DESIGN AS
DISCOURSE
AS DESIGN
ADS3 Alexandra Gower 201443
W
Australian society is changing. Our sense of community and engagement is evolving with changes in methods of communication. Identity is also changing with distinction between suburbs eroding as outer lying suburbs join with the city and people of different cultures intersperse out of traditional areas of population.
WYNDHAM GATEWAY PROPOSAL Architecture is also changing. The introduction of parametric modeling allows designers to respond factually to site factors and removes many assumptions to allow a new freedom in design. Parametric design therefore enables the designer a fresh appraisal of their project, site and context and the ability to respond to the issues in a direct cause and effect manner. As a suburb in flux, Wyndham is moving through these issues of community, identity and the significance of this in 2012. In many ways this rapid change of a community can be perilous. Community identity can either be strengthened when guided in the right direction or completely broken down by the disturbance. It is therefore important for Wyndham to create an icon that engages with contemporary notion of identity and encourages all to enter the discourse. As only through discourse can a positive direction be discovered.
PART ONE
DISCOURSE AS DESIGN
- Wyndham City Council - Innovation in Architecture: Callum Morton; Herzog and De Meuron - Computerisation: Mass customisation - Scripting Culture: R&Sie(n)
Great Australian Dream of the detached house = Urban sprawl Fastest growing municipality in Australia by percentage Per week: 60 babies born and 120 new rubbish bins requested
Rose Garden, Fibonacci sequence
Site for filming one of the car chases from Mad Max, great Australian cultural icon. Commented on the sustainability of our preoccupation with cars, petrol and speed.
Former orchard farming area, mostly family run. Only pockets now remain.
WYNDHAM CITY COUNCIL
The Country Suburb
Werribee Mansion: -Historic landmark -Former nationwide recognized art competition, suspended due to financial difficulties
Melbourne’s outer west suburb
Werribee open range zoo, African animals with strong fur patterning
Yarra river referred to the spine of the country by local indigenous population
Werribee Races; former cultural event appreciated by general population, suspended due to track reorientated as quarantine for Melbourne Cup horses.
INNOVATION IN ARCHITECTURE
Callum Morton - Art interpreting Architecture Design has always involved discourse. Subjective elements such as aesthetics traditionally compose a large portion of architectural composition. Innovation depends upon discourse for stimulus and refinement. Discourse as the final desired product of design however is a new phenomenon. To present ideas and stimulate discussion as ultimate purpose is a conceptual and luxurious notion. Poignant only to the first world, this form of architecture is concerned with the moral elevation of a society not their physical situation. Discourse as design is contrary to object prized architecture. It is common for architecture to be described purely as an aesthetic object, without critical reference to function, site or context. Although aesthetic objects do engage in the general discourse of architecture, they refer to ideas only familiar to those initiated and often use jargon to further alienate general society from reflection or input. However as stated by Williams, when discourse is the aspired to product, it purposefully seeks participation from all members of society. This egalitarian approach is a core objective of identified in the brief for this project. One method of materializing discoursed based design is replacing the focus upon the creation of an object with the creation of an emotional response. More subjective than aesthetics, this primal response cannot be validated by, nor requires previous knowledge or specific language in order to participate. The psychological effect of architecture has been acknowledged since the C19th with the overwhelming affect of the new building typology of the soaring skyscraper in the 1880‘s. More recently, the sameness of suburbia and housing estates have encouraged a particular type of depression in many residents including those from Wyndham. The purposeful provocation of an emotional response, while popular in cathedrals of the Gothic period and contemporary art appears under utilized in current architecture.
The art of Callum Morton works to highlight our relationship to, and interaction with, the built environment. Public and private space are explored with a focus upon how ‘we encounter, perceive or experience personal or communal space often unconsciously.’ Valhalla was Australia’s inclusion in the Venice Biennial and is 1/3 scale model of the Morton family home which Morton’s architect father aspired to provide. In its representation for the biennial the building is not idealized as an object of perfect Australian Modernist architecture. Instead the badges of habitation and time are celebrated as Morton presents both personal and general stories of childhood, family and the society of the time. This highlights the positive as well as the negative. Morton hoped that viewers would respond, either sympathetically or critically, to the notions of life presented in this physical form and in this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’ The design serves as a prompt for an emotional response and as a consequence, encourage discussion. A design which aspires to provoke a specified emotion is complicated in the Wyndham gateway project due to the breadth of users and context in which the piece will be experienced. As a consequence, the proposal shall focus upon the creation of an experience with which the user can engage. The potential for this experience to evolve and change over time of the day and seasons will hopefully encourage reflection and discussion by members of the Wyndham community of the present changes in their community and landscape also. Notes 1. Williams, ‘Architecture and Visual Culture,’ in Rampley, Exploring Visual Culture, 2005 2. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012 3. (Morton, ‘Babylonia,’ in ACCA Education kit, Melbourne; ACCA, 2005) 4. Wyndham CIty, Western Gateway Design Project, Melbourne; Wyndham city council, 2011
Design objective: Egalitarian discourse through the creation of an experience
INNOVATION IN ARCHITECTURE
Herzog and de Meuron - Ornament
Ornament has consistently been a point of contention in architecture. The Art Nouveau and Art deco styles illustrated with ornament the new dynamism and energy of the modern period. Previous explorations in ornament predominantly focused upon ornament as an applied fixture, very separate from the mass of the building. As a result, ornament was rejected by the International style as a extraneous trapping of past styles and not to be included in a new rational architecture based on the economy of industry. Architecture materializes an extensive range of elements, some pragmatic but also many arbitrary, interrelated but often contradictory idealizations. These aspirations, while not entirely related to function, are what differentiates humanity from the animal kingdom and are a vital inclusion in our built form. It is due to these competing factions that successfully balanced architecture is by nature complex and cannot be comprised of a singular element. Nor can elements exist in isolation, as highlighted by the International style, as units such as ornament consequently loose all significance without
