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Cheryl Looi | 376157

C O N T E N T S PART I: Expression of Interest Case for Innovation Architecture as a Discourse Computation in Architecture Parametric Design Research Project: CUT Argument Precedents Case Study Criterias Matrices Amendments and Further Exploration Conclusion Feedback PART II: Project Proposal Revised Argument Revised Criteria Site Plan Landscape Exploration Design Process Prototype Tests Resulting Conclusion Materiality Final Model Construction Method Changes Over Time Feedback PART III: Learning Objectives and Outcomes

Learning Stages Learning Obstacles Future Learning

Reference List




Digital Technology & Construction

The architectural discourse of design technology and construction is seen in the Nordpark Cable Railway by Zaha Hadid Architects in Innsbruck, Austria. The design for the different stations along the railway feature an overall architectural language of fludity. Each station is an adaptation of the principle form, mimicking the specific site conditions at various altitudes.

As stated by Zaha Hadid, the design portrays the articulation of form, spatial expression and shown through digital design and construction. Using the idea of two contrasting elements of “Shell and Shadow, the design for each station generates different spatial qualities with lightweight organic roof structures of double-curvature glass that artificially seem like it is floating, creating an artificial landscape that describes the movement and circulation within.

“The railway reflects the city’s continued commitment to the highest standards of architecture and pushes the boundaries of design and construction technology. These stations are the global benchmark for the use of double-curvature glass in construction.”

Zaha Hadid



zaha hadid architects Innsbruck, Austria In this case, according to Patrik Schumacher in his article, The Autopoiesis of Architecture, it involves the discourse concerning architecture’s ability to innovatively utilize the most advanced construction technologies. Zaha Hadid stated that the design involved new production methods such as CNC milling and thermoforming. I believe with the advancement of these new technologies, it is possible to easily create state-of-the-art projects and manufacture them to the specific requirements, in this case the curvalinear aspects of each station.

Thus, I believe that the focus on function as a concept to achieve an innovative design with the aid for computation is a suitable way to relate to the Wyndham Gateway project. As the Wyndham City Council is looking to find an innovative way to design an eye catching and inspirational project enabling local residents to engage with it, I feel that adopting the concept of functionalism through the use of the different computational design techniques and materiality to create a notion of continuity is relevant to the discourse. 3


REFLECTIONS daniel libeskind Keppel Bay, Singapore Daniel Libeskind’s massive waterfront development is the ultra-green project on Singapore’s south coast. The curvy looking tower structure incorporates the notion of an artful composition that has shifting building orientations, along with the differing building typologies, creating an airy, light-filled grouping of short and tall structures. The shifting forms create a unique experience as no two levels of the building are aligned with the floor above or below, hence allowing the living experience to be different.


As the notion of sustainability is becoming a hot topic in the architectural discourse, it is fundamental to understand why many architectural firms are looking towards a greener solution to develop infratstructure. In this project, the lush green sky terraces on the sloping rooflines act as a methods of providing open spaces and platforms with a 360 degree view of the surrounding landscape, allowing a contrast of living in an enclosed apartment but yet being able to experience space at the same time. Libeskind stated that the design of Reflections aims to express the identity of Singapore. I think this is a good way to promote the cityscape. By using this concept, I bellieve that showcasing various aspects of Wyndham’s identity as a municipality would achieve the goal of the Gateway project—to bring a sense of pride to the local residents. I believe the idea of the interaction of space and sustainability is favourable for architecture. I think that buildings should incorporate the use of sustainable energy as it is also a way of looking towards the idea of futurism. Therefore, the goal for the Wyndham Gateway project is looking towards the innovation, so incorporating sustainability for the design would be appropriate.

“Reflections at Keppel Bay is truly an expression of the wonderful collaboration with Keppel and exemplifies the ongoing and future success of Singapore.” Daniel Libeskind 5









Computer-aided technology has been for the last decade, impacted greatly on architecture and design. the experimental use of digital tools and parametric modelling was invloved in the designing of the Birnbeck Pier project landmark in Birnbeck island, England. This proposed project would offer an out of proportion and differentiated structure that stands out from both the existing historic fabric as well as the delicate natural background. The parametric computing technique allows for different variations for the formwork of the design. The complex structure here is the combination of curves and orienting it in different ways to produce the current design. According to Branco, new shapes and forms are can be created from generative processes based on concepts such as topological space, isomorphic surfaces, dynamic systems, keyshape animations, parametric design and genetic algorithms.

