Cfi 540875 rong(rose)fan

A RCH I T E C T UR A L STUDI O RONG FAN 540875

AR I

Architecture has never been my prime choice of career, nor do I breathe and live architecture. However, the respect and admiration I have had for the built materialistic environment has never changed, if not perhaps it has even grown. Taking lesson in drawing as a child my parents have always hoped it would teach me the art of patients, instead, it opened a new door in my life. It was my love of craft that spirited my parents into encouraging me into architecture.

My personal experience with computers and parametric modelling has not always being a pleasant experience. In short we have always had and always will have a love hate relationship.

During my short contact with Rhino in virtual environments, I learnt the main reason why programers end up with very thick glasses. As from above, you can see the geometry I finished with. Due to fabrication reasons, my lantern in the end was not completed to the level I would have wished it to be, because then it was much out of my abilities.

After one and a half years, I cannot say that I have reached the level of perfection, but I have believe I have worked hard enough to say, I have the confidence and abilities to now take on the Gateway Project. I have always believed that the visuals can speak for themselves.

PERSONAL EXPERIENCE

CASE FOR INNOVATION Architecture as a Discourse: Computational Architecture: Parametric Modelling: Algorithmic Explorations: Conclusion: Learning Outcome: Bibliography for Part A

07 - 13 14 - 19 20 - 27 28 - 33 34 35 36

DESIGN APPROACH Design Approach: Design Concept: Case Study 1.0: Case Study 2.0: Exploration: Case Study 3.0: Stress Prototype: Technique Proposal: Algorithmic Sketches: Learning Outcome: Bibliography for Part B:

41 42 - 47 48 - 53 54 - 65 66 - 77 78 - 81 82 - 89 90 - 91 91 - 93 94 96

PROJECT PROPOSAL Design Concept: Site Analysis: Shard Exploration: Landscape Exploration: Positioning: Orientation: Objects: Algorithmic Sketches: Final Design: Fabrication: Fabrication Documents: Fabrication Process: Construction: Feedback: Learning Outcome:

100 - 103 104 - 105 108 - 113 114 - 117 118 119 120 - 121 122 - 123 124 - 129 130 - 131 132 - 139 140 - 141 142 - 145 148 149

CASE FOR INNOVATION

A R C H I T E C TURE AS A DISCOURSE

Architects were once seen as master builders, professionals that would not only envision the building but also build it. In the digital age, architects are no longer just master builders, yet artists capable of discourse. Architecture has always had an unique quality to change the environment, not as an act of creation but as an act of protection and evolution, slowly architecture became the language the urban landscape expresses itself. It is public art in the highest degree.

Frank Llyod Wright once said "The architect must be a prophet... a prophet in the true sense of the term... if he can't see at least ten years ahead don't call him an architect."

It is in this new millennium that we have come to see how digital technology has changed our cities. With this change came new forms of design, new forms of geometric shapes unimaginable, unthought-of , unseen. It is with algorithmic design and parametric modelling that we may 'prophesize' the future.

Algorithmic design has the uncanny ability to allow us to use tools to design as nature does. Just as nature uses codes to generate our organic environment, we can use codes to generate our built environment. By making small changes to the algorithms we are able to mould our creations into diverse patterns and variations. Along with the aid of parametric modelling we are able to derive from the landscape and communicate in visual forms which allow intimate interaction with the immediate site.

With the innovations of computation comes new tools, new forms, new processes, a new urban landscape. The limitations architects once faced has now changed, from the once inability to communicate our thoughts we are now able to show, exhibit and elaborate in visually spectacular forms.

The change in method also denotes the change in processing information. In contrast to past diagrammatic processes, with the aid of computers and new technology we are now able to process larger amounts of information more accurately and quickly, allowing efficient problem solving saving not only material but also time.

The Gateway project in itself can be a discourse. An idea that can influence one's emotional and physical senses. Through the use of computation with the aid of algorithmic design and parametric modelling we are able to change and mould the project into the future. A chance to 'prophesize'.

Architects: Fernando Romero and Armando Ramos, FR-EE [Frenado Romero EnterprisE] Year: 2005 – 2011 Client: Fundación Carlos Slim

MUSEO SOUMAYA Together with laser scanning, parametric modelling and algorithmic technology this otherwise impossible building was designed with two aims, to hold one of the world’s largest private collections and to rejuvenate the old industrial area where it stands today. With the aid of both a physical model and a parametric model this double curved surface this design is almost impossible to be represented in traditional two dimensional formats.

With the use of the computer, architects and construction professionals were able to communicate with each other with precise accuracy. Paving a new form of design and communication.

Bringing about this new format of design, the Museo no doubt has become a precedent for local architects.

image sources: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1556/pdf

image sources: http://matsysdesign.com/wp-content/uploads/2013/01/ShellStar-7852.jpg

SHELLSTAR PAVILION We often categories architecture as a building and seem to forget that architecture is simply the understanding of space.

Commissioned by Detour, Andrew Kudless and Matsys’s new work stood in the middle of an empty lot, where in December 2012 became the centre piece to this once harsh space.

Designed to attract festival goers, the vortex acts as a light attracting pass byers in, to only draw them through the structure then back out into a different space, this pavilion showcases how far parametric modeling and algorithmic design has come.

Taking only 6 weeks from the design process through to fabrication, the Grasshopper and Kangaroo created structure opened the eyes of many visitors. Visually and sensually creating circulation and interest in geometric form, just like Museo Soumaya the pavilion is a point of interest, enticing the wider public to see and think about architecture and in turn how the world has changed. From the once black and white restricted world to the virtual space that is the internet, computerization has allowed ideas to flow change and be expressed without the limits of two dimensional space.