context. It is only when individual units are in dialogue as a whole that the distinction between them dissolves and each alters the conception of the next to create an entirely new architectural expression. Herzog and DeMeuron reframe ornament, form and structure to investigate how ornament in this manner shifts the conception of space to something transient. The two dominant walls of the Ricola-Europe SA, Production and Storage building are constructed with translucent poly carbonate panels which have been printed with a repetitive plant motif. Although weight bearing, the effect of the patterned panels is more like a curtain or robe. Light filtered through the patterning transforms the appearance of the internal space during the day, as the volume seems to shift and recede. At night, the facade material dominates, closing and sealing the volume within the confines of the form and becoming more akin to the concrete capping ends. There is great potential for the Wyndham gateway to awaken visitors to the subtle qualities of the landscape and surrounding area. Ornament in this case has the potential to break down the solidity of the piece and meld it with elements of landscape to further highlight qualities of Wyndham often overlooked. Notes 1. Ching, Jarzombek, Prakash, A global history of Architecture, New Jersy; Wiley and sons, 2011 2. Jean-Francois Chevrier, Ornament, Structure, Space. A conversation with Jacques Herzog, Basel, Winter 20063. Herzog de Meuron, Ricola Europe Storage Building, www.herzogdemeuron.com/index/projects/complete-works/076-100/094ricola-europe-production-and-storage-building.html 4. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012
Design objective: Ornament to enable an interplay between sculpture and site
COMPUTATIO
Design objec Units in dialogue to make w
ON
ctive: whole
More akin to the comprehensive needs of humans is this threshold manner. In order to convert this transient model of the campfire into the conclusive mode of built form, a highly complex object must be created. Consideration must occur of both the unit scale and the whole, how each affects the other and is also affected by environmental factors. Parametric design is built around this notion of self organization, where the base geometry is populated by a unit that can be continually altered and updated. Elements respond and adapt to external stimuli which in turn affects the configuration of the adjacent component and the whole until equilibrium is achieved. An entirely unique space is created by an entirely unique manifestation of the form. In the case of Daniel Coll I Capdevila’s, ‘Strip Morphologies; Design Study for Environmentally Differentiated Healing Environments’ a unique wall configuration creates a specialized variety of conditioned spaces in the aim of terrorization to each hospital, ward (wall itself altered) and ultimately patient (choice of appropriate rooms). As stated by LAB; Industrialization in this case no longer equates to standardization but rather mass customisation.
The International style as defined by Hitchcock and Johnson’s influential book, The International Style: Architecture Since 1922, was a new building typology significant to all areas of the world. The apparent ease of technology to control the extreme temperatures of high altitude bombers in WWII encouraged more dogmatic Modernist architects to believe that this building type was applicable to all climates as a discrete unit, shut off from the environment and independently conditioned with machines to the ambient temperature of 24’C. Conditions were treated as black/white, yes/no, light and HVAC system on/off. Grey was not to exist. A suggested alternative model is the camp fire. With a gradient of heat and light, the inhabitant is able to adjust their comfort by their proximity to the fire. Additionally external influences such as airflow, drafts experienced by the inhabitant, type/condition of wood use etc will change the experience to create a more threshold/dynamic experience and offer a more flexible solution.
Like a renaissance sculpture, the Wyndham gateway project is to be viewed from a multitude of different angles and scales, both from those immediately going through the gateway and those viewing it from afar. It will also be viewed at a variety of different speeds and heights including pedestrian, car and truck cabin. With parametric design it is be possible to account for each of these instances, and toggle parameters to create a complex work that will be successful from all vantage points while still maintaining it’s character as a whole. Notes 1. Sharp, D, Twentieth Century Architecture, New York; Facts on File, 1991, p102 2. Hensel and Menges, ‘Differentiation and Performance: Multiperformance architectures and modulated environments,’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Morphogenetic design, London; Architectural design, 2005 3. Banham, The Architecture of the Well-Tempered Environment,Chicago, University of Chicago Press, 1973. 4. Hensel, ‘Computing self organization: environmentally sensitive growth modelling’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Morphogenetic design, London; Architectural design, 2005 5. LAB architecture, Federation Square Fractal Facade, www.labarchitecture.com
SCRIPTING CULTURE & ENGAGEMENT
R&Sie(n); dynamism Parametric design offers architecture, as a profession, the opportunity to reconsider the role of computers in design. Predominantly computers have simply been approached as alternative drawing implement to the pen and not to be involved in the conception stage due to the perceived risk of thwarting inspiration. Parametric design places focus primarily upon the process of creation in scripting instead of the final object. The eventual form of the design therefore becomes an inconsequential by product of this systematic application of best suited component to script to meet the objective. The postwar functionalists found that this rule based generation of ideas was important when designing new building types that were without precedent. Form was limited by their then current knowledge of what was possible and applicable. Alternatively, parametric design as rule based design can be a design tool whose determined focus upon the process enables systematic analysis of the site, brief and even concepts previously considered as ridiculous. Historical applications of this design mechanism include Lewis Carroll’s use of mathematics in his fiction, applying mathematics principles of symmetry and proportion to his writing in order to rationally consider the absurd.