“The new approaches to design open up a formal universe in which essentially curvilinear forms are not stable but may undergo variations, giving rise to new possibilities...�

Branco Kolarevic

I believe that the proposed design of the Birnbeck Pier expresses crisp, geometrical and curvalinear structures and is contrasted again the soft, fluid and extensive features of the landscape. This creates a well balanced architectural design, that with computater aided technology, easily manipulated. I feel that computational design not only makes designing more complex structures more simply but also making manufacturing simpler too.

moh architects Birnbeck Island, England

r e d g n t s

e s d s 9

The Voussoir Cloud by Iwamotoscott Architects explore the use of computational design in creating the structure, form and fabricating technique for the production of the sculpture. According to the designers, the sculpture is made up of a series of vaults that can be experienced internally and from above. The design is defined structurally through the compression of three main walls that the vaults rely on to stay structurally stable. The use of computational hanging chain models allowed the designers to modify and to further improve on the profile lines as pure catenaries. Form finding programs were also used to establish the purely compressive vault shapes.



I believe that in order to create such a complex and intricate design, a specific computer aided software is needed to install tabs into each individual petal of the structure so that it can be joint together neatly and systematically. Moreover, computer design programs assist designers in calculating the amount of compression that the structure is able to withstand solely by using the petal patterns.

In relation to the Wyndham Gateway project, needing it to be an innovative design would require the use of digital programming to create a design that is complex and detailed enough to catch the attention of the public. Hence, using computational design tools are vital to today’s world of architecture.

I feel that this project was a good example in illustrating why digital computation is fundamental to architecture in today’s society. Without these programs, it would take a longer time and much more effort to produce something to the very detail, that may not even be half as good as the ones that are generated from the designing programs.

iwamotoscott architects Los Angeles, CA



PA R A M E T R I C | A R C H I T E C T U R E



“This dynamic effect encourages visual interaction and connectivity between the cinema and Pushkin Square...”

Lidija Grozdanic



The design for the Pushkinsky Cinema is a competition entitled ‘Changing the Face 2011-Moscow’, which involved rethinking about Moscow’s classic local landmark cinema and creating a new façade for the Pushkinsky theatre. Although this particular design did not win the competition, it showed certain qualities that closely relates to my personal expression of Interest for the gateway project for the Wyndham municipality. I believe that the ideas for the gateway project could be inspired from the idea of showcasing the change of Wyndham from the current naturistic landscape of the city to a more modernistic one. Having this in mind, I thought that this precedence was applicable to mention. The façade is a gentle morphing of a geometric diagrid pattern into a warped undulating lattics structure that reveals and hides the contents behind the matrix of hexagonal modules.

OR PUSHKINSKY CINEMA hesis design + architecture Moscow, Russia

How this project applies to my expression of interest is the ability to create a still structure that has the ability to appear to have the notion of movement. The combination of integrating the varied orientations of hexagonal screen components creates a rich and dramatic moiré effect which dissolves from opaque to transparent and back again as one moves around. With this, the visual background becomes visible as one sees through the hexagonal grid. Relating this back to the gateway project, this concept would be great as it plays with movement and speed to be able to visualize something when one comes from a certain direction. This is possible to recreate with 2 layers of patterns that are focused in 2 directions, arranged one behind the other to create the the moiré effect. Hence, the overlapping layers would seem as though it is moving when viewed at different angles. 15






Privilege means having the ability to enjoy a special advantage of being unique, individualistic and benefiting from special rights. With the richness of their natural landscape, Wyndham has the advantage to provide many new experiences. Thus, we would like our Gateway project to feature a symbolic representation of how privilege the Wyndham municipality is. We would like to approach this Gateway project to convey two main ideas. Firstly, by highlighting the privileges that Wyndham can provide to people, such as their many leisure attractions. The analogy of using multiple privilege points is mainly to showcase these aspects of Wyndham. Through this, we want to engage with the motorists who are traveling at high speeds. Secondly, as they are working towards improving their environment aesthetically, we would like to take this opportunity to create a design that points local residents towards a common goal. Therefore, our design for the Wyndham City Gateway Project seeks to harness the innovative and inspiring qualities that digital design techniques contribute to explore ways of achieving the notion of different viewpoints, to create an eye catching piece that engages with motorists as they pass by Wyndham City on the Freeway.








