HELLO! Next time they ask me “why doing architecture if you waste most of your time complaining?” i wont bother to explain why and simply switch to my play-dead mode because what they dont know is, i am secretly loving my works and staying up all night. My name is Ghery, i am currently a third year student in University of Melbourne doing environment and majoring in Architecture studies. I moved to Melbourne in 2010 after graduating high school in Indonesia. I am quite obsessed with natural phenomenon which I usually use as my inspiration when I start creating my designs. Nature intrigues me in a way it provides such a beautiful and powerful visual display which personally for me has been my principal on designing any given tasks. Spending most of my time complaining, -or as i like to call it ‘asking critical questions about life’- I spent lots of my time indoor and looking at my favourite architects projects. One of my architect heroes is of course Zaha Hadid, her unique design characteristic has been a big influence to my design process and outcome. I am currently in a love-hate relationship with architecture which strangely has been one of the few things that keeps me going after all these years. I have huge passion for computational manipulation drawings and eager to learn new softwares within that category. Love, Ghery
whatâ€™s inside? Architecture as a discourse ................ 6 Computation in architecture ..............17 Parametric modeling ...........................20 Algorithmic exploration ...................... 25 Conclusion .............................................26 Design focus...........................................28 Design techniques.................................29 Case study 0.1........................................31 Case study 0.2........................................35 Technique development.......................39 Technique prototype.............................45 Design proposal.....................................49 Conclusion..............................................50 Gateway-installation project................52 Patterns!...................................................58 Site selection...........................................62 Fabrication process................................66 Tectionic elements.................................68 Final model..............................................71 Conclusion..............................................78 Learning outcome..................................79 Appendix.................................................81 3
PREVIOUS PROJECT Rhino3D experience
During my Second year, i had the opportunity to get my hands on Rhino3D software. Looking back at my second year when i was first introduced to Rhino, I am pretty sure it was not a love at first sight because i had mix emotions towards this software at my first time using it. However, as the time gone by i fell in love with Rhino3D and it became one of my favourite software to use until now. During the semester, i had to choose a natural object as precedent and represent the chosen natural object through my design using Rhino. My intention was to recreate the formlessness of aurora borealis by creating a fluid form and random openings to control the light flow.
CASE FOR INNOVATION
ARCHITECTURE AS A DISCOURSE “What is architecture? This used to be a straightforward question with straightforward answer.” - Richard Williams
Many have defined architecture as one form of art. I used to have an innocent understanding that architecture is a form of art, but then when i think about it, i used to see a lot of things as arts merely because they were beautiful. As i dig a little deeper into the world of architecture i realized that there is more to it than just art.. It contributes to everyday life more than a piece of art. What is Architecture? This simple question can lead to a whole lot of discussion considering architecture has been through a lot of progression that it has become so dynamic and cannot be defined in one sentence. In early years, maybe it is possible to describe architecture as an enclosed space that allows movement and provides shelter for us to live in and perhaps for some people architecture is just an art of wasting space. Now, however, it is not the case anymore. I believe architecture is more than a form of art as it does not only involve architects but also engineers and a whole lot of other professional consultants. Richard Williams (2005) stated in his book Exploring Visual Culture: Definition, Concept, Context “Furthermore, the architect, unlike any other artist, works in a way that is utterly dependent on a variety of other professionals: engineers, quantity surveyors, building contractors, electricians, property consultants. The architect’s work is never his, or hers, alone. Furthermore the idea of authorship in architecture is highly complex, even without the presence of these other professionals, the architect is invariably part of a team.” This means architecture now has progressed beyond a work of art. It has become more elaborate and structural over time. Therefore architecture cannot be defined as a form of art alone but rather a combination of arts and engineering to create a structurally sound building with powerful visual display. Moreover, there are alternative ways to understand architecture. “Architecture can be interpreted as a sign and spatial experience” as described by Richard Williams in his book Exploring visual culture (2005). Architecture is a celebration of arts, landmark, and spatial experience therefore, its ought to be seen as a discourse which is not driven by the material but rather regarded as network of practice and debate about the built environment (Williams, 2005). As an architect one should think critically about the purpose, design, and the ability of users to understand the meaning of the building as these critical approaches will help the architecture of a building to be successful and everlasting because after all buildings are intended to lasts for a long period of time. What is the significant development that can possibly lead Architecture to reach its finest? The aid of technology is possibly the most significant development that happened to designing world. It allows the designers/architects to set unique parameters and explore their design in more depth. The intention of this journal is to develop a stimulative design within the nature of timber according to the design brief from the wyndham city council which requires the design to be ‘exciting’ and ‘inspirational’. 7
TJIBAOU CULTURAL CENTRE NOUMEA, NEW CALEDONIA “A builder is like a little god, somebody who does things ... architecture is the art of making good, solid, safe buildings for humans. The difference between a builder and an architect is that an architect also cares about desire, about dreams.” - Renzo Piano Renzo piano found himself designing a cultural centre dedicated to the passion of a leading figure Jean Marie Tjibaou for recognition of the Kanak culture campaign. He had the opportunity to design TJibaou cultural centre precisely 20 years after his competition winning Centre Pompidou (Cattermole., 2007). Piano designed a series of Kanak’s “great houses” inspired towers at the tip of the island of New Caledonia, a former french colony territory in south pacific. The Tjibou cultural centre consists of a series of open sided tower hut inspired by the great houses of Kanak’s tradition. Piano has created enormous towers made of a combination of materials. These enormous wooden structures fashioned by crisply cut fingers mimicking halfway stage in the Old Kanak’s tradition of making their conical palm sapling hut roof. Furthermore, piano left the ends of the fingers pointing to the sky instead of binding them together to symbolize the growing-still culture of Kanak. Renzo piano has successfully delivered the project’s brief “to create a cultural centre and embrace the traditional aspects of Kanak’s culture” through this design. He also succeed on exhibiting the harmonious relationship between traditional and modern architecture without disrupting the value from both aspects. Furthermore, The material choice of this project demonstrates the very cooperative nature of timber, which proves that when it comes to a dynamic design, timber can definitely work together with other material and result in a harmonious and aesthetically pleasing building. The willingness to embrace the local culture adds more value to the design, which should be taken into account while developing the freeway art installation for Wyndham city.