R&Sie(n) have explored the potential for Parametric design in creating new building types from existing functions. The code scripted for the FRAC Center project continued to grow and change from past performed iterations by further adding to it’s own future script. A machine controlled by the script is to adjust the location and extension of glass rods which projected into the courtyard space to form the circulation spaces for the building. The final outcome of the courtyard space is not a static object which can be idealized by the architects but rather a space which is informed by the history of the action of the machine. Although a changing space is impractical for a programme space such as the intended circulation space for FRAC, the idea of dynamism in both conception and manifestation is something sadly lost in architecture today. Without the systematic approach to design of parametric design, the absurd nature of the project would overwhelm this objective of dynamism. The progressive script also prevents the architect from manipulating the script in order to achieve a certain preconceived notion of form. This fraudulent approach to parametric design is at risk of becoming commonplace, as designers aim for the parametric aesthetic without comprehending the motivations and possibilities of the tool. As an ever unfinished space, the user is required to consistently engage with the work in order to navigate the space. The transient nature of the space, the requirement of active engagement and finally the shock of the unique approach to space is intended by R&Sie(n) to shatter the indifference with which many people view their built environment. Habits and conforming dull the senses of observation and reflection, so that subtle changes are not perceived. This is particularly prevalent in commuting driving where boredom and habit slowly reduces the alertness of the driver to external stimulus other than the road. It therefore becomes vital for both safety and the success of the project as a point of discussion, that it provides a unique and revolutionary response to the Wyndham Gateway project that continues to change, evolve and involve the user. Notes 1. Inaba, Clouette, Unfinished Business, François Roche Interviewed, C-Lab Columbia laboratory for architectural broadcasting, 2006, http://c-lab.columbia.edu/0063.html 2. Herbert Matter, Charles Eames and R Buckminster Fuller, Prefabricated Housing, From Arts and Architecture, July 1944 R&Sie(n), Olzweg, Paris, 2006 www.new-territories.com/welostit.htm 3. Fornes, Scripted by purpose, Philadelphia; Fuel Gallery, 2007. http://scriptedbypurpose.wordpress.com/participants/rsie-francois-roche/
Design objective: Revolutionary piece through a systematic approach to design
DESIGN DEVICES
- General Matrix - Reverse Engineer - Process to realize script - Bio-mentor - Project brainstorm - Form exploration - Assembly methods - Materiality and mode of assembly -Performance
MATRIX OF GENERAL EXPERIMENTATION
1. RECTANGULAR GRID WITH IMAGE SAMPLER
4. SETS ATTRACTED TO A POLYGON, WITH SETS IN THE NEGATIVE
2. HEXAGONAL GRID WITH IMAGE SAMPLER
3. SETS ATTRACTED TO A CURVE
5. SETS ATTRACTED TO A POLYGON, CHANGES NOT IN SEQUENCE
With the sets attracted towards a central shape such as a star, the pattern could appear to migrate towards the central point and have a more three dimensional appearance. If larger numbers are chosen, the pattern begins to overlap. Although a little confusing with the hextagon shape (5), when squares are chosen, the over lap forms smaller squares for the overall pattern (6).
6. SETS ATTRACTED TO A POLY GON, CHANGES NOT IN SEQUE SQUARES
9. OBJECT MULTIPLIED AND ROTATED OFF GRID
To achieve a further dynamism to the script. Although the fine to be read (9), in the next insta with the differing sized pieces. further emphasizes the rotation jittering pattern
When numbers are reduced to negatives, the pattern becomes more clear and fits snuggly within the space (7).
7. SETS ATTRACTED TO A POLYGON, CHANGES IN SMALLER SEQUENCE
YENCE,
10. SETS ATTRACTED TO A POLYGON, WITH SETS IN THE NEGATIVE IN SEQUENCE AND ROTATED OFF THE GRID
m, a rotation element was introduced er grain in the original allows a pattern ance (10) this became to hard to read The distinct orientation of the squares n of the second to almost appear like a
11. SETS ATTRACTED TO A POLYGON, WITH SETS IN THE NEGATIVE IN SEQUENCE AND ROTATED OFF THE GRID
8. SETS ATTRACTED TO A POLYGON, PENTAGON
REVERSE ENGINEERED
Case study: CUT
Cut pattern is independent of the embossing. Circles on a grid are altered in diameter according to the contrast present in the image.
The ornament of the He breaks up the solid appe a permeable skin that er outside of the building. is a driver also identified project. Reverse engine the design process of the of distinction in space is tion from images of dapp ately surrounding the site
erzog and DeMueron De Young Museum earance of the facade material to make rodes the boundary between inside and This transient space within the project d as important to the Wyndham Gateway eering the parametric design will inform e Wyndham gateway project. The erosion further enhanced by the patterns conceppled sunlight through the trees immedie.