PRECEDENTS This Museum of Contemporary Arts building proposal by Thom Faulders features a similar concept to the expression of interest, which is to create a façade that gives users of the freeway an opportunity to engage with a visual icon for the institution. With this precedent, the individual metal tubes are parametrically angled in such a way that it portrays a different view of the image behind the façade when one sees it from a different angle. Hence, this gives viewers travelling in the freeway at different speeds a chance to see the image appear and disappear as they pass by it. Through this, the views seen are unique from one side of the façade to the other. By incorporating this, I believe that incorporating this idea is well suited and is possible to recreate it to suit the argument of using a priviledged viewpoint to signify something important to Wyndham such as showing Wyndham’s logo as their unique identifier.

MOCA@LBC thom faulders Sonoma, California



SUGAMO SHINKIN BANK emmanuelle moureaux Tokiwadai, Tokyo

Similar to the MOCA faรงade, the Sugamo Shinkin Bank by Emmanuelle Moureaux Architecture & Design emphasizes the concept of the viewpoints to view the design of the building. Emmanuelle Moureaux Architecture & Design explained that this faรงade features a tree motif depicted in the perforations of the cladding. Hence, if one stands at a certain point, only the coloured side of the windows can be seen whereas if one stands in front of the building, both the windows and the colours are visible. Therefore, I think that showing this precedent is relevant to the overall argument to showcase different aspects to the featured view.


PRECEDENTS Here in this project by Berlin designers Studio Aisslinger, the Coral lamp is a spherical shaped object with a hexagonal grid surface extruded to a certain thickness. One can only be able to see into the centre of the lamp by looking straight ahead at any point around the object. Thus, this design could be integrated into the development of the design for the Wyndham Gateway project.

CORAL studio aisslinger Milan, Italy Studio Aisslinger designers also branched out from the Coral lamp and created the Coral seating modules that use the same technique of the heagonal mesh to create the form.



The Uni Dufour in Geneva, incorporates the post-Corbusier movement of Brutalism, whereby it shows the rawness of the concrete skeleton. The concept of the priveledge viewpoint is seen in this building. The windows are slanted to a certain angle on one side and on the other side it is concrete panels with LED displays.

UNI DUFOUR Geneva, Switzerland

Looking at the building, the two faรงades are facing two different points or direction, hence enabling the design to seem like it has two seperate walls. I think that the aesthetic perception of two different faรงades on the same wall intrigues me. Hence, I feel that if this was used as the design for the Gateway project, it will definitely stir a sense of curiousity to viewers travelling from both directions.



THE YORKSHIRE DIAMOND PAVILION various architects Yorkshire & Humberside, UK

The Yorkshire Diamond Pavilion takes the design after the atomic structure of diamonds. Formed with inflatable tubing and the use of the diamond grid, it is similar to the Coral designs by Studio Asslinger in creating an innovative and unique exterior that involves repeated shapes and a lattice structure. The building faรงade enables one to see right through into the interior space with the clarity of the diamond shape. However, looking at it in another direction such as the top right view, one can only see the multiple configurations. I believe the design focuses on the the sustainable part of architecture but it also provides better insides into the manipulation the concept of the priveledged viewpoint. 22

PRECEDENTS The Yufutoku Restaurant in Tokyo features a Machiya-style wooden louvers that showcase a traditional Japanese townhouse. The depth of each louver varies sequentially throught the faรงade. The pattern creates light and shadows during the night when light from the interior of the building illuminates out onto the streets. The gradual change of the light spill creates an interesting view from different angles as well, hence, things can be seen when the louvers appear to not overlap. I think that this design is interesting as it plays with several concepts such as patterning, light and shadowing, and different points of view, which can be all integrated into the design for the Gateway project.

YUFUTOKU RESTAURANT issho architects co. ltd. Tokyo, Japan



P A R A M ET R I C D E S I G N E X P E R I M E NT rodrigo medina

This parametric design experiment is similar to the Yufutoku Restaurant. Here, the study shows exploring the opening of apertures that parametrically links to the surrounding of the landscape of the building. Thus, understanding the locations of what is around the building and distance will affect how the apertures respond in amplitude. This means that if the building its near to a landscape the apertures go wider and if it is the opposite, the apertures go narrower. I think this concept also creates the sense of visual illusion not only from the different landscapes but also it can be applied to viewer moving around the building. Therefore, it correlates with the arguement of directing viewers to certain aspects of a sculpture for the intention of communication.