TJIBAOU CULTURAL CENTRE NOUMEA, NEW CALEDONIA â€œI had to create a symbol. A cultural centre devoted to Kanak civilization, the place that would represent them to foreigners and that would pass on their grandchildren. Nothing could have been more loaded than a symbolic expectationâ€? - Renzo Piano (Findley., 2005) Piano believes that it is important that the design of a structure has to be deserving of its time and be able to tell an honest history about why and what the purpose of the project. The enormous structure of the cultural centre creates even more powerful visual display that makes the site impossible to missed by the eyes. This compliments the successful approached of the building as cultural centre and undoubtedly will keep being globally appreciated. Personally, what makes this cultural centre great is the very notion of the architectural language that is being conveyed by this building. We all should note that this building is not just merely a decoration to the landscape but a story of struggle, a monument that becomes the centre piece of the land which also integrates with the local culture. Such approach is what we are trying to incorporate in our design.
NORDPARK RAILWAY STATIONS
NORDPARK RAILWAY STATIONS “ We have established a system. That also allowed us to think of space in a different way i think it has been a very exciting collaboration. Engineers do not come in at the end, they come in right from the beginning. They have to be involved in these enormous landscape structures that also hold the floor or support the roof ” - Zaha Hadid (Jodidio., 2006)
Nordpark Cable Railway consists of four stations sitting in order from the heart of breezy air of innsbruck city to the top of the Nordkette mountain, Austria. The stations’ roof surface resembling a natural ice formations as Hadid employs “an overall language of fluidity” for each of the railway station designs (Jodidio., 2006). the design of the railway stations looks like the manifesto of gleaming ice caverns as each of the station’s roof translucent canopy seems like it was sculpted naturally like a frozen stream with bold lines underlining the shape of the form. Zaha hadid stated that “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.” The very existence of these railway stations makes a statement that Innsbruck city is one of a number of leading architectural cities. The approach of each design was to adapt with specific site condition at various altitudes while maintaining the same language of fluidity. Like previous precedent, Nordpark railway staions by Zaha hadid successfully create strong visual display while maintaining the harmony with it’s natural surrounding.
NORDPARK RAILWAY STATIONS Being visually sophisticated and structurally practical as the railway stations designed to withstand year round seasons and all the visitors thumping through the stations, the Nordpark railway station by Zaha hadid is definitely not merely a work of art but rather a combination of engineering and art. Not saying the this is a perfect example of a first class architecture but it is definitely an example of successful engineer - architects collaboration project. This successful collaboration incorporating nature, architecture, and engineering will be our benchmark in designing the project. As an ambitious project in term of design and structure the stations increasingly affiliated with other big projects like museums by other great architects. Zaha hadid has succesfully delivered a spectacular building with fully functional structure and facilities which make the stations capable to catch every eyes that stumbles upon it. A design with a powerful visual and expressive display will be our direction in developing our design while still maintain a deeper meaning behind the strong esthetic side. Our project will incorporate timber as our main material while maintain expressive design that is able to withstand ever changing environment. This precedent shows me that architects have somehow succeed to incorporate multiple elements in their designs and blend it back to the local environment. I believe with the aid of computation design our group will be able to promote local attributes environmentally and culturally.
COMPUTATION IN ARCHITECTURE Computers play a big role in modern human society. One uses computer almost 24 hours a day, 7 days a week. Computers have become our favourite tools since it does not tolerate error and it works on a fast pace. It would find a way to correct errors in one way or another, if not it would just simply stop progressing until the error has been corrected. As stated by Yahuda in Architecture’s New Media “Computers, by their nature, are superb analytical engines. If correctly programmed, they can follow a line of reasoning to its logical conclusion. They will never tire, never make silly arithmetical mistakes, and will gladly search through and correlate facts buried in the endless heapsof information they can store ... But while they can follow instructions precisely and faultlessly, computers are totally incapable of making up new instructions: they lack any creative abilities or in tuition.” (Yahuda., 2004). This statement is completely true as the computers have practically become tools for architects because they complete each other in a sense that computer needs a user to function and the user need to understand the language of computer to operate the engine to achieve the desired outcome. Once computers are used correctly, they become problem solving, time efficient, and mistake free tools that can be used by architects to enhance their designs. Computation design helps architects to evaluate any given parameters, and whether if it matches the expectation of the users that is just a matter of setting a right parameter (Parsons., 2012) -as an example; a rhino3D plug in grasshopper which allows the users to set their own parameter to achieve their desired design-. This magnificent contribution of computer draws a question whether computer really have that limitless capability to produce desired design? Have architects become addicted to computer that they became incapable of making a “better” design without the computers? The answer for these question really lies on the other side of the screen; the user. Computer are incapable to work themselves, they need to be programmed. Therefore, It really depends on the user’s capability to recreate, reprogram, and upgrade their tools when it is no longer meets the needs. Furthermore, despite the limitation of the computer that i briefly discussed above computation have helped almost every possible modern day professional jobs under the sun, -especially architects- to execute and come up with far more efficient solution in their design process and have allowed them to study the material properties to improve the design outcome. 17
DIPLOID LAMP NATURE + COMPUTER
At the time, computers are being used by architects and designers in various stages of their designing process. Many designers and architects rely on computers ability to explore multiple nature inspired patterns. The ability of manipulating natural patterns by using parametric modeling, scripting and digital fabrications is definitely in my list of interest. Diploid lamp, one of a number of project by Matsyâ€™s design using a combination of various softwares such as Grasshopper, Kangaroo, Lunchbox, Python, and Rhinoscript is one of numerous projects that are using computer to explore the self organization of barnacle like cells (Matsys., 2009) . The designers achieved this designed by cooperating with various softwares and achieve a correctly integrated patterns with its surface as the parameter to set the right geometry for the computer to apply the desired pattern. Computer role clearly played a big part on this design. However, the softwares used during the designing process of this project definitely cant work by itself. Grasshopper for example cant deliberately work itself into solving a problem without the right input from the user. The user has a complete control over what is happening on their design in term of creating correct parameter for grasshopper to process. Diploid lamp employs a natural pattern that has been processed parametrically onto a surface using timber because its specific nature that radiates warm light effect. This process shows me that computation plays a big role in creating an expressive and interesting design which i am trying to imply in our design. Furthermore, it also introduces me to material exploration using computation method for a better design solution to approach the Wyndham city projectâ€™s brief.