Architects: Matsys and Andrew Kudless Year: 2012 Location: Wan Chai, Hong Kong

COMPUTATIONAL ARCHITECTURE

Computing has the unique way of amplifying the design process. By allowing the designer to explore the ‘design space’ unlike before. As motioned in the last section with the arrival of the computer period, comes many tools that has help amplify the architects’ ability to explore, recall, replay and backup.

Nearly every architectural design software available on the market today has the ability to do all these commands. Due to the speed in which these programs work at, steps or even series of steps can be reproduced, eliminated and duplicated within the matter of seconds. It’s these tools and commands that has allowed the architect the ability to explore the design process at a much faster rate, hence covering greater breadth than ever before. Producing one of the kind designs that can relate immediately to the site.

While programs of the past such as CAD programs allow the user to draft at higher speeds, they only have the ability to just copy and paste. When copy and pasting, they are merely bringing an aspect of a design from one environment into the next without the change and relation of the new site.

However with the use of parametric modelling we are able to set boundaries and values in direct response to the new site and derive from the original design to create derivatives of the original moulded into the new site. With programs such as these we are able develop new designs and explore more designs without the limitations of time. This marks a new road in architectural theory, we are now able to design and develop at much higher speed and efficiency then before, all done without the corruption and destruction of the original drafts.

Benefiting not only the architects, the construction industry is also able to use these programs to not only communicate with construction professionals and architects but also produce architecture more accurately and environmentally sustainable. Tools in parametric modelling allows the user to ‘unfold’ and create plans with outstanding accuracy which allows the manufacturer to produce parts and elements off site in a controlled environment. In turn reduces the amount of resources used in the process of experimenting as that element is eliminated.

image sources: http://mats

sysdesign.com/wp-content/uploads/2009/06/matsys_pwall.jpg

image sources: http://www.michael-hansmeyer.com/projects/platonic_solids.html?screenSize=1&color=1#7

PLATONIC SOLIDS Platonic Solids look to explore Architect: Michael- Hansmeyer’s operations-based geometric process and Hansmeyer the geometries. By using the CatmullClark and Doo-Sabin algorithms and a set Year: 2008 of complex parameters, modelling tools able to generate and explore these Purpose: To explore the are uniquely moulded solids. These complex and geometries are generated by possibilities of design patterns subdivision. Originally designed to create space smooth curved surfaces, Hansmeyer has chosen to explore the variety and limitations that comes with reapplying the one primitive.

The Solids are a prime example of what computational architecture can take design, and shows only a small wedge of what software and parametric modelling can do.

It also demonstrates the representational prowess computers have in comparison with traditional methods. These complex surfaces and geometries would be nearly impossible to be generated from traditional methods.

CAPITAL HIM

Architects: [Ay] architecture from its environment and inspiraYear: 2011 Drawing tion Captial h i m excels in the use of digital Client: Non Pop-Up tools. By drawing on the spatial properties of the structure that the retail store already Store competition embodies this unique pop-up store designed the Non Pop-Up store competition held in NewYork for New York stands at the frontier in parametric modelling.

Drawing from the structural members and corners of the store and their connection with each other this space aims to describe whimsical components of fashion designer

image sources: http://www.ayarchitecture.com/capital-h-i-mcolor=1#7

Nicola Formichett’s work and unique style.

Demonstrating how computerisation with the help of parametric modelling can create geometries unique and drawn straight from its immediate environment.

In this case, the relation from the environment is much too complicated for traditional methods hence adding to the case of computerisation.

image sources: http://www.unstudio.com/projects/burnham-pavilion

PARAMETRIC MODELLING

Parametric modelling has had both bad a good press, opening up both new doors and closing others. Parametric modeling has the ability to allow us as architects and designers to find, model and explore new geometries, however it has also become a limit in our abilities.

Just like a new toy that allows the user certain ways of play, it also dictates how the user plays with it. Parametric modelling is similar. It has allowed architects and engineers to develop and communicate in more accurate and visual ways.

By doing so it has speed up processes and in many cases saved money for the developer.

Architects have used parametric modeling to simplify complex geometries and to find these complex geometries. As the computer is able to store larger amounts of information, complex and large pools of values can be feed into the computer to form these mathematically complex shapes. With that said, the limitations of parametric modelling is the ability to both understand these mathematically complex geometries and parameters and use them to create interesting brand new objects unseen before.

As Modelling software can often be hard to understand and have many different ways to perform the same act, it is hard for a large group of designers to work on the same parameter at once. Grasshopper for example allows the user many ways to create a line, weather you assign a certain curve into the system, or if you first create points, then use those points to connect up to a line, or perhaps the creation of a surface then transformed into a line. There are many ways to create one design and often hard to explain to another how the shape came to be. Hence making working in a large team harder.

Though working in a larger team has it’s benefits, a small team means a deeper understanding of the project and smaller costs. Parametric modeling for the Gateway project will not only create an iconic piece of man-made structure, but also allow this structure to communicate to others through visually enticing formats. By working with parametric models we are able to understand the materials we use better and simply stuctural aspects that can make the consturction period not only shorter but simplier.

Location: The University of Stuttgart Year: 2010

ICD/OTKE RESERCH PAVILION The bending of material has been used greatly throughout architecture, however we have only been able to use science to prove mathematically how these members work.

Now with the help of parametric modelling, we can show visually how these members work.

By using parametric modelling, the research group has brought forth the combination of physics and architecture to a new frontier. By modelling on softwares such as Rhino the team was able to set up parameters where

the plywood members would be under both tension and compression. Allowing the designer to visually see the loads and forces.

All of this is done with the information gained through smaller experiments done in the lab, almost a magnification of the results.

