing mechanism. As it can be seen from the matrix, it changes the density of the pattern, which could be useful in trying to convey information about a theme. For example, a design that represents the growth of a city could use this tool to extract the information onto a patterned surface, showing the variation in numbers as it rises or falls.

GRASSHOPPER DEFINITIONS:Further Exploration

In looking at a few more definitions, the shapes that form these patterns are circular, rectangular or hexagonal. it might be relevant to explore more, such as triangles and diamonds which may be useful for a structural resolution.

12.

The Children’s Museum of Pittsburgh, also known as the ‘Articu-lated Cloud’, located in the aforementioned city is a compelling and dynamic structure designed by Ned Kahn. Its exterior is made up of tens of thousands of translucent acrylic panels that flicker through the force of the wind. Its effect is to create the illusion of clouds and this is achieved through the fluttering panels creating ripples in the surface. The panels are connected through a steel rod that is hanging from a steel form. These rods appear as though they are floating, in which encapsulates the idea of fluidity in the rippling motion. The building is made from steel and has a glass facade. The skin oper-ates as the protective later of the building by reducing the exposure to heat into the museum. The design is highly responsive to the environment, showing variations when in contact with light, weather, and nighttime.

In looking at Articulated Cloud as a design precedent, its interactivity and response to the environment is something that would be ideal for a gateway. The site for the project is located along a busy freeway, therefore the structure would gather turbulence from all moving vehicles, as well as the environmental forces. This will emphasize the gateways experiential interactivity making it more of an impact than it being a static, visual piece.

CASE STUDY:Articulated Cloud

This is a detailed section of the panel and its connection to the frame. Its steel rod is pierced through the top of the panel, creating loose friction to allow for the panels to move freely.

REVERSE ENGINEERING

13.

Articulated Cloud

REVERSE ENGINEERING

Grasshopper Definition

With the correct paramters set in place, the panels were re-engineered into the following Grasshopper definition. The movement of the panels are dictated by an attractor point. This point will direct which way the panels will face, and by moving it along the axis in Rhinoceros, this is the result.

14.

EXPRESSION OF INTERESTThe Western Gateway Project is an opportunity to present an image of Wyndham City as an innovative and developing municipality. The Western Gateway will pick up where the ‘Seeds of Change’ Gateway left off by using parametric design to create an iconic and cutting edge design that demands attention be paid to Wyndham as a hub of rapid urban development.

The Gateway will not only be a literal Gateway into Wyndham but also an introduction into the future urban developments occurring within the city. In particular, inspiration will be drawn from the $440 million Wyndham Marina project planned for completion in 2015. This marina project will attract boating enthusiasts, as well as those seeking an exciting waterfront lifestyle. Even though the gateway will be exposed to all those driving along the Princess Freeway, its connection to the boating harbour will attract more of attention from those engaging with the boating culture, and those interested in the residential developments. By capitalizing on this new expansion, the gateway will be an emblematic representation of this forthcoming tourist attraction. The design will serve as an icon of modernity, a sample of cutting edge design that can be expected from the state of the art marina facilities.

In applying concepts relating to materiality, structural resolution, kinetic interaction and light, it will drive an innovative and experiential design solution that Wyndham desires. Our design goal is to create an architectural response that is unique in that the user can interact with it on a somewhat personal level, causing a manipulation of formal composition in different ways depending on the vehicle/users characteristics. This highly experiential design will react and display effects caused by the fluctuation in the frequency of cars, and their variation in size.

The culmination of these elements will equate to a Gateway that is truly representative of Wyndham. The design will be an interactive, architectural sculpture that provides an opportunity for personal engagement. Through the use of light and kinetics, the experiential qualities of the design will be heightened, engaging the audience in a profound manner. Enabled through parametric design, this gateway for the City of Wyndham will promote the growth and development of this municipality, presenting it as a focal point for broader Melbourne to embrace.

The gateway design has the potential to become a completely integrated part of the site through the choice of material. By choosing a material that responds to the environmental condi-tions of the site and to those interacting with the space, the surface of the Gateway can be altered in a way that is totally unique to its particular context. It also gives the users the abil-ity to have a lasting effect on the architecture and change the way it will be experienced by others in the future, who in turn will have their own direct influence on the design.

Structural resolution of the design refers to purifying structure down to its core requirements in an effective and efficient manner. Through the development of form, its complexity can be optimized to a level that best suits cost and constructabil-ity considerations. In applying this to the Wyndham Gateway project, structural resolution will be implemented to purify the form to a level that sees the original design intent retained, whilst improving and simplifying form down to it necessities. This design element will also enable the integration of the Motion/Kinetic element, which requires specific conditions in order for it to work and is seen as the core connector that brings all other elements into the one amalgamated form and structure.