PARAMETRIC MODELING Parametric modeling has become very popular in architecture industry as it widens the possibility for the architects to have more control over the form and approach of a design. Parametric modeling is often referred as a computational program for architects and designers based on a set of algorithmic command to manipulate the form and functionality of a design until it reaches the desired outcome, or as Burry Mark (2001) argued parametric modeling is the exploration to find new outcomes that potentially promote new discoveries. Although it seems parametric modeling is able to offer architects and designers a vast range of possibilities for them to explore many have tried to speculate whether it is true that behind the fertile ground of possibilities that parametric modeling has to offer there is a boundary that limits the architects and designers. Schumacher in his article ‘let the style wars begin’ (2006) refers parametric modeling as a new kind of style in architecture world. However, in my understanding a ‘style’ always comes with a baggage; limitation. Having a style means one often finds himself sticking in one field, whether deliberately or unconsciously. Furthermore, does it really appropriate to consider parametric modeling as a ‘new emerging architecture style’? Because parameters are always exist whether it is a limitation of space, budget, or client’s specific interest which will effect the design in the end. Parametric design modeling allows the users to widens the relationship within the parameter which result in much more defined outcome. Therefore, the opportunities that parametric modeling has to offer widens the potential outcomes that are exciting and stimulative for Wyndham city project. Parametric modeling is quite hard to articulate as the discourse is very extensive that it seems almost impossible to come to one definition that is globally agreed upon. By the aid of parametric modeling, architects can produce a functional structure and impressive facade if the architect is willing to explore and determined enough to learn how to author a set of algorithm with correct parameters. One thing to be sure about is parametric modeling offers an exciting opportunity to create interesting form with strong visual display which represent the evergrowing world of architecture. Parametric modeling will be an ideal platform for the Wyndham project as it reflects the advance in architecture industry and promotes the city of Wyndham as an innovative growing city.
GALAXY SOHO Beijing, China, 2007 Zaha hadid
Architects and engineer have to work together in order to achieve an aesthetically beautiful design with functional structure. These two professions have to walk alongside each other to achieve the realistic designing solution for an impossible looking problem. Post modernist architecture firm Zaha hadid architects like mentioned in previous sections has developed a unique system which involves architecture and engineering at the same time to achieve that specific facade using parametric design. Schumacher, a senior designer of Zaha Hadid architects defined parametric design at its best in his article â€˜let the style wars beginâ€™(2006) using a set of order; Negative principles (taboos) Avoid rigid forms (lack of malleability) Avoid simple repetition (lack of variety) Avoid collage of isolated, unrelated elements (lack of order) Avoid rigid functional stereotypes Avoid segregative functional zoning
Positive principles (dogmas) All forms must be soft All systems must be differentiated (gradients) and interdependent (correlations) All functions are parametric activity scenarios All activities communicate with each other
The mixture of facilities, facade, and functioning structure creates this enormous sculpture that proves the ability of parametric modeling in a real life scale. The complexity of the facade of the building makes everybody who is passing by this sculptural monumental building cant help but stare and take a moment to enjoy the strong visual pleasure. I believe without the help from parametric modeling the construction of this building would take longer than someone could ever imagined as parametric modeling allows the architects and engineer to simplify the construction stages without have to deal with any kind of human errors. Galaxy Soho shows an example of parametric modeling that pushes the architecture and engineers beyond its capability to create a design that is seemingly impossible without the help of parametric design. It is exciting to think what possibilities that parametric modeling have to offer when designing our project for Wyndham city.
Vousoir Cloud SCIarc gallery Los Angeles 2008
Vousoir cloud explores an ultra lightweight wood material system that are designed to be self-support (IwamottoScott, 2008). The designers of this installation created their own rhinoscript in order to create desired outcome in realization of vousoir cloud. There is a whole lot of explanation regarding the parameter used in the design process the plan curvature at each petal edge is defined by its end points and a set of tangents with neighbouring modules based on the centroid of the adjacent void. The sectional deformation of the petal is then proportionally related to this plan curvature. if the flangers of the petal are perpendicular to the original cell surface the proportion is one to one. at any other flange angle the amount of the petal dishis in section varies proportionally with the plan curvature at the edge.