This combination allows the designer to push materials and use materials in ways once unthought of, or just too complicated to prove do-able.

image sources: http://icd.uni-stuttgart.de/?p=4458

http://www.unstudio.com/projects/the-museum-of-middle-eastern-modern-art-momema

http://www.unstudio.com/projects/the-museum-of-middle-eastern-modern-art-momema

MOMEMA Bringing visuals into built projects is something the UN Studio is more than just famous for.

Their use of parametric modelling the firm has being able to express their designs in graphic visuals.

Other then just the visuals of the representation the architecture itself can be turned into unseen urban landscape. The complexity of the shape and the complex organization of space inside the complex cannot be planned out properly and with high accuracy without the help of parametric software.

Architect: UN Studio Year: 2008 Stage: Design Stage

GRASSHOPPER

Grasshopper experiments: Lofting Shapes. I’ve found when lofting with Grasshopper you are able to see and find the final reason why the curves are not lofting in the correct form.

GRASSHOPPER

Grasshopper experiments: By changing the direction of the actural model of even the vector units we are able to reproduce the same effect onto the same model at different angles creating intresting results

CONCLUSION Architecture is a built form of imagination and it is this imagination that has allowed us to build skyscrapers as tall as the sky. It has a unique influence to change the way we think, hence architecture itself is a Discourse. It is with architecture that we are now able to change lifestyles and habits. The new steps to be taken are already here, computational architecture is without a doubt apart of the future.

Computational architecture is not only a great tool in form finding but also something that can help architects plan, organize and visualise our designs in a more graphic and representational form. The Gateway Project is a great opportunity to create an iconic new structure in facing the future. By using computers we are able to design complex geometries that function and relate to the immediate environment.

By using parametric modelling in this project, we are able to lead Melbourne and change the stereotype of what architecture is and what it can be. The use of a computer in this project is paramount, in both its efficiency and communicational benefits. With a smaller team, we are able to provide accuracy and cost efficient solutions, saving not only time but also the cost.

The design approach for this project is a simple one, functionality and great looks, what architecture is about. The purest form of design, a great geometric shape that performs it’s job without losing incentive to look sophisticated, balanced and unique. A simple goal to make it iconic.

I can’t deny it, before starting this semester I was really scared of starting this studio, but after 4 weeks of it and the theory and grasshopper tutorials we’ve gone through computational architecture and parametric modelling has become more interesting. Mainly due to how I now understand [just a little] about how these master pieces are made and can be made. I think if I was to become more confident in Grasshopper by the end of the semester, I wouldn’t mind going back to past projects and taking a shot at Grasshopper-ing them and making them look really different and wacky. But that’s only ‘if’.

LEARNING O U T C O M E

BIBLIOGRAPHY For Part A

Achimmenges (2010) ICD/ITKE Research Pavilion 2010 Available: http:// www.achimmenges.net/?p=4443 Last accessed 22nd March 2013 [Ay]architects (2011) Captial h-i-m Available: http://www.ayarchitecture. com/capital-h-i-m Last accessed 22nd March 2013 Matsys. (2012) Starshell Pavilion. Available: http://matsysdesign.com/category/projects/shell-star-pavilion/. Last accessed 22nd March 2013 Micheal Hansmeyer (2008) Platonic Solids Available: http://www.michaelhansmeyer.com/projects/platonic_solids_info.html?screenSize=1&color=1# undefined. Last accessed 22nd March 2013 Museo Soumaya (2011) Available: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1556/pdf. Last accessed 22nd March 2013 Woodbury Wither Space. Available: https://app.lms.unimelb.edu. au/bbcswebdav/pid-3815742-dt-content-rid-11971435_2/courses/ ABPL30048_2013_SM1/Readings/woodbury_wither_space_06.pdf Last accessed 22nd March 2013 UNstudios (2008) Available: http://www.unstudio.com/projects/the-museum-of-middle-eastern-modern-art-momema Last accessed 22nd March 2013

DESIGN APPROACH

D E S I G N APPROACH

When asked to choose a specific approach towards the Gateway project, we can only say one, iconic.

Sections can be looked at from many different angles. Our group first stuck closely to the sections from the precedents we found such as the Banq Restaurant and Urban A&O’s outdoor sculpture. It wasn’t until a brain storming session in our studio did we think to pull apart that of what a section is. Looking from sandwich sections, to the Wall House, we ended in one conclusion, sections were concepts of one direction. Where only one direction of the interior view can be seen, expressed, hidden and represented.

Bringing this into the Gateway project, we aim to express sections as ‘one way’. The one way Gateway into Wyndham were visitors will voluntarily stay unwilling to return to the urban rush of the Melbourne CBD. The creation process of the design focus for the Gateway project in itself is another project. From fictional stories of Zombies to arguments on Victoria’s notorious nick name “the nanny state”, our group fiddled and fought over our main contention.

Our ‘one way’ concept ties directly to the idea of a border security checkpoint. Where personals passing the checkpoint need to stop, pass through a ‘no man’s land’ and then onto another checkpoint. With our design we want people to question where they are going, why are they going and the repercussions of where they are heading.

Soon after our first concept was arrived at, we started to look at Le Corbusier’s Ronchamp windows. The geometric shape that causes the filtration and diffusion of the light was fascinating and intriguing. Slowly after looking through our experiments, prototypes our concept of the ‘one way’ solidified.

Infusing the use of parametric design, we are not only interested in placing Wyndham onto the map, but also packaging it to be the place of the future, where architecture, culture and people come together onto this common ground.

DESIGN CONCEPT STRUCTURE

SOCIAL

PROGRAM

STRUCTURE Sectioning is structurally efficient, having the ability to be both the support structure and the facade. This equates to an cost effective method as well as a visually interesting project.