The embossing varies in depth according to the contrast present in a different image. Positive embossing where white was present, neutral, as in the original flat material sheet, for grey and negative debossing for black. This corresponded to the script as a re-mapped values of -1, 0 and +1 respectively
PROCESS TO REALISE THE DE YOUNG SCRIPT
1. SURFACE NORMAL PIXEL DATA EXTRUDE
2. GEOMETRY APPLIED VIA IMAGE SAMPLER
3. LOFTING GEOME TO DIFFERING RADII
The geometry within the image sampler was then adjusted to create the three dimensional dimples within the pattern (3). These lofts were then tweaked to respond in height (4) and both height and depth (5) of the image sampler also. 4. EXTRUSION OF GEOMETRY VIA IMAGE SAMPLER
When this depth/height variation was applied to the Herzog and DeMeuron shape it was found that this was not the variation they actually had in the pattern (6). Instead the dimples needed to protrude and retract on either side of the sheet (7). This was then combined with the previous cut pattern to achieve the overall affect (8).
6. EXTRUSION GEOMETRY FRO LEVEL PLANE // HEIGHT DICT
ETRY
The parametric design tool, Grasshopper, repeats a list of simple tasks in order to create a complex item. The hierarchy between the whole and the geometries which populate it, enables alterations to the individual geometries to impact upon the form of the whole. Computerisation therefore enables quick visualization of forms and changes.
To achieve the pattern, image samplers were used, first one with a more stark contrast and secondly, a picture more like that used by Herzog and DeMueron of dappled light through the trees with a greater variation of gradients. This would form the first element of the pattern, the cut.
5. CHANGE OF GEOMETRY TO RECTANGLES // HEIGHT AND DEPTH DICTATED BY PIXEL DATA
In learning this new program and application to design it was important to break the process down into stages and visualize the effect each component had upon the whole. Dramatic changes can even be made simply by altering the sequence of set components. A matrix enables clear visualization of which element in particular is working where, and which parameters are related to another. The method of ‘Solution Development’, as outlined by Kalay, involves the definition of parameters and then the systematic application of trial and error to realize the end goal. Iterations are then compared to the end goal to determine their validity. Notes 1. Kalay, Architectures New Media, 2004 2. Burry, Scripting Cultures, 2011
OF OM
TATED BY IMAGE DATA
7. GEOMETRY EXTRUSION DICTATED BY IMAGE SAMPLER // DARK = POSITIVE SHIFT, LIGHT = NEGATIVE
8. FINAL DIMPLED PANEL
BIOMENTOR
3. Nature as Mentor – Biomimicry is a holistic way of viewing and valuing nature. It introduces an era based not on what we can extract from the natural world, but on what we can learn from it. Janine M. Benyus
The forms of nature are produced by complex principles. Rather than simply applying the given forms of nature, architecture can examine and interpret the underlying principles as a method or script to derive highly sophisticated forms. Storey Hall was inspired by fractals, self similar patterns, which are commonly found in nature including Romanesque broccolis. The principle of self similar patterns was translated mathematically into the Penrose Tile pattern; flat and thin rhomboids which create a pattern that is identical at the finite small scale and the infinite large scale. At Storey Hall, the Penrose Tile pattern is utilized to organically cover and unite the expanse of the facade, walls, floor and ceiling. The points of inspiration obtained from Wyndham will be approached in the manner of bio-mentor. They will be broken down to their essential principle and from this script the form of the project will grow. This will further extend the creative freedom produced by scripting through parametric design. Notes 1. Stuart Hanafin, Growth and Replication: Exploring Façade Subdivision based on Natural Processes, Geelong; Deakin University, 2011. 2. Janine M. Benyus, Biomimicry: Innovation Inspired by Nature, New York; Harper Collins, 2002
BRAINSTORMING
The transition between completely different elements by illustrates how the many complex items of the piece unified through mo
Innovation Novelty and Positive change Establishment in context, acceptance is vital Transforming meaning Brief New Identifier Arrival experience New discourse Integrate site inc service station Appropriately scaled Spatial Quality Efficiency
Camouflage Countershading Deer Compensating application of graded colour. Darker on area likely to be lit by light and lighter on darker areas so as to appear flat. Dazzle Zebra: To confuse lions in chase. Difficult to estimate speed and direction and discern individual animal from pack
Materiality Bri breaks apart th lating bricks to surface.
y Escher may be orphing.
The Werribee River was referred to as the ‘Spine’ by the local Indigenous people. The spine has connotations of stability as the back bone structure and implies fluid linear direction
ick: Experimental House by Alvar Aalto he flat surface on the house by manipuo create the appearance of an undulating
The Grand Alley was a landscaping technique employed in the C19th to heighten the sensation of an entrance. Throughout Australia, the wildlife corridors or parkland by the side of the road often form a similar experience with the established gumtrees reaching over and forming an arch for the road. The dappled light produced by this affect is of great interest The configuration of petals to create a rose is formed in accordance with the Fibonacci rule.
FORM EXPLORATION
1. CHANGE OF GEOMETRY TO RECTANGLES // HEIGHT AND DEPTH DICTATED BY PIXEL DATA
3. CURVES ALIGNED TO GUIDE CURVE AS PER IMAGE SAMPLER
2. EXTRUSION OF GEOMETRY FROM LEVEL PLANE // HEIGHT DICTATED BY IMAGE DATA
4. REVOLUTION OF CURVES ALONG A SURFACE AS PER IMAGE SAMPLERS
The idea of a surface comp smaller units which each r differently to the gradients image correlated strongly design objectives of units a in dialogue (2). While the of height and depth for un appropriate for the Herzog felt that this gave the surfa dynamism (1).