to do this a computation script was developed for the rhino model that manage the petal edge plan curvature as a function of tangent offset - the more the offset the greater the curvature. Though mathematically this proportional relationship of tangen offset to sectional height is non-linear, it is simplified here as a simple precentageâ€? (IwamottoScott, 2008). This is a perfect example to express that the rather complicated mathematical parameter used during the design process can easily simplified using parametric modeling. It should be taken into account that with correct scripting and a good set of algorithm, parametric modeling can definitely be the tool to help the users to explore the possibility of the design and offer a lot of help in fabricating the design and choosing the right material. 24
RHINO + GRASSHOPPER + KANGAROO + EXOSKELETON At first i was convinced that i would not be able to get a grasp on using and understanding these computation design. Just like any other beginner i played around with simplest thing i can possibly think of in term of setting a parameter for the existing definition. I played around with numbers and tried to played around with the original form by doing slight alterations. These plug-ins offer a lot more define design outcome for designers. For instance, Kangaroo emulates forces into the design and apply them in grasshopper to structurally test the capability of the design to withstand forces. Furthermore, computation design can definitely help the development of our project and permit our group to come up with great range of distinctive designs. 25
CONCLUSION & LEARNING OUTCOME The technology has gotten more and more advance than anyone can ever imagined before. In the past, no one would expect a little box so small called computer would be able to offer such a fertile ground of possibilities of design outcome for architects and even help them to study properties of materials that is being used in the project to simplify the construction method. The computation techniques has advanced the architectural innovation from the very early stage of the design to fabrication process. Building structures are getting more dynamic as it is adapting to environmental demand of the people around it. The parameters sets by clients are not at all something that can stop the architectural design industry from generating more and more spectacular form of building. Parametric modeling is a new tool for me to explore which i am quite excited about. This advancement of technology and the opportunity to explore the possibilities of creating a functioning structure with a strong visual display using featured precedents will be a chance to prove to people so they can see how much more architecture and design have to offer.
PART B DESIGN APPROACH
DESIGN FOCUS We aim to promote the Wyndham City as an accepting, dynamic, and relaxing country side that embraces its visitors. Thus, we decided to go with an evocative and exciting theme that is memorable for the travellers whether they are leaving or arriving to the city. This Chapter will justify our approach through exploring the outcomes that produced by conducting various experiments within our chosen case studies. Our case studies will be our starting points and state the ground that we are interested in. We are interested in creating a dynamic design that is marking the travellers transition in space from the CBD to Wyndham city and vice versa. The transitional shape of our future design will translate the emotions of the travellers as they are passing through the installation. We aim to achieve this by doing further exploration within our case studies and apply the knowledge to the project. Our group believe limiting our design project to certain approach will not result in much too exciting outcome. The brief calls for an exciting and eye catching installation which we believe is achievable through combining few designing techniques such as patterning and stratification (sectioning).
DESIGN TECHNIQUE Stratification + Patterning We choose to incorporate the field of patterning and stratification (sectioning) into our design. we believe these two design techniques can deliver a powerful design that is able to â€˜exciteâ€™ and evoke the emotion of the traveller in marking their transition in space, whether it is from the CBD to Wyndham or Wyndham to the CBD. The nature of computational design has allowed architects to develop and explore a lot more possibilities of sophisticated design which is more dynamic and exciting. With the help of computational design, exploration of stratification and patterning method permits our group to come up with a very distinctive design that is unique in a way that is able to deliver different experience for the travellers from the both sides of the road. Why patterning? We believe that patterning offers a lot or opportunities for our design, as we want to express the pattern in an architectural language that is reflecting the growth of Wyndham city as well as to create even more powerful visual display for people who are passing by. Why stratification? As an addition to our technique, i believe stratification offers: 1.Sectioning is very flexible and it is able to maintain its original fashion and assemble a new form certain angle using its planar surfaces 2.The sections create void in between which have control over the view and information that is being exchanged from both sides. 3.each panel can be manipulated into framing certain form while maintaining the same model. Combining the two qualities of patterning and stratification allows our group to explore the possibilities of creating a distinctive design by altering the transitional qualities of stratification (sectioning) and the manipulative nature of pattern together in our design. 29
CASE STUDY 01 BANQ
Case study 0.1 offered us the opportunity to choose between a range of techniques to develop our project. Developing our own forms and mutations in a similar method given to our group is a way for us to explore ways of incorporating sections in our project. BanQ is a restaurant that is set in an old banking hall located in Boston, USA. the restaurant is divided into two segments. The restaurant placed behind the bar that is allocated on the front part of the restaurant which is slightly smaller than the dining area at the restaurant. What so interesting about this restaurant is the interior arrangement which is parametrically into sections, the floor remains very flexible for frequent movement of the active restaurant while the ceiling contains fixed programs that are part of the building’s services such as water sprinkler system, lighting, and other services, which beautifully fashioned with stratification of a seamless surface that is hiding the building’s infrastructure system (archdaily, 2013). The parametric stratification that is set in various spacing offers glimpses into specific view that is targeted to be visible in certain angle for the visitors to see. BanQ restaurant’s approach to mystify the costumer’s glimpse of the wine storage and other building elements shows us the capability of stratification to control the view and evoke the curiosity of the people who are engaged with the installation. I will attempt on creating a new form using similar fashion that office dA architects used to create the banQ restaurant which later will be our starting point of our group project development.
1 2 3 4 5 32
BANQ REVERSED ENGINEERING - MATRIX OUTCOME I explored the BANQ restaurant algorithm to see whether the BANQ design method is aligned to the approach that my group had in mind. I found that the script runs in some numerical inputs that controls the height, density, and surface division. The script is able to make almost infinite outcome depends on the numerical values that set as the parameter. I learnt that between two approaches of recreating the structure of BANQ there is one that is closer to recreate that expressive visual display of the installation. I found that it is more appropriate to use brightness of an image as the parameter to create that seamless facade of BANQ design. i produce few â€˜mutationsâ€™ of the BANQ design by altering the brightness of the image used in the script , height, density, and division. i find that 1.B, 1.C, 2.C, and 3.A are the most successful mutations compared with other as they inherit the most of the seamless structure quality. However, most of the mutation are succeed on creating the mystifying qualities that our group wanted to incorporate in our project. I believe using the similar fashion that i just learnt from this case study i could recreate a seamless surface within the discipline of stratification to create an exciting structure. The mystifying effect from the sectioning will evoke the travellers that they are going through a transition of space. The next step is to learn how to enhance the manipulative effects that our project could deliver to its viewer.