In Foster + Partners’ Kogod Courtyard the sectioning waffle acts both as the facade fabric and also as the structure that transfers the loads onto the columns

image source: http://resources1.news.com.au/images/2012/11/11/1226514/631141-kogod-courtyard-smithsonian-american-art-museum.jpg

SOCIAL

We have come too see architecture as a section of society having the ability to change people’s perceptions and environment, it was this motive that pushed us forward in the exploration of our project.

Lebbeus Woods’s paper architecture has always challenged at how people looked at buildings and the restrictions in position in order to restrict ones perception.

image source: http://www.architizer.com/en_us/blog/dyn/75390/lebbeus-woods-sfmoma/

PROGRAM Other then physical sectioning. It is also the division of functionality, and organization of spaces that makes it visually and physically interesting The Wall House by John Hejduk is a literal example of sectional separation between the two part function of the house, the front being the public and the back the private.

image source: http://ad009cdnb.archdaily.net/wp-content/uploads/2012/02/1328507687-wall22.jpg

ONE WAY ONE WAY

With our one way concept we want to the alternate conventional programing of people being drawn into the city. With our One Way concept we want to draw people away from the city, to change their perceptions of urban life. We want to ask the question ‘why are people drawn to the CBD?’ ‘What consequences comes from people gathering at the CBD?’

BANQ RESTAURANT

Firm: Office dA Architect: Dan Gallagher Year: 2006 - 2008 Location: Boston

image source: http://www.designrulz.com/outdoor-design/2013/02/the-best-new-restaurant-banq-by-office-da/

BANq RESTAURANT The Banq Restaurant located in Boston is one of the prime precedents we have chosen for our Gateway Project.

The use of contours, and then the sectioning of those contours is something easily duplicated yet unique. Structurally sound these sections can become the base for not only facades but also other sections.

Firm: Office dA Architect: Dan Gallagher Year: 2006-2008 Location: Boston

The main interest in this project comes from the quality of the sections to deflect and absorb light while also becoming a screen for the shadows created.

Offics dA’s two main discourses within their firm, one of them being the research into the one material and using that one material to create and express the design in relation to the properties of that material. The second is to undermine the current construction methods in terms of how they can create new inventive ways to build and construct buildings.

image source: http://www.designrulz.com/outdoor-design/2013/02/the-best-new-restaurant-banq-by-office-da/?fullscreen=true

MATRIX

The amplifacation of the cruves along the X-axis

TECH 1

V ONE

V TWO

V THREE

V FOUR

V FIVE V SIX

V SEVEN

The amplifacation of the cruves along the Y-axis

TECH 2

The amplifacation of the cruves along the Z-axis

TECH 3

The rotation of the sectional pannels along X-axis

TECH 4

The rotation of the sectional pannels along Y-axis

TECH 5

The rotation of the sectional pannels along Z-axis

TECH 6

TECHNIQUE 3, V1

Sticking closley to the Banq Resturant, the model choosen is ideal for a large space where coverage is needed. The peaks seen can be amplified further to extagerate the pannels further just like the Resturant’s pannels.

Creating a man-made and controlled topography

TECHNIQUE 3, V5

Moving away from the Restaurant. Version 5 begins to explore the limitations of the definition. Becoming longer and strip like, the model started to replicate a bridge or a connection more so then a topography.

The shape created with this change created a balance of peaks and smooth landings.

TECHNIQUE 3, V6

Unlike version 5, version 6 see a flattering out of the peaks seen in version 5. Though this model seems to be smoothing it, the balance seen in version 5 is further enhanced in this model, making it more regulated in relation to the natural landscapes

TECHNIQUE 3, V7

Just like version 6, version 7 is a further enhancement of version 6. This model/ version is also my favorite.

The movenment along the surface of the overall modle ia varied yet subtle a more modest verson of it’s previous sucessors.

Making it more suitable to be place on the side of the road to act as a wall.

Due to the parameters set, the amplification along the Z-axis determined the amount of the surface covered by the actual definition hence as the versions went on, the actual model became thinner and began to regulate and smooth out, creating unique stripes instead of the original square surface. It is this quality that brought me to select all the outcomes out of technique 3.

Closely looking at the other techniques and versions, there are small detailed aspects of the models that would not be able to be fabricated. Ether due to the overly curved panels, or the interception of the panels.

Grasshopper has allowed me explore this design space much more quickly and rationally then if to be done by traditional 3D modelling methods. By change a series of sliders attached onto my definition I was able to amplify, change directions and even the number of panels without having to recreate a new model each time, hence allowing me to see a larger group of varieties and also showed varieties I didn’t expect to be created by the definition (prime example technique 3)

OUTCOMES

image source: http://plusmood.com/2012/12/saltworks-urban-ao/mbp_2465_low-rez/

Workshop run by: Joe MacDonald Year: 2012 Location: Washington University School of Architecture

URBAN A&O

With aims to replicate and understand how patterns in nature together with properties of materials can be utilized in architecture this workshop aimed to create a piece that played with the different properties of light.

Designed with the use of Grasshopper, this outdoor sculpture with an organic form is not only interesting for the eyes but also structurally sound.

The main attraction of this precedent for our group was it’s shapes that were extracted from the whole body of sections and the well incorporated use of the two different materials (plywood and plastic).

It’s the removal of the positive shapes that in turn creates fascinating negative spaces. The project aims to look at how patterns in nature are not repeated (just like the pattern on a giraffe) and aims to recreate it with the negative spaces extracted from the main body.

The scale of the project is also what attracted us, in terms of a whole the project is interesting and intriguing, but on closer inspection the unique collaboration of the plastic and plywood together create both a high light and a shadowing.