5. APPLIED TO SURFACE IN LIEU OF A
7. P M
posed of responded s within a with the and whole e adjustment nits was not g script, we ace a greater
Spheres were arranged along a curving surface (3/4/5) and finally a curve with diameter adjusting to an image sampler to achieve this same dynamism (6). As this overall form was completely script driven, it was interesting how different configurations of the script could produce very different results indicating the configuration of the script can be altered to suit the aesthetic of the designer
6. 3D ROTATION AROUND CURVE AS AXIS WITH MULTIPLE PERP FRAMES
. CURVES REVOLVED PER GUIDE CURVE WITH MULTIPLE PERP FRAMES 8. PRIOR ITERATION WITH ADDED LATERAL ROTATION AXIS FOR EACH SET
The spheres were then adjusted to rotate also according to the image sampler to further push the form, and the possible control the script had in it’s configuration (8).
ASSEMBLY METHODS
The pattern was transferred to the template board of MDF via a grid which worked to easily locate and scale the pattern. The appropriate divots were then formed by making a small hole into the board.
The end of a piece of dowel was whittled down to a more smooth, tapered shape. This was then placed over the sheet of copper shim and lightly tapped to slowly emboss the metal. This method was inspired by the process of tempered metal.
Holes were achieved in a similar method but by using a sharper punch, like a sharpened head of a tech-screw or nail punch
MATERIALITY & MODE OF ASSEMBLY
Evaluation according to Design Objectives
The first exploration of materials and assembly methods for the design applied a systematic approach to all elements within the design. The various units that were included are brought together in dialogue due to the generative process of parametric design. While the variety did produce a transient effect due to relation of the object to the moving spectator in the car, this design objective is not strongly communicated in the form. Neither iteration is able to provoke an emotional response and encourage dialogue.
Materiality
The sliced form successfully illustrated the transition between each unit to evoke an idea of morphing. The embossed metal rosettes manipulate the surface to catch light in different ways according to the different position and intensity of the sun in the sky. The two prototypes produce very disparate results and each is not able to convey both objectives. The sliced form is unable to show the further break down from the intermediate unit to the detail and each rosette did not relate back to each other on the whole.
PERFORMANCE
Light
Studies performed in the car discovered that shadows do not interact with the car space as hoped but instead would be seen as a flicker due to the speed of the car. The model above highlights the power, which strips of light can have to create a spatial experience in a transient nature when singled out from surrounding shadow. This would effectively be seen on the road in front of the car.
Change in perspective
The form created was sliced and split apart to illustrate the gradual changes between two units. While this did enhance the sensation of movement as the form was broken down into rhythmic discrete objects, this experience created a distinct separation between the object and spectator. The design criteria of transitional space implies the idea that the experience is dynamic rather than simply a discrete object and so greater integration of car, site and sculpture is required.
EOI: C
COMPETITIVE ADVANTAGE - Communication - Refinement - Scale and Experience - Refinement II - Competitive advantage - Learning objectives
COMMUNICATION
Design objectives:
- Egalitarian discourse through the creation of an experience - Ornament to enable an interplay between sculpture and site - Units in dialogue to make whole - Revolutionary piece through a systematic approach to design
Response to Critique I As the Wyndham Gateway Project is an abstract sculpture without functional purpose, it is important to clearly articulate the message of the project through the object itself. As no clues can be gained from function, all elements including the structure, experience and form must contribute to, and enhance this message. If one element is not in dialogue with the other and is disconnected from the message, the strength of the message will be diluted. For this reason phase two has focused upon clearly communicating the intended message of the piece from all scales including: the small detail scale, the experience of moving through the space and the large scale of the point of observation from the other road. Some elements as a consequence were not scripted in a systematic approach but instead created with the sole objective of enhancing the communication of the message. Of the design objectives previously identified, the third point of ‘egalitarian discourse through the creation of an experience’ was flagged as a key driver for the success of the project. While the others can be applied to varying degrees of intensity for the success of the project, it is most important that the project embodies and communicates the experience in the design.
TILED APPLICATION OF DESIRED GEOMETRY
CHANGE OF GEOMETRY TO RECTANGLES // HEIGHT AND DEPTH DICTATED BY PIXEL DATA
TILED GEO
REPLACEMENT OF HDM DIMPLES WITH MORE INTERACTIVE OMETRY TO HELP CONVEY FORM
REFINEMENT I The prototype of phase two examined the manipulation of light through funnelling and the gradual manipulations of these forms. The angle of light required to successfully create an effect through the panel was too specific for application to the project as it would only be effective in creating an emotional response through light to those spectators who visited at that particular time of day. The undulating surface however did capture light and shadow in a dramatic fashion to break up the surface form in an exciting manner. These units were then applied to a general form that would enhance the experience of an emotionally charged space, a constricted dark tunnel that expands out to convey the feeling of release. It was hoped that this surface treatment would dissolve the blunt form a little more and push the object towards more of an experiential direction.
CONVERSION TO CURVED LOFTS WITH OPENINGS TO ALLOW LIGHT ENTRY AND INTERPLAY
LOFTS APPLIED ACROSS GRADIENT PATTERN TO CONTROL LIGHT FLOW AND INTERPLAY
SCALE AND EXPERIENCE
Response to Critique II The formal critique highlighted the importance of interrelating the project with the site and context. The scale of the project is much grander than that of past studios within the degree as an urban design project. The specified rate, direction and route of experience is also prescribed due to the nature of car travel which is also unusual. There will be a finite moment in which the message of the piece must be convey with no chance for the spectator to pause nor take a second glance. Parametric design assists design in these circumstances due to the simple addition of factors to the rules that generate the design and additionally the ability to rapid form test and alter.