1. Perceiving from different angles 2. Attracting viewers 3. Exploration of matrix to create movement 4. Combinations


C A S E S T U D Y: airspace tokyo

During the initial stages of developing the Expression of Interest, my group decided to focus on the Airspace Tokyo as our case study. We started out by looking at the concept of patterns and why it was a good idea to develope for the design of the Gateway project for Wyndham. Our original arguement stated that since patterns were used throughout human history to portray Wyndham’s culture. We incorporated the idea of overlapping patterns to generate an outcome that would show a different view from looking at it at different angles. Therefore, we decided to achieve this outcome by using voronoi patterning and later on fabricating a model.


C A S E S T U D Y: model We created the digital model through the use of computer-aided technology, specifically Rhinoceros and Grasshopper. As seen from Model 1, we overlapped three layers of voronoi patterns and placed them 3cm apart. However, the result that we got was not what we aimed to achieve-which was getting different views from different aspects. MODEL 1

MODEL 2 As Model 1 was not a successful outcome, we realilsed that the distance between the voronoi layers were too close to each other and the material(1mm boxboard) we used was too thin to notice any difference in views. Hence, we thought that by placing them further apart and using a thicker material (3mmboxboard), the notion of the different views could work better. We made the second model, but again this technique did not seem to be successful. The reason why it was not a favourable techique in fulfilling our criterias was due to the fact that the voronoi patterning only gave a limited viewing aspect. One can only see a unique view from limited points such as the front of the design. Hence, we decided to modify our initial arguement from using patterns to achieving priveledged viewing. Thus relating to motorists travelling oat high speeds. 27

M A T R I X initial explorations










M A T R I X initial explorations














M A T R I X initial explorations






M A T R I X initial explorations





During this stage of exploring the matrix, I was a little confused as to what was expected from this results. I tried to figure out which CUT definitions were the most logical to explore. Therefore, I focused on using two main outputs, specifically rotation and extrusion to generate these designs. The outputs that I encountered difficulty in connecting in Grasshopper were Components and Shaders.


1. P e r c e i v e f r o m D i f f e r e n t A n g l e s

In these matrixes, we were aiming to achieve different views from different angles. Hence, we decided to explore using different shapes and sizes to achieve the different results as shown in the above matrices. We found that the best outcome for this criteria was using same sized shapes and positioning them differently. As changing the views from different angles is the main point in this exploration, we started out by moving it manually through grasshopper, and later on progressed to a setting specific point using the attractor point association and a vector to achieve the flowing results. 32

2. A t t r a c t

V i e w e r s

In these matrixes, we aimed to achieve the notion of depth, which is an important element of our criteria. As drivers would be passing by the freeway, we wanted to them to perceive the striking image structure directly instead of it just being a plain 2D surface. Therefore, we explored the use of extrusion in the matrices to produce varying heights to form the one image that would be attractive. After much consideration, we thought that directing the viewer to a certain angle would be more significant than having different angles and making it more complicated so as to prevent them from getting too distracted. 33

3. E x p l o r a t i o n o f M a t r i x t o Create Movement

The idea here was to achieve movement in the design. Therefore, to broaden our perspective on the gateway project, we came up with the use of repetitive shapes and the distortion of form to further develop for our design. We decided to combine these factors and the use of light to create shading in the structure. The matrices show that with repeated use of a certain shape and position them close together and adjusting the form, we were able to create various shaded surfaces when viewed from different perspectives. 34

4. C o m b i n a t i o n s

From the whole exploration of the matrices and grasshopper definitions in Rhino, we believe that integrating all of the previous criterias further explores what we could achieve. Therefore, we explored the use of hexagonal shapes to offer a more sophisticated look to our design. We discovered that the hexagon shape could be multiplied using the hexagonal grid in grasshopper to create a faรงade like structure. Therefore allowing for a combination of grids to be made and extruded, followed by adding attractor points so that the different set of grids could point to the directions of multiple points, hence, extruding in different directions. The hexagon is also a multi-faceted shape, giving us the opportunity to use shading. We decided to put these definitions to the test by fabricating three experimental models.