OUR BLOB

Our main aim here was to recreate and extend the geometric shape and material qualities of the Outdoor sculpture. We did this by experimenting with coloured lights and the use of Perspex and Plywood

LIGHTING

The LED lights added into the Blob adds an extra dimension to the model, however the use of clear LED’s meant a very focused area of lighting causing the light to group at one area. We hope to find some defused LED’s in-order to experiment with a more diffused source

EXPLORATION

After exploring through waffles and plain sections, it wasn’t hard to see that they were very plain. The outcomes we came to after case study one and two were the similar and failed to create the same level of fascination and intrigue we aimed for. We also failed to take into account our discussions over the theoretical side to sectioning. We took to explore modulating. Our group went away to think individually then combining as a whole again to discuss and brainstorm our creations.

HONEYCOMBS

GRID

HEX GRID

SCALE

LINE

LOFT

MOVE UP AND SCALED SMALLER

CONNECTION OF TWO GRIDS

SURFACE MADE OUT OF THE CONNECTIONS

After the pure sectioning of our case studies we turned away from the rectangular form and started to play with the HexGrid in grasshopper. From the grids we tried to mimic the funnel shape of the Ronchamp windows.

While the fabrication of this prototype was relatively simple, material properties of the box card was much too soft for the hexagons, as they are designed to be the same size and orientation, what was needed was a much more rigid material like MDF or Plywood. Due to the limitations of the laser cutter, the angles between the hexagon panels would need to be manually sanded. The joinery of this prototype needs more attention.

HONEYCOMBS

GRID

HEX GRID

CENTRE

SCALE

SELECTING THE CENTRE OF THE HEX

MOVING THE GRID UP AND SCALING SMALLER

RIB

SLICING THE MODEL CREATE THE RIBS

TO

The last exploration used the scaling of the whole grid, while with this prototype we experimented with the scaling of the hexagons in reference to their center points, from there we sliced horizontally to create sections up the funnels.

With this model we were able to use a more rigid material as there were no angled joints. However due to issues with the computer model stage we did not take into account the thickness of the material, hence the spacings holding up the different levels of the model were cut individually and glued individually.

HONEYCOMBS

GRID

HEX GRID

SCALE

LINE

DIVIDE

MOVE UP AND SCALED SMALLER

CONNECTION OF TWO GRIDS

DIVISION OF THE CONNECTED GRIDS

GRID

CONNECTION OF THE DIVIDED LINES

For our last play with hexagons we mixed the two prototypes together to visually see the impact.

By mixing the two up, we failed to re-create the Ronchamp lighting effects as the light was escaping through the separation spaces in between the different levels.

EXTRUD

SLICING THE MO CREATE THE RI

DE

ODEL IBS

TO

WAFFLES SURFACE

REFERENCE GEOMETRY FROM RHINO

DIVIDE

RIB

DIVIDE SURFACE INTO GRID

EXTRUDE GRID LINES

Moving back to girding onto a reference surface, we started to mould onto surfaces made in Rhino, the curve of the surface on Rhino stretched and pulled the grid creating variations of the grids.

Two physical prototypes were made from this design, the first being the smaller scaled one (in the image to the right) worked extremely well as the box card was rigid enough to hold the shape. The second was at a larger scaled and had larger variations, in this case the box card wasn’t rigid enough to hold the shape causes the ribs and panels to bend and twist in the end breaking.

WAFFLES

SURFACE

REFERENCE SURFACE FROM RHINO

HONEYCOMB

EXTRUDE

CREATING THE HONEYCOMB

EXTRUDING THE GRID

Taking from our explorations from the Honeycombs, we experimented with the honeycomb in reference to a surface. Here a softer and more flexible material was choose, paper card.

After the making of the physical model as we played and looked at the model we noticed it’s sponge like qualities. From here we looked into this unexpected quality.

image source: http://4.bp.blogspot.com/_04Dih9KN38I/TB3J2eePtKI/AAAAAAAAAbs/l_xZ7lhWkTE/s1600/Japan.JPG

image source: http://adventuresinarchitecture.blogspot.com.au/2010_06_01_archive.html

Year: 2010 Location: Shanghai 2010 Exposition China Architect : Yutaka Hikosaka

JAPANESE PAVILION While at my time in Shanghai at the Expo the Japanese Pavilion was one definitely one of the standouts, not only because it looked like Pikachu, but because you could actually see the pavilion breathing.

The Pavilion is made up of two skins, the exterior ETFE film was designed to be translucent to allow the sun to reach the PV cells inside the skin. While the second skin blocks 99.99% of the sun from getting to the interior the skin as a whole can generate 37kW which is 10-15% of the total electricity use of the pavilion. The main reason why the PV cells are placed inside the pillows is to ultimately protect the system from extreme conditions so it could even be used at the poles. To Help keep the temperature down inside the pavilion the Eco Tubes (the ear like object sticking out and being pulled into the pavilion) collects rain water for the sprinklers which are then used to spray water onto the exterior layer of the ETFE film.

The Eco tubes also act as a source of air circulation to help pull fresh air into the ground level of the pavilion.

The study of this Pavilion had given us the main idea into creating the inflatable balloons which will create the compression element of our gate way. It also provides us a form of power generation, this system will also help the people not only in Wyndham but in Victoria to learn about high technological architecture which connects directly with it’s surroundings.

STRESS

The sponge quality of the paper waffle reminded all of us of stress balls. With this in mind, we went back to our concept, why do we want people to move away from the city and be drawn to Wyndham? What good will come out of this?

The Melbourne CBD is the centre of culture, transport, business and stress. The everyday hustle and bustle of the city is no doubt stressful.