Due to the parameters of the site and manner of experience, the start end concept of a tunnel has been discarded. Phase three has further developed and refined the successful communication of the message of the project with these ideas particularly in mind. In responding directly to the site, the project will additionally have a greater possibility to be directly relevant to the people of Wyndham and be adopted as an identifier as per the brief. A more generally driven concept may not resound with enough conviction with the people of Wyndham for them to take ownership.
=
+
=
REFINEMENT II
The rule of morphing or gradient is now applied directly to the site to determine the location of units within the project. This is a shift from the creation of an arbitrary object which is populated with surface ornamentation and does not engage with the site or those experiencing the site. It is through this interaction, that it is more likely to provoke a stronger emotional response as identified earlier. The units therefore become the surface ornamentation to the earth’s surface itself and the whole, linear shape of the site shall be utilized. The rule of morphing will determine the frequency of the units experienced. The node of mass concentrate will reference the camouage principle of dazzle from the zebras, where at the speed of the car the quicker frequency will make it hard to discern the individual from the whole.
The units themselves are to also morph in shape from an arbitrary but organic curve to the rectilinear and literal symbol of the home. It is also important to invert the placement in phase two of the literal clue at the beginning of the experience as the speed of travel may require some interlude for the spectator to be prepared for the emotional climatic moment. As a consequence the literal moment has been moved to the middle and the form now comes together to make apparent the idea and then slowly dissolve away in the linear movement of experience.
Surface decoration will also be integrated within the units themselves and will also relate to this over arching morph sequence. A boolean intersected organic sliver will gradually regain the solidity of its original geometry before continuing on to become increasingly perforated to allow more light into the node with a higher concentration of forms. This application applies the camouflage principle of counter-shade, compensating for the mass of concentration with a more transient form. It was found that graduated rings cut from panels could both enable this surface treatment and punctuation on a small scale while boolean intersections were difficult to control in regards to pattern and depth
EOI COMPETITIVE ADVANTAGE
Werribee is one of the fastest growing suburbs of Melbourne’s metropolitan area. Traditionally it has been described as the ‘country suburb’ however recently with this dramatic period of urban growth it’s demographic, and consequently community identity, is in a period of transition. The brief for the Wyndham Gateway project asks for a ‘new identifier for the municipality ...which proposes new, inspiring and brave ideas to generate a new discourse.’ It is for these reasons that this proposal for the Gateway responses directly to the surrounding landscape of the area and also includes a more conceptual element which explores and encourages reflection of where the identity of the municipality is and its future direction.
The strength of this proposal is it’s aspiration to encourage egalitarian discourse through the creation of an experience. An experience, as said prior, cannot be validated or exclusionary by prior knowledge or jargon and is open to many different interpretations and readings by many different people and even the same person on different occasions. It is hoped that this will encourage a personal reflection from all those who travel through the site and enable discussion on the work and as a consequence the area of Wyndham. Notes 1. Wyndham CIty, Western Gateway Design Project, Melbourne; Wyndham city council, 2011
d n
Although I had dabbled in computer programs like Autocad and Adobe, this was only when I had been forced. Predominantly I would get the job done and get out of the program back to drawing as quick as I could. Or I would proclaim it as too hard to learn, and stick with the time intense but safe method that I was comfortable with. This subject so far has forced be to engage with the computer as a tool to further add to my design process. For me personally, Grasshopper has encouraged me to break down the components of my design into smaller rationalised pieces , critically view how they fit together conceptually and link these to create the form. It has been very interesting how this can be a form completely independent of my limited conceptions and more appropriated from the influences gathered from the site to create a more site specific work. An interesting discovery was the acknowledgement that some control and manipulation of the data was required by the designer in order to achieve a form that successfully communicated the message. In this way, the role of the designer is not made redundant by the program but in a way, made more relevant. Additionally I now have a greater understanding of how to learn a computer program. That often it is not step by step progressive learning but rather the systematic exploration towards a desired end product. Throughout this course, the point from which I commenced within this system has been closer to the desired end product as my knowledge of the program, it’s grammar and components has improved.
INTERIM LEARNING OBJECTIVES
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Prior to this subject, you could reasonably say that I was a computer Luddite. I would hand draw all my plans and this heavily informed by design aesthetic; both in the forms conceived through sketching and how they were communicated with the softer, more human scaled value that hand drawn elevations give a project.
PROJE
ECT PROPOSAL - An Intrinsic Experience - Day and night - Construction and parametric design - Process diagram - Refinement - Pattern and form iteration - Project conclusion - Learning objectives
An Intrinsic Experien
The road from the site that leads into the main town of Wyndham, Werribee is a wide boulevard, luxurious in space with mature gum trees draping over and formin a elegant archway to the town. Throughou the day, the light throughout this corridor filters through the leaves to create a soft, dappled pattern on the tarmac of the road The pattern created by the trees, moves into and out of the car, involving the drive as the pattern changes with the angle of th sun or a passing cloud temporarily blocks the sun.
Rising out of the barren landscape of the site, the user will drive towards an organic member which appears to sway with the wind. This member then repeats, and the user drives through a distinct rhythm of light and dark strips. Gradually this rhythm shifts, the perforations in th members increase to create a soft dappled light on the tarmac in fron of and into the car itself. The contrast between black and white, shad and light and this more graduated, atmospheric light is thus highlighted This climatic moment then fades away as the light pattern returns to the distinct strips at the end of the experience.