To create this model, we used a the overlapping patterns of square grids followed by inserting an attractor point to one of the grids. As the grid follows the position of the attractor point, we were able to create a spectific view point from the perspective of the motorist travelling on the freeway.


square grid & attractor point Herethe model shows where the attractor point is located as there is a difference in the positioning of the squares. However, we felt that the concept of the priveledged view from lookinf at the model in perpective was not as desirable as what we had hoped to achieve.






circle grid & attractor point Here, by using the circle gird with attractor points, we were able to determine e more clearly how the viewer would get to see the Gateway design.. From the previous model, we realized that the squares were to too small, restricting the full viewing purpose. Therefore, we modified this design and widen the cuts for the circles so that the change is more obvious.




For the final experiment, we explored using hexagonal grids with attractor points and extruding the surface so that the priveledge view is more visible when passing the structure at high speeds. As the hexagonal shape is multifaceted, it is easier to maipulate it to different forms and to angle it accordingly.

extrude surfaces according to attractor point



The Successful Technique: Using Hexagonal grid extruded to a point

The Reasons being firstly, extruded shapes allows focus on a point. Secondly, it looks different from different angles. Lastly, it engages with motorists without having to stop.


Hence, I believe using the hexagonal grid shapes allos for more opportunities to create different forms of angled views encompassing all the criterias necessary design for the Gateway project.


P R O J E C T P R O P O S A L |re-engineering the landscape



rivilege means having the ability to enjoy a special advantage of being unique and individualistic. With the richness of their natural landscape, Wyndham is able to provide many natural attractions, especially from their wetlands. Thus, we aim to feature a symbolic representation of how special Wyndham is in our Gateway design through conveying two main ideas. Firstly, by introducing a manmade enclosure for new habitats to develop overtime, it aims to show how the majority of Wyndham’s natural attractions are related with its wetlands. Through this, we hope to also engage with the motorists who are passing by the Freeway simultaneously. Secondly, as Wyndham is working towards improving their environment aesthetically, we would like to take this opportunity to create a design that points local residents towards a common goal. Therefore, our design for the Wyndham City Gateway Project seeks to harness the innovative and inspiring qualities that can be achieved through digital design techniques to create an eye catching piece.




ATTRACT/DIRECT VIEWS Creating a landscape cluster form that encourages the growth of a new habitat, attracting wildlife to nest over time. This is achieved through creating individual hexagon spaces that regenerates the natural landscape and thus attracting living organisms to live there. for example birds could nest in the hexagonal space as the structure is part of the landscape and is left undisturbed. RESHAPING THE LANDSCAPE re-engineering the landscape so that the sculpture morphs with the fabric of the ground to show a change in (... i dont know what to say for this.) SIGNIFICANCE OF WYNDHAM’S WETLANDS • Incorporates elements of wetlands which are land water vegetation and different organisms so that it emphasizes the aspect Wyndham’s privileges of having an abundance of naturalistic landscapes.






scale 1:125

Site A is our group’s chosen site to re-engineer the landscape from. By taking the shape of the site, we came up with a series of landscape forms that we used to explore. 46





LANDSCAPE EXPLORATION Firstly, we started out by exploring forms via intrpretations of the land of the whole site by making contours and then lofting the curves in Rhino. However, the surface was too uneven to fit the hexagonal surface on, hence simplifying the contour lines of the site down to a broader and more geveric contour lines. Then playing with the forms to achieve our desired shape and outcome. This form was not what we had hoped to achied has the curved bit was too large and the end bit was not proportional. Hence, by simplifying it further, the surface was easier to manipulate. We had an idea of what form can be achieved from th landscape. Thus we narrowed down the number of contour lines used but nevertheless the contours were derived rom the landscape. Thus simplifying it further to derive a smoother and more refined surface that starts with a dome-like shape and curving down to the land and going back up again o accommodate higher grounds for the wildlife at the manmade wetlands. By finally achieving the definite form, we realised that it was impractical to build sich a high dome. Hence, we reduced the height of the dome and made the form more curved so that the shape of the manmade wetlands was more plausible for construction. 47


P R O C E S S Stage 1 | Lofting Curves The curves derived from the landscape exploration of the site at Wyndham are used to create the final form for the sculpture. The curves were lofted in the digital design software, Rhino, in order to create a three-dimentional shape.

Stage 2 | Applying Hexagons Onto Surface After establishing the overall form, we applied the hexagonal shaped grid to the surface through the Rhino plug-in, Grasshopper, to achieve this hexagonal shaped surface.