We wanted to express the stress levels along the Gateway as an interactive part.

From this we looked into how this could be represented in architecture, the most obvious answer being compression. With this in mind we went back to grasshopper. With the aid of the starling plugin in grasshopper to create more exaggerated surfaces we were able to come up with our last prototype.

STRESS EXPLORATION SURFACE

REFERENCE SURFACE FROM RHINO

MESH

GRID

MOVE

EXTRUDE

TURNING THE SURFACE INTO A MESH

CREATING A GRID FROM THE MESH

MOVING THE GRID POINTS

EXTRUDING THE GRID

After meshing the surface we on to create the honeycombed surface. Our main idea for this came from the Japanese Pavilion exhibited at the Shanghai Expo 2010. The Japanese Pavilion had the ability to breath hence the movement of the panels and the ability for the balloons to push the whole structure expressing stress.

It is our main aim to create interactive architecture where the cars going by acts as stress nodes, contributing to the amount of air passed into the balloons hence pushing the structure in different levels creating different levels of compression in the structure.

STRESS PROTOTYPE

By using the balloons as a form of pressure, the waffle grid made out of paper compresses and disfigures just as how human perception may become short sighted and warped. The variation sizing of the waffle hole is the control point over how much the waffle is compressed.

Due to the flexible nature of paper there comes a need for a rigid bracing to help contain the wall while under pressure. During the fabrication process of this prototype we found that the plywood was not able to withstand the pressure placed onto it by the balloons. Further experiments and prototypes will need to be conducted on more rigid materials to withstand the pressure load passed on by the inflated balloons and also the waffle within the framing. The waffle’s material needs to be able to react against the pressure while also collapsing. Our group still needs to discuss and experiment further.

The direction we are headed in has being set, now it is a question of how this design will act in the future, weather if the structure will decay and break away along with the aging of time, expressing the harsh side effects of overloaded stress on a person. Or if the design will express how people living under stress are able to bounce back and thrive under the stress. These are elements our group still have to work through and explore further.

image source: Melbourne University Studio Air Site Photos Zip.

TECHNIQUE P R O P O S A L

From above the techniques explored seems to scattered, disorganised, however the techniques explored outlines the thought process of our group.

The outcome of our exploration is simple, with the aid of parametric design, Wyndham City will be placed onto the map not only on in terms of design but also the technology used for this project. The technique chosen sends a stronger message to people visiting and living in Victoria. The waffle wall is flexible in it’s form to mould onto the site, while also expressing the site. As outlined under the Design Concept, the technique of sectioning allows the Gateway to act as a structure, a program and also that of a social message.

By physically showing stress as a set of compression we can draw attention to the on growing stresses of modern day life.

Though the cost of this project may be higher then others, it is a great chance for the city of Wyndham to stand at the forefront of technology and design. The technology explored in this proposal is able to sustain itself and also draw attention to the need of technological advances needed for the future generations. It is also a chance to educate and draw interest to Wyndham City as a place that embraces problems, issues and is not afraid to move forward in solving them.

GRASSHOPPER

Grasshopper experiments: The definition showed was an exploration in the of scales and sliders to allow and accommodate change. Through the sliders and reference points the definition is able to change in scale, size and direction. It is this aspect of parametric design that fascinates me the most, the ability to adapt and change if needed.

LEARNING OUTCOMES

The feedback given was expected, while looking into our exploration and designs it was hard to miss the ‘been there done that’ screaming out at us. It was also this element that forced and allowed us to explore so many different techniques in search of what we were looking for. Until the last week before the journals submission date we were still unsure of what we were searching for and now we know.

Ironic as it is, our group thrived under pressure and developed something that interested all of us, it was also the pressure we felt after the mid semester presentations that inspired us.

Our new design direction now relates to air, as it is the air pressure that will determine the compression. During this section of our course I was inspired more or less by paper architecture more then built. Never have I thought that paper architecture would be able to influence built works and how architecture relates and reflects back onto society.

The exploration also added momentum in learning more about grasshopper and exploration through grasshopper.

The pressure after the feedback also made me think differently then before, encouraging me to just go for it and in the end, it was this aspect of the project that got our group over the edge.

BIBLIOGRAPHY For Part B

Design Rulz. (2010). The Best New Restaurant - BANQ by Office dA. Available: http://www.designrulz.com/outdoor-design/2013/02/the-best-newrestaurant-banq-by-office-da/. Last accessed 23rd April 2013.

Archidaily. (2009). Banq Office. Available: http://www.archdaily.com/42581/ banq-office-da/. Last accessed 23rd April 2013.

Jimmy M. (2012). Saltworks Urban A&O. Available: http://plusmood. com/2012/12/saltworks-urban-ao/. Last accessed 23rd April 2013.

David Basulto. (2009). AD Interviews: Nadar Tehrani, Office dA. Available: ) http://www.archdaily.com/42483/ad-interviews-nader-tehrani-office-da/.

Last accessed 23rd April 2013. the super slice. (2012). Lebbeus Woods 1940-2012. Available: http://thesuperslice.com/2012/10/30/lebbeus-woods-1940-2012/. Last accessed 30th April 2013.

Kikuko Tagawa. (2011). Building innovation at Shanghai Expo. Available: http://fabricarchitecturemag.com/articles/0511_f2_shanghai_expo.html.

Last accessed 9th May 2013.

PROJECT PROPOSAL

EYE CATCHING PUT IT ON THE MAP

NEW IDEAS

CONVERSATION

DISCOURSE

NO TUNNEL

ICONIC

ABSTRACT ANTIPERSONNEL

DESIGN CONCEPT

The main design concept for our project is simple. A discussion, and for Wyndham to become the starting point of that discussion, a simplistic section look into the highway.