The dramatic shift in light for the piece wi change throughout the day and seasons as the height and intensity of the sun change Commuters who regularly travel through the site at specific times will begin to measure the passing of the seasons by the depth of the pattern created by a lower su
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The sculpture itself forms a dialogue with the surrounding landscape by referring to the two vastly different landscape types nearby. When approaching from Geelong, the piece begins organic and devoid of surface treatment. As one progresses through, the members change intensifying the experience. The organic, as reference to the surrounding landscape, morphs into the rectilinear and more recognizable symbol of the home. This is the embodiment of Wyndam’s evolving state as a suburb. The form then returns back to an organic form to illustrate how Wyndham’s connection to the city as a suburb is not yet consolidated. It was important that each member read as a contribution to the experience itself and not an individual object. In order to achieve this, the pattern of light and shade created by the members was manipulated to form a striking and engaging experience. The rhythm of the members quickens and their thickness increases towards the middle point almost joining to eliminate the large punctuating strips of light. The principle of countershading camouflage was applied to increase the perforations at this darkest point to shift to a new dynamic play of light. The testing of prototypes has highlighted that this central point forms the climactic moment of the experience. In a nod to the nearby icon of the Werribee open range zoo, the form of the design itself employs a technique similar to the dazzling camouflage of the zebra. This softens the outline of each discrete member and the surrounding landscape, dissolving the distinction and enabling each to add to the reading of the other. In this way, a dialogue is formed between the work and the site to better integrate the two.
The Experience Driving through
The change in experience throughout the day
North West Elevation
North East Elevation
South West Elevation
South East Elevation
DAY AND NIGHT
The nature of the project changes dramatically again when experienced at night. The headlights of the cars travelling through the project will light up the perforations and strips of light will emanate out of the project in stark contrast to dark night. As the cars travel through, these strips of light will move in angle relative to the location of the headlights. As viewed in the stills from the stop motion movie, this creates an exciting and dynamic sequence that emphasizes the proximity and position of the headlights relative to the project. This will ensure that the project remains a dynamic and experience orientated sculpture rather than just the dramatic spot lighting affect common to road side sculpture. This will best be experienced by those travelling along the Geelong bound road, essentially including all parts of the site. The opposition of direction and speed will further enhance the feeling of dynamism for the project. As the source of the light and the viewer hurtle towards each other, the sense of a climatic moment for the project is strengthened in this case.
CONSTRUCTION AND PARAMETRIC DESIGN Digital design has radically altered the clear distinction between professional services and the idea of authorship. Throughout their engagement with digital design, McBride Charles Ryan have found that their work flow and relation to other professions has also had to alter in order to achieve this new building type. With the traditional linear work flow, it is begrudgingly accepted that each profession will alter, shift and slightly corrupt the initial idea to a point where it is hard to recognise. File sharing and the complete integration of all professions from the very beginning enabled McBride Charles Ryan to best avoid this corruption for the VCCC. Collaboration with all involved parties throughout the entire design and construction process ensured that all parties know of the limitations and advantages of a particular chosen method to create a more integrated and unified product rather than trying to force fit a solution at the end of design. This proved to be a far more efficient and accurate method of design and is hoped to prevent a significant proportion of problems and errors encountered on site which result in lengthy time delays and increased costs. This integrated design process will ensure that the complexities of this proposal for Wyndham are realized in a sophisticated and unified manner. The prior resolution of the design as a built object will also provide accurate calculations of the steel required for the project, estimated cost, and schedules for construction. Together these will minimise disruption to the use of the road and ensure an efficient construction period. To maintain the curvaceous lines of the members of the project in built form, inspiration was taken from Gehry’s Bilbao. A frame of structural steel was divided into segments to create a truss that closely followed the line of the curve. Angles were then further smoothed by cleats which projected out from the frame
and over which the sheet metal of the cladding was stretched over like fabric. These projection of these cleats could be easily adjusted on site to best create the curve with the inclusion of large notches for movement tolerance. A bracket which holds all five sheets of the perforated sheet metal would be required for the road side panels of this proposal for the Wyndham Gateway. The line of the curve could be best replicated by cutting the profile of the steel sections to match the line. This can be seen in Denton Corker Marshall’s South Bank Arbour, Brisbane, discovered late in the design process. This project however is of a significantly smaller scale and without the dramatic cantilever as seen in the proposal for the Wyndham Gateway. As a consequence, the greater strength and material efficiency inherent in a truss is required for this project. A ridge beam and bracing, reminiscent of house construction would extend from the middle member This member is connected to both sides of the road and from which the other cantilevered members could hang from like a curtain wall. An extensive footing system would be required for each member to counteract this weight. Notes: 1. Williamson, ‘Studio Air 2012: Lecture 09 Project Delivery Digital Fabrication’ Melbourne; University of Melbourne, 2012. 2. Iyengar, Novak, Sinn, Zils, ‘Steel Flower,’ in Modern Steel Constructions, July 1998. 3. DCM, ‘South Bank Arbour,’ Melbourne; DCM.
DCM, South Bank Arbour
Construction Vertical Section 1:200 Horizontal Detail Section 1: 5
Gehry, Guggenheim Bilbao
PROCESS DIAGRAM
Perforations to follow pattern
Form segmented
Graduation and size adjusted to be more central
and divided
Pattern and form integrated
Frame and pat separated. Pa unrolled. Fram an additional which the patt All laser cut
ttern sheets attern sheets me includes offset piece to tern is attached.