Stage 3 | Scaling the Hexagons Next, the hexagons are scaled accordingly to an appropriate size for apperture openings so that with the idea of the inclusion of wildlife nesting for the concept of a man-made wetlands can be a probable design intent.


Stage 4 | Manipulating Hexagon Shapes With the proposed idea in mind, we manipulated the previously scaled hexagonal apperture openings to move towards strategically placed attractor points— one at the bottom and another at the top. This would move them in such a way that they follow the direction of the points. Hence the hexagonal shapes closer to one point would follow it in that particular direction. Thus in turn manipulating the vector pointsof each shape.

Stage 5 | Scaled Hexagons Moving towards Attractor Points The next step is to ensure that the individual hexagonal shapes are transformed into hexagonal tubes. The concept of depth here is crucial as each of the tubes has to be deep and exclusive enough to attract wildlife, for example birds to nest, and to make it as comfortable as possible for a wetlands to develop overtime. Hence, we extruded the apperture openings towards the attractor points to form the thickness of the overall structure.

Stage 6 | Lofting Hexagons Finally, in order to make the structure whole, the hexagonal grid (Stage 2) is lofted with the extruded scaled surface (Stage 5). As seen in the image on the left, the individual hexagonal tubes have now become visible and the structure is complete.




This method was a straightforward construction of individual hexagons that were unrolled in Rhino, refolded and assembled together physically. By labelling each face of the hexagon that would join to the adjacent one, we managed to piece together the structure systematically.

M e t h o d 1 Initially, there was a confusion with the unrolling and the hexagons located at the from of the form did not match up to the whole structure. Hence, we figured that the unrolled images on Rhino had to be mirrored in order to make it right. Hence, with that corrected and redoing the assembling, we managed to fit the structure together.




Using this method, we split each row of hexagons into 2 and unrolled that surface. After printing the unrolled structure out and folding it again to reconstruct the

M e t h o d 2 form, we joined 2 unrolled surfaces together to form the row of hexagons. With this method of construction, we wanted to explore another way of building this so as to gain more insight into how the structure coulc be constructed in real life.




By comparing this part of the structure that were assembled with two different methods, our group found that using Method 1 was more efficicient in terms of the structure’s rigidness and durability. However, in terms of construction in real life, our group came to the conclusion that using Method 2 in the construction of the metal plates would be more time and cost efficient.

As seen in the above images, our group favoured Method 1 instead of Method 2 as this method of construction produced more defined hexagonal shapes than the other method. Method 2 was more flimsy during the assembling, it was more complicated to fold the hexagons and match it accordingly with the labels tagged at each hexagon face.










Our group planned to use Corten Steel in the structure. The reason being that Corten is a type of weathering steel which degrades slowly overtime producing rust. Hence, we believed that this would achieve the rustic look that we had in mind — sculpture blending in with the environment, aging with time.

C o r t e n

S t e e l

The Benefits include: • • • • •

Commonly used for architectural building façades and sculpturesas it has a curbside appeal. Low maintenance Quick to construct Withdtand high temperatures Relatively low start up costs to build which saves on the need to use protective coating on parts of the sculpture.





As the aim for the design of Gateway Project for Wyndham is ‘Re-engineering the Landscape�, our group decided to alter the current topography of the land and change it to a gradual slope from where the stucture would be sitting. Thus, we created the contour of the land following the model as seen in the image to the left. The material we chose to construct this structure would be Corten Steel. Hence, we managed to portray a replication of the material with everyday materials for the model by using thick brown paper and a rustic coloured chalk to create this image of Corten. The model was a success as by using a tougher material than the paper with the prototypes, the curvature of the structure is better portrayed.


CONSTRUCTION METHOD As the sculpture is made up of a series of hexagonal shapes and is relatively complicated, the way of assembling it together would require 2 methods of construction: prefabrication and welding and bolting. The individual panels that make up the hexagonal shapes could be prefabricated and assembled at the factory before being transported to site. The already assembled hexagons would then be connected by welding them where they join and then bolting them securely using a extra plate and countersuck screws to achieve the seamless look.

Here, we were exploring ideas on how the connecting panels between the part of the sculpture which points toward the ground and the part curving upwards could be constructed. Initially, we thought that it could be welded and bolted like the other panels. However, we realised from the initial prototype models that the curve of the structure would not be as defined if this method of construction was applied to this structure. 56

In the above construction drawing, we believed that in order for the structure to be more secure, the connecting panels could be prefabicated by bending them rather than welded and bolted. Hence, it would be more cost and time efficient. The part of the sculpture that sits below ground would be coated with a sealant to resist corrosion.