This will not only become the iconic centre piece of the highway but also the sign post into Wyndham.

The node of stress is evident in everyday life, after looking at the site and analyzing the movement around the site, we have found that there at the end of the two highways hold a final node, one filled with stress and the other the space for unloading stress.

Wanting to take a stereotypical approach to allow for recognition, shards and the earth was chosen to represent this. Forming Grasshopper scripts for the location, magnitude and the geometries for the cracks, the final form was achieved through parametric design.

THE WHOLE DISTINCTIVE

ORGANISATION JOINS/SEPARATES

DIVISION LAYERS

COMPONENTS

DESIGN TOOL

TACTILITY

2D PLANE LOGIC

FUNCTIONS image source: http://scanwiches.com/image/22262787322

DISRUPTION Sectioning is a process that has be regularly used within design and many other fields, it is a choice made based on three main reasons as mentioned in the last part, however this also acts as a challenge to place sectioning in a new light and formation unique to Wyndham.

By breaking up the physical sectioning, we came to a conclusion of merging the physical relations of what sectioning can provide and the theoretical perspectives of what sectioning can provide to it’s viewer.

REVEALS INSIGHT

Architects use sections to show the interior, to allow a intimate relation and response to a two dimensional design. We want to use sectioning as a tool to help form immediate relations in the three dimensional word into the two dimensional plane. To allow the geometry and material to speak for itself and be recognized in innovative forms.

SECTIONING STRUCTURE

PROGRAM

SOCIAL

DESIGN TOOL: Sectioning as a structure. As mentioned before sectioning has the ability to be the structure, However with our design, and it’s large scale, Our group has decided on a hidden light frame system instead.

TACTILITY: Unique qualities of expressing geometry at the same time deflecting light and enhancing the material qualities of the design

INSIGHT: While Woods used his paper architecture as a voice to speak his views on society. Our group wants to use the gateway project as a form of expression for Wyndham. We want to make Wyndham the point of discussion through the project. The insight that sectioning physically expresses is what we aim to utilize

WYNDHAM

SITE B

SITE A

SITE C

A

ANALYSIS B

A B

ROUTINE: The the circulation around the site forms a routine, often that of a high stress zone to that often of a unloading zone.

WYNDHAM

B

A

DISRUPTION: The creation of a disruption of this routine or a sign post aims to make the users think, and pound on the routine.

Cutting a section into people’s lives

WYNDHAM

A

WYNDHAM

B

WYNDHAM: The disruption of the routine in term becomes a node, later transforming later into an aspect of routine. Pronouncing the need for routine in human life.

EXPLORATION Looking back at our prototypes, the Blob’s simplistic approach towards materiality and geometry became our inspiration and starting point of our final design

SHARD EXPLORATION

CURVE

GENERATE THE CURVE FROM CRACK DEFINITION

SCALE

CONNECT

DIVIDE

SCALE SMALLER AND MOVE UP

CONNECT THE TWO CURVES

DIVIDE THE SOLID

EXTRUDE

EXTRUDE

TO MATERIAL THICKNESS

The shard has become the base for our final design, it is also here that we fully connected and linked up to the physical site and how we can transform this natural landscape into an alienated landscape. The main interest was in the different materialities that could be expressed in through this process and how we are able to mimic this processes inside the computer. This poses an excellent opportunity and chance to test out material thickness.

LANDSCAPE

SURFACE

FROM SITE CONTOUR

CURVES

DISTRIBUTION

REFERNCE

PULL OUT CURVES FROM THE CONTOUR

LOCATION OF THE POINTS DRIVEN BY SINE EQUATION

PUG IN CREATED GEOMETRY

Forming an immediate connection to the site, the shards and final landscape have being derived from the contour of the site. By doing so, we are able to see immediately the visuals on site and are able to change and derive the design in accordance to site specific requirements.

MATRIX SHARDS

POSITIONING

The positioning of the shards are driven by the equation y = asin ( becx), the graph representing the

movement from the stress node to the unloading node. The equation is also heavily influenced by the richter scale, the graph and scale used for measuring earthquakes. Linking to the mound on our site.

The landscape that has being designed on site, can be said to be a representation of the over load of stress on site, of the consequences.

ORIENTATION

The orientation of the shards (the large variations verses the smoother variations) were decided upon by the diagram seen above. During our groups discussions, we found evidence and theory supporting the alignment of the shards withe both sides of traffic, it was also this that brought us to placing the shards in perpendicular to the roads. While in one direction the shards and the smoothened out section act as contrast from the stress node and the unloading node, the other side with the shards acted as a filter through the points to physically represent the filtering and unloading of stress.

OBJECTS

CURVE

GENERATE THE CURVE FROM CRACK DEFINITION

CONNECT

DIVIDE

CONNECT THE TWO CURVES

DIVIDE THE SOLID

EXTRUDE

EXTRUDE

TO MATERIAL THICKNESS

The objects within the landscape acts as their disruption to the site, the objects are made from different materials, emphasizing the material qualities of the timbers chosen. The sectional angles are also different from the main landscape, with this addition it was our hope to create a subtle difference in the geometric shape itself pushing forward the ability of the deign tool sectioning to express materiality and atmosphere.

MATRIX OBJECTS

The definition (to the left) created formed many different shapes and alignments, however some of these cracks and shard shapes were too wild, and were unable to be used in our design.

GRASSHOPPER

FINAL DESIGN

M O D E L FABRICATION

Over four complete days, twenty sheets of clear perspex, four sheets of white perspex, fifteen sheets of mdf, twenty sheets of plywood and over fifteen hours of laser cutting and endless trips back and forth carrying these materials to and back from the cutter, our model was completed.