CASE STUDY 02 CHRYSALIS Chrysalis is one of the Matsys’s diploid lamp series. The pattern was designed parametrically using natural patterns as its precedent. Chrysalis is one of the matsy’s latest projects exploring morphologies of cells. “This edition of diploid lamp specialize in exploring the self-organization of barnacle-like cells across an underlying substrate surface” (Matsys 2013). We are interested in recreating the three dimensional pattern of the Chrysalis that is spread across the relaxed surface which creates interesting shadows and organically spread through out the surface. This project has succeed in achieving its design intent to create that organic cell pattern using parametric design method. The design may not be a direct translation of the natural pattern that was chosen when the designers created this model,. However, it id definitely assembled an organic form that has been parametrically processed into producing this kind of pattern. Natural and repetitive pattern is always get my fancy and it also has a manipulative quality within it that deceives the eyes when the pattern is arranged in a certain way. I will attempt to recreate the pattern and applying it onto surface that resemble the Chrysalis project. After gaining the knowledge of how to parametrically design an organic pattern, Our group would try to explore any possible pattern that is relevant to our brief which will be further developed and applied to our surface.
CHRYSALIS REVERSED ENGINEERING - MATRIX OUTCOME
Images on the left hand side are my attempts on recreating the cell-like pattern of chrysalis project. As a starting point, i used the first few steps of the Vousoir Cloud’s reverse engineering (see 1.A), as it is started with hexagonal pattern which is similar with the chrysalis’s pattern. The next step is to create the similar pattern in bigger scale using the same script and to try to “extrude” the pattern to resemble the chrysalis project (1.B), (1.C). After figuring out the nature of the chrysalis script that i was using, i tried to create cells with difference in size to make the pattern looks more “organic” as it does in the real chrysalis project. Image (2.A), (2.B), and (2.C) are the result from my attempt to do so. The next step is to explore the nature of this pattern when it is applied onto a surface and what significant effect it would be able to produce. This will allow me to consider what kind of pattern would be most suitable for the Wyndham city project.
CHRYSALIS REVERSED ENGINEERING - EXPLORATION
These are my final result on trying to recreate the Chrysalis, one of the diploid lamp series by matsyâ€™s designers. The first image is personally the most successful compared to other three. The pattern is applied in one seamless surface. However, my personal favourite is experiment number 4 which is an experiment of creating pattern using points on the surface. Next is to explore shapes that are potentially be our initial design for our project and what pattern that has relevance to our design brief.
STAGE 1 In developing our design, i started experimenting with shape that can possibly be our initial design and work it from there. The aim was to develop a transitional shape that resembles travellers change in space. Image above is my very first experiment in finding the transformative shape. The images below are matrix from my experiments in finding the suitable starting point for the project. i find the experiment 1.C is the most suitable because the shape itself is pretty transitional from one end to another which is definitely what we are trying to achieve at this stage.
STAGE 2 Images above are my matrix diagram of the potential density and orientation of the panels that i just created before. High density panel would not take place in our project as it would barely create the â€œvoidâ€? that i wanted to create in the design. Thus, i found the experiment number 1.B is the most suitable at this stage of progress. Next step would be developing ideal pattern to be embedded into the panels 41
STAGE 3 Images above are my matrix of pattern exploration that i think is suitable for our panels. They all have different qualities which will definitely create different impression to travellers when they drive passed the installation. In the end however, our group agreed to go with the experiment number 3, a triangulation pattern with openings that are ruled by â€œpoint-attractorsâ€?
STAGE 1 + STAGE 2
+ STAGE 3
The final stage of our technique development is to combine all 3 design elements into one to create a distinctive and more elaborate design. The outcome of this technique development will be our starting point to explore and discover more integrated design according to our brief. During the mid semester presentation our group was advised to explore more about the nature of pattern and how it affects the psychology of the viewer. Furthermore, in term of the shape our group will need to develop more dynamic form in order to deliver the design intent to the travellers more clearly.
TECHNIQUE PROTOTYPES 45
PROTOTYPE 1: MATERIAL EXPLORATION
Following the technique development where we obtained our starting point for this project, we started to fabricate our model. The material was flat when it was finished and our group agreed that bending our panels would create slightly better effect that is more appropriate and closer to deliver our design brief for travellers. Thus we also fabricated a platform for our model to stand on with â€œslotsâ€? on it so we can slip the model on the slots. We used few different materials. First material that we used was box board because its nature is a little similar with timber and it is rather flexible so at this point we would not have to worry about the panels breaking out when we try to bend them.
PROTOTYPE 2: MATERIAL EXPLORATION
I was trying to explore the cooperative nature of timber and was trying to combine timber with other material. I tried to combine Perspex and Plywood to see if it matches my expectation. Turned out the reflection created from Perspex was very interesting compared with the one created by only timber as Perspex has its natural glow and radiates light more interestingly compared with timber. Obviously, this is something that needs to be taken into consideration when combining other material with timber. However, Perspex is almost impossible to bend because it easily snaps. Thus if we decided to go with Timber - Perspex materials we should consider other kind of Perspex that is more flexible and tolerates more forces and stress.