This construction detail shows how this part of the structure sits on the ground. The structure curves upwards, hence it needs to be structurally stable. Therefore, by excavating the ground and placing concrete piles in, it acts a foundation and stabilises the structure so that it is not affected by the soil movement in te ground. Guy-Wires, made of zinc-galvanized steel, are used to connect the Corten Steel plates and anchor them to the concrete piles below ground.



















The images show the change of the Corten structure and the surrounding environment as it ages with time. The structure would look weathered and slowly blend in with the environment as it turns colour from a rustic brown to a darker shade of brown with more rust with the growth of weeds and wildlife enveloping the whole sculpture. Our group aims to show that this concept connects with the landscape of Wyndham. Bringing that special aspect of Wyndham and introducing it in the man-made wetlands at the Gateways.







The feedback given for the model mainly focused on why the model appeared as if it was split into two parts and joined together in the construction of the physical model. This was mainly a technical problem with Grasshopper as the hexagons could not extrude to 1 main attractor point but did with 2 points placed seperately. However, with much effort put in, it was accomplished. With the improved model, it shows the hexagons attracting to a point in the middle of the structure. Hence, a continuous structure can be made physically and not by joining two parts together.






STRUCTURE The feedback given from Stanislav was that we should look into the formations of crystals as the structure is similar to the shape of our sculpture.

MATERIALITY The feedback given was to think about what other materials could be used instead of Corten steel as it is not a good idea to use because it is toxic and would cause wildlife to die. Hence, after researching on materials for this particular use, zinc could be a more ideal material in this case. To achieve the rustic look, zinc could be painted over. However, the cost efficiency for the material would change accordingly.







My initial learning ojectives was the explorations of the digital deign tools such as Rhino and Grasshopper. With the CUT Project, I learnt how to connect and explore the use of inputs, outputs and associations and these could generate several outcomes. With the aid of online tutorials, it helped me to better understand what Grasshopper components to use to achieve the results that I want. Knowing what I need to achieve in the design intent for the research project, I had use Grasshopper and come up definitions that would achieve the design. Hence, at the same time learning how the program works and using it to further improve on the design of the form. As we progressed from the beginning for the course, some of the knowledge I learnt was not as clear as before. Thus, I had to go back and explore Rhino once again to familiarise myself with the digital tool in order to produce forms for the desgn of the Wyndham Gateway project. With this, coming to the end of the course, I needed to learn other graphics and multimedia tools such as Illustrator and Indesign i n order to import in vector images and alter and refine the lineweights to achieve a good image. Finally, the course required model making. Hence, we started out by using the services of the Fablab to lasercut our designs and then make the models out of the cut materials. However, as the course progressed and our visions for the project simultaneously changed, we did not requite laser cutting. Therefore, we concentrated on physically making the models from everyday materials. My perceptions of photography has changed after learning how to do more proffessional photos such as not doing Godlike views and using different angles and stregths of lighting to achieve a soft touch and clear imagery from the photos taken. 63

LEARNING OBSTACLES GRASSHOPPER Throughout the whole course, the main obstacle I faced was learning and using the Grasshopper design tool. In the earlier stages of the course, I was confused over what we were meant to be doing with the Grasshopper CUT definitions and I did not know how to work the Grasshopper components ad what to achieve by doing them. I struggled with the resulting outcomes of it as I was not sure of what the learning objectives were supposed to teach us. OVERALL LEARNING THROUGHOUT THE COURSE I had trouble understanding what is expected of me and the course work as it was unclear to us each week, but through the tutors’ guidance and consults, we managed to understand week by week what we were supposed to accomplish and produce the next week. Although time was short each week, we tried our best to produce the work we needed to do.




With the knowledge and skills in digital design techniques, I believe that I have learnt from the obstacles tha this course had to offer and use this to my advantage to improve on my own to hone my skills in this field of modern architecture. I hope to be able to use this skill in my future works to persue my endeavours.




Week 1 Sources e=5217211&attype=P&atcode=1224246 Week 2 Sources Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. Week 3 Sources medium=feed&utm_campaign=Feed%3A+urukia+%28Urukia+%29 EOI Sources Week 9 Sources



Final Journal Submission  


Final Journal Submission