Pattern sheets glued to frame sequentially
Capped by other frame
Bracket glued to piece and screwed to board
REFINEMENT: COMMUNICATION The ability to quickly produce these iterations enabled us to further refine the proposal to better communicate the message intended by the piece after the first prototype (1). The transition from an organic line to the more rectilinear was exaggerated to be more easily read from the car with the smoothing of the organic ends and sharper angles for the rectilinear members (2). The diameter and graduation between the layers of the perforation was adjusted after it was revealed in the prototype that the pattern created by the shadows was diffused by the larger holes (3). The grain of the pattern was also made finer so that it was more possible to read (4).
(1)
(2)
N OF THE MESSAGE
(3)
(4)
PATTERN ITERATION Surface divide v3
Surface divide v5
Surface divide u41
Surface divide u76
Surface divide v8
Surface divide v12
Image Sampler 1
Image Sampler 6
Image Sampler 8
Surface divide u150
Image Sampler 14
Number of Columns Influences the grain of the pattern, the middle value was chosen here as the number of columns best conveyed the pattern without overcrowding
Number of Rows Influences the grain of the pattern, a larger value chosen to stretch the pattern to be read across the full shape .
Circle Diameter Middle value chosen to best achieve a graduation in perforation size without overcrowding
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Chosen Pattern, best communicates pattern, graduation and space for members Surface Divide u76, v12, Image sampler 6, Domain B5
Domain B3
Finer grain, but over populates members Surface Divide u150, v26, Image sampler 11
Domain B5 Engorged graduation Surface Divide u57, Image sampler 9
Domain B12
Graduation but pattern lost with gaps Surface Divide u44, v26, Domain 9
Number of Rows, Columns and Diameter Ability to adjust all elements of the pattern in unison to achieve the best combination of elements.
Simplified pattern without graduation Surface Divide u150, v26, Image sampler 15, Domain 16/14
FORM ITERATION
Member Width Thicker members allow greater area for patterning but will not allow a finer graduation of the shape of the members from organic to rectilinear and out again
Balance A balance between p area and quantity of for a finer graduatio member shape and d perforation
pattern f members on in both degree of
Quantity of Members Greater quantity of members within the space will enable a smoother graduation of the member shape but skinnier members would be required.
PROJECT CONCLUSION An experience has the power to be appreciated in a multitude of different ways by different people or even by one person at different times of day, seasons or moods. It is also more egalitarian than an object as it does not rely upon prior knowledge or jargon for engagement. The experience of the Wyndham Gateway will highlight the elements which comprise the site and the community of Wyndham to create an experience which will resonate strongly with all who travel through the site. The subtle changes which thus occur to the experience through different interpretations and changes in season and time will hopefully encourage both visitors and members of the community to reflect upon the area and the changes it is experiencing with pride.
FINAL LEARNING OBJECTIVES
In the second stage of this semester, many more of the learning objectives became apparent. Our focus in learning shifted more towards the communication of an idea and less upon basic Grasshopper skills. It was in this stage that I began to notice the more subtle benefits of Grasshopper and the new direction of design this presented. This included the possibility of versioning. As stated before, the designer is still required to manipulate the final produced form to best communicate the intended message and it is through versioning that this can easily occur. For this proposal, we produced many iterations of the depth and concentration of the members and the corresponding size of the perforations. We then had the ability to chose the combinations which best conveyed our message of dappled light without too strong a feeling of enclosure. Both this versioning and performance based work affected the time required for designing. The traditional process involves a period of refinement, usually aesthetic based and guesses on performance. Rhino enabled us to speed up this process, simulating performances and adjusting the design in real time to achieve the best result. While the first stage of the project encouraged the students to produce the most radical and parametrically driven piece possible, in the second stage it became more apparent those projects that had created works without regard to the site, context or purpose for which they were initially briefed upon. Many amazing forms on the computer screen looked at odds with the environment in which they were situated. Although the performance of their sculpture may have been tested in real time, their relation to the real world scale was not as highly polished. Our issues with scale further emphasized to me the importance of working with the site in real scale from the very beginning, regardless of working by computer or hand.
One of the greatest strengths of this subject not listed in the learning objectives however is the negotiation of group work. Although we have worked before in groups, never in a studio or for such a large project. It was very informative for me personally, how our group approached each task and what methods of approach were most effective. I learnt to better express my ideas at an earlier stage rather than waiting for a week or so for them to be more resolved for easier articulation. Being forced to explain a design at this stage would require me to realize the more vital parts of the idea and those which were weaker as I had more trouble conveying. One of the greatest challenges for our group was the union of very diverse aesthetic tastes, almost as diverse as the community of Wyndham itself. Being close friends, we were all very willing to compromise however in this there also lies a danger. Instead of a work that strongly articulates one message, initially we attempted to express all in a very egalitarian manner. We were fortunate that our response to the brief in this case was similar and we had time over the semester to refine and strengthen the message of the work. This experience and the skills I have thus learnt will prepare me well for my next stage into professional practice next year. In the future, I hope to engage with Grasshopper in a different manner. Rather than trying to dictate what should be built from ideas conceived by sketching and then as a consequence fighting to resolve the two different mediums, I now believe that work intended to be created in Grasshopper should start in Grasshopper. Sketching and experimenting should therefore take place in Grasshopper as this will further extend the piece away from simply what the designer can personally conceive to the breadth which rule based design can conjure.
The End