EXPRESSION expression of interest of INTEREST// Gateway to Wyndham
byElsa Marcella Christian | 377955 Nadira Jeannot | 376188 Jinn Jyh Leow | 376016 Mohamad Izzat Mohamad Nazri | 376055
Tutors Chris Loren Adams Lecturer Stanislav Roudavski
architecture design studio 3 : AIR | semester 1, 2012
â€œWe all come from the school of somethingâ€? Burry 2011
Throughout history, art has been interpreted through various schools of thought– there was classicism, modernism, and post-modernism (to name a few). What’s timeless here is that architecture never fails to reinvent itself, and every age has a new idea of what beauty is, what it represents, and what it should be. Our current society hitherto is one which celebrates individuality – and art must follow suit. Mass production is no longer desirable. Something unique, fresh and new to signal our development is required. Parametricism is the answer to this – a revolutionary, progressive new style, seen as the first real movement since the advent of Post-modernism (Burry 2011, p. 18). We believe that through parametric design, we will bring Wyndham to a new level of sophistication and have it recognised as a forward-looking city with much to offer and be proud of.
The Future of
WYNDHAM -to become a cultural city enriched by art -break away from the â€˜stagnant pastâ€™ of its history. -the Arts Hub of Victoria -a progressive arts community. -Gateway Project -Parametrically designed -a catalyst -pull the city forward by creating an identity as well as a sense of space. -The progression of Wyndham will take the form of parametric design, and that is how we would design the Gateway project. The city of Wyndham aspires to break away from its stagnant past. It wants to be the Arts Hub of Victoria harbouring a progressive arts community. We will achieve this via parametric design, with the Gateway project as the starting point of that future we envision. The following precedents further emphasize the advantages and promises of parametric design.
-merges theme of ocean and architecture into a fine conglomeration of colour and form. -a symbol (Williams 2005) of progression; our aim with the design–not only be the welcome sign, but also an icon of progression and of growth of Wyndham. -colour as a primary player in expressing design intent and providing experiential qualities. -large amount of freedom associated with parametric design – open ended and flexible This pavilion will be the centerpiece of the Yeosu Expo 2012, and this shows how parametric design can create an iconic piece of architecture. It also demonstrates that parametric design has gained much respect from the architectural realm, so much so that it is being highlighted as the centerpiece of the Yeosu Expo 2012. This directly relates to the brief’s call for an iconic sculpture.
Beijing Olympic Stadium by Herzog & De Meuron
-An icon that expresses progression and modernity through parametric design, but still rich in traditional influence. (with the birdâ€™s nest form) -Designing parametrically does not mean that local culture would be forgone -The Gateway project design should ultimately be a community art project that represents the people and the city, rather than a standalone structure. We hope that this will foster community pride as the brief calls for.
Modern + Traditional
The Lego Towers by BIG Architects
“People always somehow misunderstand the light-heartedness of our discourse, the fact that we just play around. If you want to break the mould, if you want to do something surprising or different, [you need to do] three times the work to make it convincing. If you just follow the standard, you don’t need to make it up because it’s already done. You have to take the playfulness really seriously to get it to work.” (Bjarke Ingels in Wired Magazine 2011) -parametric architecture in playful exploration and expression -emphasises on the exploration of the form -light-hearted design needs to be thought through and it is perfectly capable to produce something mindblowing and strong to influence others. The Lego Towers shows how parametric design can be playful and whimsical, but still meets its basic functional requirement. We want to be playful in our design as well so as to create an “original and engaging” form as aspired by Wyndham.
The Lunar House by David Clover
-ornamentation is different from decoration, where ornamentation is something carved out of a surface and decoration is something put on to a surface (moussavi 2006) -parametrically generated ornamentation is the key point of this building. -careful assemblies and choices of materials results in ornaments (Moussavi 2011), a building cannot be separated from ornamentation as ornamentation essentially makes up the whole idea of architecture. In other words, it can be said that the buildings themselves are ornaments that composed a city. It can be observed that ornamentation is the path where architecture has been walking for the last few years and this is how we conceive the Gateway project: an ornament that represents Wyndham Parametricism enables architects to further explore architectural ornaments, especially in making its details. We see the Gateway project as an ornament which marks the city. Immuring shows the successful use of parametrically generated ornaments that works in both daylight and at night. Since the Gateway project requires us to consider the day/night views, this is a good precedent for us.
by Room 11 -multi-faceted -colour as the artistic solution -Strong contrast with the surrounding context creates a strong â€œsense of presenceâ€?. -enhance the experience of the drivers -Becomes the focal point of the Gateway. -Parametric design could bring this colur change effect to a whole new level. -Integrating parametrically designed forms with colour to produce a state of the art sculpture for Wyndham. -The Gateway project is a way of representing art and also an invitation for people to drive through the Gateway in order to experience the effect the sculpture would
Chromatex by Softlab -highlights colour as the focal point of the installation -colour as something playful and to be celebrated -adding visual enhancement and emphasizing parametric forms. -systematic and easy fabrication of a complex sculpture that is economically viable -the gateway is to be something that Wyndham residents can relate to, a sculpture they will be proud of and which represents them in a proper way. The essence of Wyndham is important to be incorporated into the project. The colour of this sculpture is manipulated through Grasshopper scripting and is produced economically and quickly - it saves time and cost. Likewise, we would like to use colours to emphasize the parametric forms in our design to enhance the experience of the drivers.
FORM COLOURS PATTERNS MATERIALITY
Blur Building by Diller Scofidio + Renfro -architecture as a special effects machine (Diller 2008) -capture attention, and the uniqueness of the building makes it memorable -key: to be memorable via the special effects -permanence of structure is secondary -low definition (no details) -By applying this principle to the project, the form precedes the details â€“ a suitable form to highlight the motion is more important than intricate details.