DESIGN PROPOSAL The project brief calls for an exciting, eye catching, and memorable installation for Wyndham. I feel our project has a solid ground in term of our means to promote the Wyndham city as an accepting, dynamic, and relaxing country side that embraces its visitors by creating a memorable installation based on the transformation of space that travellers are experiencing. We focus on the emotions that this installation evoke when the travellers drive through the structure, depending on which side they are driving by. The Wyndham city side evokes the awareness of the travellers that they are leaving a high density CBD to a less dense country side. The other side of the road will trigger the awareness of the travellers they are going to a place that is more dense than Wyndham. In addition, we incorporate several ideas in our project which distinguishes our project from others. we are looking at a dynamic and transitional form that evokes the awareness of changing in space and it also evokes the sense of curiosity for the travellers as the pattern and void mystify the activities and traffic on the other side. While we are developing the project in more depth, i feel our project has already made a statement that if the jury chose our project it wont be a disappointment as our project is not only centralized on the aesthetic aspect but also the experience that the travellers will be having which will represent and promotes the Wyndham city.
LEARNING OUTCOME Expression of interest section has been very interesting, helpful, and educative as far as i am concerned. It has opened up a lot of possible opportunities of potential design outcome which are very interesting and stimulative. It has been a very satisfying experience knowing that a new beginner in a parametric design works can apply his knowledge based on research and curiosity within a very short time into a project that he did not even know he was capable of. It is amazing to think that we have come halfway through the semester and our group has achieved more than we aimed for. We have learnt how to incorporate several technique together, develop our project intellectually and come up with a fulfilling concept that i think is very capable to compete with other projects on catching the juryâ€™s attention and get them into thinking of choosing our project. i personally think that our group has approached the project brief in the most suitable manner within our reach. i do believe that by the end of this semester our group will gain some new exciting knowledge that we will treasure for the rest of our professional career. I am looking forward to develop more elaborate, exciting, and stimulative design for Wyndham city project and see how far our group can explore the parametric world in order to achieve the most appropriate, and fulfilling outcome.
PART - C PROJECT PROPOSAL
GATEWAY ART-INSTALLATION PROJECT PATTERN OF PROGRESSION The Wyndham city council project brief calls for an exciting and eye-catching art-installation to contribute in the process of constructing its image as a growing city that has huge awareness towards arts, architecture, and technology which reflected by its various public art and sculptures. Thus, we chose to design an installation that will not only be able to furnish the landscape, but also evoke the passerby to visually interact with the object without having to actually make any physical interactions with the installation. The unconscious visual interaction of the viewer with the installation will bring up the awareness of transformation of space to the drivers who are being exposed to it in which will encourage them to maintain an ongoing interest with the object beyond the first glance. Moreover, although the materialisation of this project will be centralised around timber, we also incorporate other materials such as steel and concrete as reinforcement of structure for this installation. In order to achieve our goals in designing the art installation, we created panels which will be arranged in certain way that they will create transformative illusion to the passerby. These panels are the abstraction of the skyline transformation from the city of Melbourne to typical suburban skyline which is usually more subtle and less dense compared with Melbourneâ€™s city skyline.
fig.16 illustration of skyline abstraction
PATTERN OF PROGRESSION Moreover, we have explored two different transformative and unique patterns with two different qualities which are both applicable for the project. We believe these patterns will be able to deliver and emphasize the transformation of the space between Wyndham and Melbourne city. Image on the right exhibits one of the two patterns that we explored using parametric design method. It consists of 15 different screens with 15 different patterns with similar nature and qualities. Each patterns will be projected onto the panels and will transform/change progressively between Wyndham and Melbourne city. Originally, we altered and changed the line weight of each pattern which in result, creates a mistifying view and silhouette of what is happening in the other side.
fig.18 Image above (fig.18) shows the transformation of pattern from one end to another. The panels towards the city of Melbourne would have busier panels and the density of the pattern would slightly decreased and less â€œbusyâ€? towards the Wyndham city. Thus, The passerby would have different experience whether they travel to Wyndham or to the Melbourne CBD. These different experiences would then subconsciously make them aware of the change of space that they are experiencing,
PATTERN OF PROGRESSION Image on the left exhibits the other pattern that we are proposing in addition to the first pattern. This pattern has the same qualities with the previous one, it will be projected onto the panels and will transform in terms of the density as it goes towards Melbourne city. Moreover, The change of density of this pattern actually an abstraction of population map.
When these patterns are projected onto the panels and are arranged in an elaborate way, it will create a similar illusion of mistifying the view on the other side just like the previous pattern.
PATTERNS! POLISH PAVILION - WWAA ARCHITECTS Our interest in pattern has led us to investigate more and more about the significance of patterns. There were view projects that have been our design drivers when it comes to designing our project. We believe that by exploring the capability and potential of pattern to achieve our goal to provoke the passerby to emotionally interact with the art installation, we could reach a high level of participation from the passerby. Through out the history pattern has been widely displayed in most of the society as it used to draw attention, deliver meaning, or perhaps just some kind of appreciation or celebration of something. Take Polish pavilion for an instance, the pattern that they used was a folk-art paper cut inspired pattern which made out of edge cut plywood and mounted on steel structure. The fabrication method of the plywood is relatively simple with the aid of the existing fabrication technologies. In term of fabricating our design, we could perhaps adopt this method of incorporating the edge-cut plywood onto rigid steel structure. Although Wyndham does not necessarily have any cultural symbol that our group can incorporate to our design like WWAA did with theirs, our group have found two patterns that are relevant with our design intent which perhaps will be a new mark of wyndham.