Structural Resolution Materiality

15.

The element of light poses as a significant factor in the way it interacts with structural forms. The spotlight of the sun will en-hance the aesthetics of the structure through the reflection of it onto the surface and the appeal in distortion and manipulation when direction becomes involved. With the addition of perfora-tions and apertures, this will allow for maximum exposure through the layer, and therefore reflecting intriguing shadows for greater aesthetic appeal.

Site Location

Kinetics refers to a particular degree of motion within the design of the building, and can be affected by changing environmental, social or time-related conditions. This idea of a dynamic, ever changing piece of art, is perfect for the Wyndham Gateway as it relates strongly to this city’s rapidly changing and evolving urban and cultural fabric. The aim of in-corporating these aspects of interactivity allows for a dynamic design that can be different each time the user connects with the structure.

Light Kinetics

The red dot indicates the diverging point between the direction of traffic. The location for the gateway would be ideal from this point on site B because it is the only proposed area that allows for engagement from both directions of traffic users.

16.

STRUCTURAL RATIONALISATION:Level of Revolve

To capture the structure’s fluidal essence, a level of resolve must be established. In the model and diagram above, the display of resolve shows different results. The level of rigidness based on the simplicity and complexity of the surface. In order to gain a fluid form, the level should be rationalized adequately to minimise rigidness.

17.

Level of Revolve

The final form will follow a fluid and organic direction, as our design is heavily influenced by characteristics of boats and their movement. A sense of rationality and compromise between aesthetics and structure must be obtained in order to satisfy the concept of motion and fluidity. Themes that inspire the form are: wakes, waves and the ripple effect. The desired form would need to be generated to a level that is easily constructible for reasonable costs.

sizing may be resolved through the negotiation of the sizing of the panels. If the panels were smaller in comparison to its frame, it will have more room for it to spin and there are less chances that the rotation will be disrupted. Due to the fact that our form is dependant on the small, intricate details of the surface, our gateway will be more concentrated on the movement and its interaction with the user, rather than the overall form – even though its significance is vital in capturing the larger audience’s attention.

The BMW Welt Building by Wolf Pree is an architectural precedent, which inspires the idea of fluidity. Due to the established concept of moving panels, the overall form will need to accommodate this idea. To allow the movement of panels, the framing will need to be sym-metrical as the panels are connected through the centre. The main focus would be to transform a grid like structure into a smoothed out form without any distortion to the static frame element. This complex-ity may need to be manipulated so that the form does not fall into rigid surface planes. This may be resolved through the negotiation of the

BMW Welt Building

Munich, Germany

18.

INTERACTIVE MATERIALITY

Sidney Myer Asia Centre

Melbourne, Victoria19.

The application of Corten can be seen on the Sidney Myer Asia Centre at Melbourne University. The weather-ing patterns are dependant on the angle of exposure. The ornaments on the building’s surface show that there has been a reduced amount of weathering on some parts of the surface due to its slight overhang. In relating this back to the gateway, weathering and deterioration of the material will mostly occur from higher points due to more wind and rain exposure. These localized points will create the dynamic skin that will garner more attention from users.

In order to heighten the level of interactivity, the material used would need to be respondent to

atmospheric conditions. By finding a material that does so, the appearance of the gateway would be ever changing, depending on how well it reacts to

weathering. Corten or weathering steel has charac-teristics in which highlight the interactivity needed for

this gateway. It has an oxidized coating that is highly respondent to wind, sun & rain. If the structure were

to be completely constructed out of this material, fumes and wind forces from cars will also become a

factor in the natural interactivity of the gateway.

However, there are concerns that lay within the struc-tural stability of the material. The weathering could

cause intense deterioration on the skin in which could lead the gateway being sensitive to loads. Incorporat-

ing form and material will be vital due to this issue.

Progressive and Localised Impacts

20.

DIRECTIVE LIGHT & SHADOWSThe Yas Marina Hotel, designed by Asymptote Architecture was an architectural precedent that provided conceptual ideas for the gateway design. The monocroque steel frames the pivoting diamond-shaped glass panels to create the overhanging LED shell. The intriguing light and shadows captured by the Yas Marina Hotel during different times of the day was an element that attempted to be incorporated into the gateway design.

Apertures of the proposed panels for the structure will be the source of light exposure through the gateway. The shadows captured will be dependant on the direction of sunlight and the movement of the panels. When these panels are on a rotated angle of 90 degrees, this is when the most light will be able to shine through. The framing will act as the static component and the reflection onto the surface will continually be manipulated by the direction of the sun throughout certain times of the day.

21.