Due to inexperience and the lack of a proper prototype due to time constraints, the objects that fitted into the man made landscape were assembled backwards. This process of going back and recutting and reassembling the pieces set us back half a day. However, as we opted to laser cut, the documentation and material were already prepared hence we were able to replicate lost pieces and the objects without worrying about if the pieces would fit if cut a second time.

The labeling process of our model also took up a considerate amount of time. All together there were 97 sections through out the whole model. With in those sections there were up to 3 different materials throughout each sections. These sections would be needed to be joined to each other before the model could be completely assembled.

Through this process as the group made the different parts, it was hard to keep track which assembled parts would join to each other, though the labeling during the preparation process was thoroughly considered, the assembling label process was significantly over looked.

FABRICATION DOCUMENTS

The documents used to assemble the different material parts in the right orientation and in the right position. With the black continuous line being the piece in front and the dotted the piece behind.

All the documentation material for this process was created in Rhino then exported into Autocad to ensure scale. The documents were printed to a 1:1 scale, to ensure accuracy so the objects could also be made to fit into the spaces with proficiency.

The documents covered the tables, floor space and also the hallway of the construction workshop.

P50-PX8.2

P52-PX8.3

P46-MD6.1

P54-PX8.1

P59-PW9.2

P64-PX10.4

P68-PX11.4

P69-PW11.4

FABRICATION PROCESS Over four complete days, twenty sheets of clear perspex, four sheets of white perspex, fifteen sheets of mdf, twenty sheets of plywood and over fifteen hours of laser cutting and endless trips back and forth carrying these materials to and back from the cutter, our model was completed.

CONSTRUCTION

The construction process of the project on site would be mainly composed of light weight frames and prefabricated timber boxes to travel over the top and be attached onto the frame system.

The use of prefabricated panels on site reduces labour costs and also shortens the length of time needed to be spent on site. With the panels being created in controlled environments, this forms a safe space to both store and finish off the panels before transporting them on site ready for assembly.

The light frame itself consists of truss systems and electrical systems (if lighting is to be installed). The frame system can also be prefabricated off site with the only insitu work being the trenching and pouring of the footing system. Joints between the truss system can be easily bolted together (with major joints being done inside the factory and wielded to ensure structural integrity) With the site located on a buzy highway section spaces on site are limited, this also adds to the case need of prefabrication to not only reduce construction time but also space needed for construction to proceed.

CONSTRUCTION STEEL

STEEL: to minimise weight and material, steel columns will be used as the interior structure of the project. Bonding the timber prefabricated panels down into the foundation.

360 TIMBER PANNELS

TIMBER: the timber panels prefabricated and brought on site means a controlled fabrication process also meaning less time would be spent insitu, reducing labour costs. The timber acts as the facade.

CONCRETE

CONCRETE: concrete footing system used to help support the cantilevered steel columns on an angle.

steel framing system inside

360 Timber pannels exterior

concrete bored footing system to hold steel

FEEDBACK G I V E N

Through the presentation, it became clear that our design concept was much too complicated to be explained without the explanation of how we reached the design we did. And that a more aligned perception of ideas would be needed within the group and expression.

The model itself took us four days to complete and definitely could be improved in terms of the craft. The choice of material for the model itself could also be more carefully thought out. For the purchasing of the plywood used for the model two different plywoods were purchased, due to the different colours each of the plywood provided to us by Bunnings Warehouse we were unsure of how the ply would react under the laser. Due to the damp weather, some of the better quality plywood warped during transportation from the studio to the cutter. The higher quality ply also took 4 round of cuts to complete within the cutter. In the end we opted to use both of the ply to see how the two plys would act together.

In some forms the different plys didn’t cause much difference other then the colour, in other instances the dimentional differences between the two plys (one 2.7mm the other 3mm) cased small gap between the pieces and the MDF. However the poorer quality plywood seemed to separate more readily then the higher quality.

The choice of using solid materials for the model was mainly due to the groups integrity in wanting to replicate what could possibly be seen on site, with the clear Perspex being the gap that would be left and the ply being the light frame system.

We wanted to see and experience (on a much smaller scale) what atmosphere and geometric expressions the sections in timber would give. The scale of the model was much too small, hence this was hard to experience, in this case a larger model would be able to represent this much better.

Once again due to the lack of prototyping for the final model we did not take this into consideration.

LEARNING OUTCOMES

Through this subject and this semester I was able to learn to create through parametric modeling, before part c, it was merely designing and creating through normal means and translating it into grasshopper while still holding all the control in my hands, however as we got to the final model, the parametric side of the project took over. Though guide lines were given it was the definitions that in the end came up with the design, with us only telling them what it needs to do and full-fill.

The fabrication process originally seemed to be quite simplistic, however due to the amount of sections, different materials and angles of joints this simplistic process turned out to be quite rigourous. As mentioned before the labeling process from computer to material was carefully thought through, while the process of assembling the joined pieces would need better attention. The scale of the model would also need more consideration as mentioned on the previous page.

There has being a lot learnt in these three months, from computer use, grasshopper definitions to fabrication issues and learning when to let go (and let the computer take over) however, I am still in doubt as to if Parametric design would be the process of the future.

I truly believe grasshopper and other programs as such will become a definite part of future practices, I however question if they would become the true generators of design.

Grasshopper can create amazing things, however to be able to generate a satisfactory design from pure parametric means seems to be much out of reach of everyday architects.

Without a firm grasp of mathematics and future program updates this form of design could be said to be impossible.

Grasshopper will become I believe a vital tool I would take advantage of in the future, however, I believe it would most likely rely more heavily on Rhino generated forms plugged into facade definitions and waffle definitions over form finding though parametric means.