PATTERNS! John Lewis department store FOREIGN OFFICE ARCHITECT, LONDON
Another successful example of pattern usage in architecture that has been our drivers in designing our project. The exterior glass skin pattern is not only give a strong visual display but also has a strong relationship with the department store dating far back as 1803. The pattern was found in the old John Lewis archieve being the origin name and company success. (Seele, 2013). Furthermore, the interesting pattern also function as sun ray barrier and protect the privacy of the department story without having to block the view from inside the building. The pattern is arranged in a certain way and create a rippling illusion for the viewer. (seele, 2013). The design of this building is very successful in delivering its message through the usage of pattern and its design has also successfully created two different experiences to be had from outside and inside the department store. Our group incorporate similar nature to our design in terms of creating different experience through out the process of moving space from Wyndham to Melbourne city and vice versa by layering our panels together over one another. We believe our project can successfully delivers our design intent and hopefully convinces the jury to consider our project as the newest Wyndham city art installation.
1010 Latrobe street building ARM Architects, Melbourne
One more of successful example of building that is using pattern as one of its attraction. This building is undeniably eye catching and it makes its viewers to at least give a second glance of this building just to double check that they are seeing what they see. This building is successfully evoke the curiosity of its viewers which what makes us consider this building as one of successful example of incorporating pattern to architecture. This building easily became an icon of docklands as its high level of engagement has made it very memorable and the viewer unconsciously linked the building as the icon of the area. Our group hoping to recreate the same experience for the viewer of the installation and make it the new â€˜iconâ€™ of Wyndham.
SITE SELECTION There were three options available for us to choose in terms of where the installation would take place. we chose the biggest site with flat relatively flat landscape attribute which can be viewed from miles away whether the viewer coming to the wyndham or to the city. we chose site A because our art installation captures the transformation of space between Wyndham and Melbourne city which is relatively dramatic and we believeour model should take up the whole site to really emphasize the transformation of space. Furthermore, we really want maximum exposure to the installation for it would be the newest icon of Wyndham.
fig.25 photo montage of the installation on the site, aerial view.
GATEWAY PROJECT TECTONIC ELEMENTS
fig.26 the model of the panels without any pattern projected onto it.
F Our fabrication method was relatively easy, we did not have much too complicated elements that required our group to assemble or hand craft our model from scratch thanks to laser cutter and computation design. Knowing it would take few days for fablab to fabricate our model using laser cutter we sent off our model days before to make sure we have that a little bit of extra time to allow the group to fix little bugs here and there through out the model. We fabricated in total 6 physical models consisting the site model showing the location of where the installation would take place, panels showing the abstraction of skyline, two models showing the proposed transfomative patterns, two detailed 1:50 tectonic elements of the panels, and one model with one of our patterns projected onto the panels.
F The model assembling was rather simple, we fabricated the site model with slots that are precisely measured to fit the panels which made it easier for us to reassemble and disassemble our model. In practice we believe that constructing the installation on the site would also be relatively easy. As each panels can be considered as separate elements of the installation, the construction method could be organized into few stages. customization of the cut-edge panels would probably be the most crucial part when it comes to constructing the installation. After the panels are finalized then it comes to transporting the panels to the site, followed by reassembling each panels together before we could erect them on the site. Figure below shows the arrangement of panels on the site, the construction of this installation should be done in stages as each panels should be constructed individually.
SCALE - 1 :250
Images above show 1:50 details of the panels. Each panels consists of few strip of cut plywood bolted together with joint-element and reinforced by steel structure behind to strengthen the construction of the panel. Each panels may have few skeletal steel structure as the reinforcement. Furthermore, the steel structure of the panel will be secured by footing beneath the panels. 68
FINAL MODEL PATTERN OF PROGRESSION fig.27 view of the panel from the highway from Melbourne towards Wyndham.
FINAL MODEL PATTERN OF PROGRESSION fig.28 view of the panel from the highway from Wyndham towards the CBD
Pattern of progression - experience
Images below show the snippets of experience that will be created by the panels to the passerby. The main focus of this installation is to capture the change of space that occurred between Melbourne and Wyndham, the dynamic transformation between panels portray the change of space that is experienced by the viewer.
Images below show the transformation of patterned panels between Melbourne and Wyndham city. Each of the pattern and the panel slowly change in density and height as it gets closer to Wyndham city. The interaction between the viewer and the installation occurred when the viewer realized that they are experiencing the change of space.
GATEWAY PROJECT CONCLUSION The struggle, frustration, and the sleepless nights are through and so is the fun. Looking back to the very beginning of this project where we had no direction and did not even know where we should even begin to start the project, i can see a lot of progress that we have made whether it is personal or as a group. This section calls the end of the project which means at this point we have established something that we are really proud of and we believe is not only able to compete with other project from other group but also convince the juries to consider to take this project further into realization. It felt so great to know that those hazy ideas from the very beginning of this project have blossomed into something that i feel very realistic and advanced compared with my previous projects few semesters back. i have enjoyed this relatively insane journey to develop a realistic model through combining various ideas that we had into one agreement that satisfies everyone in our group without neglecting any aspects of the tasks that given to us. “Pattern of progression” overall form is not only based on the design brief given to our group “to make an exciting and eye-catching installation”. We developed the form of panels and pattern through abstractions and also research on the capability of pattern to create long lasting effect as symbol or marking of a place. Overall, i believe that our “pattern of progression” project has successfully delivered our design intent and complete the tasks to furnish the landscape with an “eye-catching” installation.