Perforations were explored in this gateway design. In researching for inspiration for this gateway, Wyndham’s $400 million dollar marina bay was what caught our eye. In trying to further this idea, we looked into the movement of boats in the water. The image of a boat wake is something that intriguing because of its fluid movement in the water. With the use of the grasshopper association, Image Sampler, it was implemented in a definition to generate a perforated surface according to the specific image. This model displays the perforations once it is incorporated into the framing.

22,

The use of kinetics will be the enabler of interactivity for this gateway design. Kinetics is the relationship between motion and its causes. In looking at Ned Kahn’s ‘Articu-lated Cloud’, this large kinetic structure inspired similar concepts for the gateway.

Our form will follow a structural frame that is filled with panels that pivot. In looking at ways to enable the movement of panels, a model was needed to prove its legitimacy. Experimental models were made to test size and movement. When researching for way to increase mobility with the panels, anemometer and savoniuses were valuable in helping understand the capturing of wind. These weather-measuring tools helped define the shape of the panels. A combination of techniques adapted by the aemometer and savonius was applied to the gateway panels, but was modified into a move rigid and geometric form to create consistency in shape. A diamond forms the overall shape with triangular ends which form the cup. The physical model consisted of four panels, one of which was flat and the other three experimented with different depths of cupping. With pins through the centre of each piece, the mobility of each panel was smooth and fluid, which was our desired effect.

The kinetic panels will be the feature of this gateway project. As cars are driving past at a high speed of 100km per hour, the panels will spin creating a visual and interac-tive moment with the user. This will hopefully bring forth attention to the city of Wyndham, through subtle motifs implemented in the design. Through a perforated wake pattern, localized materiality, and a form that will follow a concept derived from boating, this gateway design will be the icon of Wyndham’s boating culture.

KINETICS

Articulated Cloud

Pittsburgh, USA

Anemometer

Savonius

23.

24.

REFLECTION I am fairly pleased with the progress that my group has undertaken leading up the mid-semester presentation. After the critique in week 8, I feel there is a lot more room for improvement and will definitely take on board what the guest judges had to say about our design. So far, the overall structure or form for the gateway is yet to be established. We have pinpointed the intricate details of our design, which we felt were the most important components. Our kinetic panels are the strong point of design, so up until week 8, our focus has been to build expe-riential models that prove it’s mobility and testing different aspects of kinetic technology.

Working with grasshopper to implement a design solution has proven to be a struggle. The cut definitions matrix in week 4 definitely helped in grasping a better idea on the capabilities of grasshopper, however ideas have been restricted due to the lack of experience in script-ing, and therefore our design lacks a sense of originality because my knowledge is based on preset definitions in which every single student had to learn.

The journal has been a worthwhile task because it has given me the opportunity to observe published works and try and implement similar styles in my own. This is the first publish journal that we’ve had to complete since starting this course, and I feel as though it will be great practice in the future when we have to document our progress on real projects. Its extremely riveting to look through other people’s journals on the Wiki and to see the progress that they have made weekly, and it inspires me to work harder.

Communicating ideas and arguing persuasively has always been a problem for me. I struggle in articulating and expressing my ideas to the level in which my peers do. Presenting is highly daunting but throughout this course, I have managed to grow a little more confident each time I need to present. Having the mid semester presentation was a great experience in gaining criticism from guest judges as it allows for improvement on our overall presentation and design ideas.

On a personal level, Architecture Design Studio Air has allowed me to push boundaries and challenge myself intensely in the field of design. There were areas where I lacked motivation leading up to this gateway assignment because I felt it was too out of my league. Having close to no experience with Rhino and Grasshopper, I felt that the assess-ment tasks were extremely ambitious as I found myself struggling immensely. The Grasshopper tutorials were helpful in understanding different components, however the overall basis of scripting is confus-ing when we were unleashed to start scripting on our own. However, being in a group for this gateway project has helped me understand the program a lot better due to the help of my peers. 25.

REFERENCES

Accolades & Awards, FedSquare, Victoria, viewed 10th April 2012. <http://www.fedsquare.com/wp-content/uploads/Accolades-+-Awards.pdf>

Burry, M., 2011,. Scripting Cultures: Architectural Design and Programming (Chichester: Wiley)

Crawford, C 2009, ‘Melbourne’s Federation Square among world’s ugliest buildings’, News, November 23, 2009 <http://www.news.com.au/travel/news/melbournes-federation-square-among-worlds-ugliest-buildings/story-e6frfq80-

1225802010512#ixzz1SKZvWMRl>

Crosbie, M. 2011, ‘Ripple Effect’, Architecture Weekly, accessed April 20, 2012 < http://www.architectureweek.com/2011/0105/design_1-2.html>

Kahn, N., 2010, ‘Turbulent Architecture’, Lecture (Texas: University of Texas School of Architecture)

Kalay, Y., 2004, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press)

Williams, R., 2005, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Mat-thew Rampley (Edinburgh: Edinburgh University Press)

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