De Young Museum by Herzog & De Meuron -Weather adds another layer to the depth of parametric designs -two very different looks in dry and wet weather, changes with the season (encourages multiple views) -important choice of material -material deterioration as part of the design -Weathering stretches the time scale -Minimised maintenance -â€œStains on the building are evidence of its capacity for resistance.â€?
MATRICES of COMBINATIONS/
Pattern Colour Form Weathering
We started by exploring the moirĂŠ patterns but it was too shallow and we wanted something deeper with more substance behind the rationale. Hence, we decided to use the image sampler on patterns in nature, inspired by the Victoria State Rose Garden in Wyndham. The Rose Garden is the pride of the city as it won the International Garden of Excellence by the World Federation of Rose Societies in 2003 with the care of only volunteers. Then, we went on to explore patterns in nature â€“ zebra, cheetah and fish scales. However, we still feel that those inspired by the Rose Garden are the best ones as it has a strong link back to the city and may make the citizens feel more attached to the sculpture. The idea of progression was also considered and explored through more abstract patterns by the means of dynamic attractor curves.
As we see the gateway project as an ornament, we decided to explore the Voronoi pattern, inspired by the skin of Airspace Tokyo in our reverse engineering case study. They could be easily generated with many variations. Voronoi patterns were laser cut on polypropylene sheets and then wrapped and stacked into a tower form to see how the webs interact in complex manners. The layering added complexity to the patterns, and the translucence of the polypropylene sheets created interesting light effects, which might be useful in night conditions. As most people focuses on the web of the Voronoi, we are interested in the negative spaces of the voronoi too. With the leftover cutouts, we recreated the Voronoi pattern. Since colour will play an important role in our design, we experimented with different colours on the leftover cutouts to make it more interesting. To be more playful, we hung the cutouts and observed the motion and colour changes created by the wind. Together with a reflective voronoi, the effects of the colours are quite astonishing. Vibrant colours were chosen because, again, they are inspired by the vibrant colours of the roses in the Rose Garden.
The form that we found through Grasshopper is the one that is the most dynamic and best highlights the motion of the highway. The dynamism of the form also highlights the theme of progression â€“ the aspiration of Wyndham as called for in the brief foe the Gateway Project. In order to put motion and colour together, we have explored another two forms that has multiple view points, in which the colour changes as one moves along. The first design uses the angles the small panels sit to show the colour of the underside from behind and the colour of the top side from the front. With only two views, we feel that we need more viewpoints as the GASP! Project managed to produce multiple viewpoints without the help of digital tools. Hence, the second form is very angular with multiple surfaces created by breaking a large surface into smaller surfaces. Different colour could be applied to each surface and each side so that the sculpture changes more as one moves along the highway.
Here, we explored two different ways to use weathering to create interest: weathering to show patterns and weathering of colour. Pattern weathering combines the previous exploration of patterns with time. The patterns are generated parametrically and the panel will be allowed to weather. In the stop-motion video, we can see that the pattern only reveals itself through time as the weak spots are weathered away. The colour weathering examples below are inspired by the changing colour of de Young Museum.
Experiment The first colour weathering example draws its colour (red and blue) from the logo of Wyndham City Council. As one of the quotes states that stains on a building show its capacity for resistance, we decided to stain a bottom sculpture with the â€œweatheredâ€? colours from the first. The staining did not work out as well, probably because we did not wait for the paint to dry before adding more water. However, the mix of reds and blues on the base created a very interesting pool/river of colour, something we will explore further with the site contours.
Experiment 2 The second colour weathering example explores the effects of double-layered colours. As the purple washes away, the yellow beneath reveals itself, and finally the translucent polypropylene sheets. In the process, the colour themselves created interesting patterns on the parametrically designed form.
References ARUP (2011). Beijing National Stadium (Bird’s Nest), <http://www.arup.com/Projects/Chinese_National_Stadium. aspx> [accessed 3 April 2012] Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley). Diller, L (2008). Liz Diller plays with architecture [video recording] < http://www.ted.com/talks/lang/en/liz_diller_ plays_with_architecture.html> [viewed 19 April 2012] Kolarevic, B (2003). Architecture in the Digital Age: Design and Manufacturing (New York: Spon Press), pp. 3 – 62 Kolarevic, B and Malkawi, A (2005). Performative Architecture: Beyond Instrumentality (New York: Spon Press) Menges, A (2006). ‘Instrumental Geometry’, in Architectural Design, vol. 76 (2), pp. 42 – 53 Moussavi, F (2011). Form and Ornament [video recording] < http://www.iaac.net/lectures/farshid-moussavi-155> [viewed 12 April 2012] Room 11, 2012, GASP, viewed on 22 April 2012, <http://room11.com.au/project/gasp> Williams, Richard (2005) Architecture and Visual Culture Wired Magazine (2011). Open Source Architect: Meet the maestro of ‘hedonistic sustainability’ <http://www.wired. co.uk/magazine/archive/2011/07/features/open-source-architect?page=1> [accessed 15 April 2012] Wyndham City Council (2012). Make Your Mark on Wyndham’s Art <http://www.wyndham.vic.gov.au/aboutwyndham/ pubmedia/media/2012mediareleases/april_2012/indooroutdoor> [accessed 19 April 2012] Zaera-Polo, A (2009). ‘Patterns, Fabrics, Prototypes, Tessellations’, in Architectural Design, vol. 76 (6), pp. 18 – 27
Published on Jun 3, 2012