OBJECTIVE - OUTCOME May i just say, “man that was some journey”. This project has been quite a journey for me, a journey that has given me the opportunity to explore things that i have not got the opportunity to explore before. I have very little experience with computation design when i begin this subject few months ago and i honestly thought i would not be able to learn this much about computation and parametric design in this very short time. Reflecting back to few months ago when we first interrogated the objective of the project, I am pretty confident to say that me and my team have successfully created a relationship between the site, installation, and the viewers. We have developed a design that received positive feedback from the jury after we presented the project to the tutor and the juries/crits which convinced us that we did not do at all bad. Even though our model does look relatively simple and it is relatively easy to assemble the design process of this project is not really as simple as it looks. it might be because our lack of experience which made it really hard for us to produce even more amazing project design. However, we are really aware of this barrier which made us stick with this design and work with all our might to achieve the “pattern of progression” which we are really proud of. Furthermore, thanks for the computation and fabrication method we were able to fabricate our tectonic elements precisely as we planned. From now, not using computation design would be one step backward as i come to realized that computation design would continue to take place within architecture discourse. Good things come to and end, and now we finally have to say goodbye to this project, which somehow makes me feel both relieved and sad at the same time because i enjoyed doing it with my amazing group. i would like to thank my group, especially Mitch and my tutor, Dave who contribute a lot and has been really helpful throughout this journey.
Love, Ghery. 79
Algorithmic sketches - the power of parametric design
fig.28 sectioning/ stratification definition
fig.29 second pattern definition
fig.30 projecting pattern definition
These figures are the final definition of our project design. Figure.28 is the definition of the panels. the development method of the panels was to create a single surface which in case is the abstraction of Wyndham and melbourne city skyline and devide them into 15 sections which will become the panel for our design. Figure.29 is the definition of the second pattern. It was a huge challange for me to re-develop this pattern. Thanks for online lectures, tutorial, and example that i found from the internet i was able to re-apply and incorporate the knowledge that i gained from uni with other informations that i gathered. it was a huge challenge to understand the input and output of grasshopper and to teach myself the nature of grasshopper. This pattern is basically developed by creating hexagons and finding its mid-point which later will be used to create circular curves. The pattern gets even more interesting when the hexagons are divided into sections using â€œexplodeâ€? option and repeat the similar nature of creating circular curves in the middle of the sectioned hexagon. Figure.30 is simply the method of projecting the pattern onto the panels that are developed using the definition exhibited in Figure.28.
BIBLIOGRAPHY Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 Cattermore, P., 2007, Bizzare buildings. (united states. Firefly Books Ltd). Murphy, B., 2002. the Centre Culturel Tjibaou (Tjibaou CulturalCentre), Retrieved from http://www.anu.edu.au/hrc/ publications/hr/issue1_2002/download/Murphy.pdf on 16th aug 2013. Findley, L., 2002, Building change, Routledged, United kingdom. Jodidio, p., 2012, Zaha Hdid: The Explosion Reforming Space. (Germany: Florian Koble rCologne). Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 Matsys, 2000. Diploid lamp series. Retrieved from http://matsysdesign.com/2009/11/19/diploid-lamp-series/ on 17th aug 2013. Iwamottoscott., 2008. Vousoir cloud. retrieved from http://www.iwamotoscott.com/filter/FEATURED/VOUSSOIRCLOUD on 18th aug 2013. Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 Schumacher., P, 2010, parametricism - ‘Let the style wars begin’ retrieved from http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article on 18th aug 2013. Matsys, 2000. CHRYSALIS (III) retrieved from http://matsysdesign.com/2012/04/13/chrysalis-iii/ on 25th september 2013.
Seele, 2013. John Lewis Department Store, leichester, UK. retreieved from http://seele.com/facesen/shopping-center-john-lewis-department-store-leicester.html on 3rd november 2013.
IMAGE REFERENCES fig.1http://www.flickr.com/photos/-ajm/9469319247/sizes/o/in/photostream/ fig.2 http://www.rpbw.com/project/41/jean-marie-tjibaou-cultural-center/ fig.3http://www.rpbw.com/project/41/jean-marie-tjibaou-cultural-center/ fig.4 http://www.rpbw.com/project/41/jean-marie-tjibaou-cultural-center/ fig.5 http://www.vogue.com/culture/article/form-in-motion-architect-zaha-hadid-on-her-exhibitat-the-philadelphia-museum-of-art/#1 fig.6 http://www.zaha-hadid.com/architecture/ fig.7http://www.zaha-hadid.com/architecture/ fig.9 http://matsysdesign.com/2009/11/19/diploid-lamp-series/ fig.10 http://www.archdaily.com/160584/the-conga-room-belzberg-architects/conga-room-photob25/ fig,.11 http://www.zaha-hadid.com/architecture/galaxy-soho/# fig.12 http://www.iwamotoscott.com/filter/FEATURED/VOUSSOIR-CLOUD fig.13 http://www.archdaily.com/42581/banq-office-da/bnq_cp_007/ fig.14 http://www.archdaily.com/42581/banq-office-da/bnq_cp_002/ fig.15 http://matsysdesign.com/2012/04/13/chrysalis-iii/ fig.16 taken by Ghery fig.17 taken by Ghery fig.18 taken by Ghery fig.19 taken by Ghery fig.20 taken by Ghery fig.21 http://www.designboom.com/architecture/polish-pavilion-at-shanghai-world-expo-2010/ fig.22 http://seele.com/faces-en/shopping-center-john-lewis-department-store-leicester.html fig.23 http://www.digitalharbour.com.au/existing/1010_la_trobe_street fig.24 http://app.lms.unimelb.edu.au/webapps/portal/frameset.jsp?tab_group=courses&url= %2Fwebapps%2Fblackboard%2Fcontent%2FcontentWrapper.jsp%3Fcontent_id%3D_39 94463_1%26displayName%3DLinked%2BFile%26course_id%3D_262348_1%26navItem%3Dcontent%26attachment%3Dtrue%26href%3D%252Fwebapps%252Flobj-campuspack-bb_ bb60%252Flaunch%252FsetupForm.form%253Fcourse_id%253D_262348_1%2526contentId%25 3D_3994463_1 fig.25 photo montage created by Ghery fig.26 taken by Ghery fig.27 taken by Ghery fig.28 taken by Ghery