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C O N T E N T S WEEK ONE to FOUR

Case For Innovation

WEEK FIVE to EIGHT

Research Project

WEEK NINE to TWELVE Project Proposal


WEEK ONE

Architecture as Discourse


Vitto Andreas

BODYSPACE

As a part of Light in Winter festival, BODYSPACE 1 aims to

also challenged to generate complex patterns of light and shadow by strategi-

generate ideas that are not simply receptive as provision for the de-

cally putting LED lights in the physical model, utilising a simple form of tech-

mands of the environments, but those that can create holistic envi-

nology to expand the boundaries of a more advanced form of digital technology.

ronments. This virtual assignment explores virtual and digital de-

sign as computational design basic explorations; that seems to be a

possibilities by utilising digital engines as the main design tool. It also alternates

cutting edge trend that is changing the discourse of design and architecture.

the focus of idea generation from a receptive to a more creative and generative

Focusing the initial precedents of the project on nature and

way of thinking by using computational design engines. It pushes the boundar-

its beautifully bizzare aestethics, this project has gone through vari-

ies of design posibilities and translates a poetic vision for the future in design.

ous design changes and scrupulous digital reconstruction by utilis-

BODYSPACE offers qualities that can contribute to the discourse of architecture.

ing virtual engines over one semester. My design focuses on the digital reconstruction of a sheet of broken glass, concentrating on facetal profiles and “cracking� patterns in various design precedents.

After countless hours of digital reconstructions and meticulous fab-

rication, a paper physical model was produced. During this process, we were

BODYSPACE 1 presents a brief glance of the captivating future design


M A S D A R C I T YMasdar

Masdar City is a transpiring environmental zero-carbon city that will

development of Masdar city claim that Masdar City will be a model for the rest

substantially impact the discourse of sustainable architecture once completed.

of the world. It will break the sustainability barrier, and the rest of the world

Comprising 100% of zero-carbon and zero-waste technology, Masdar

will follow. Utilising traditional techniques, such as, using traditional Arabic city

City will be sustained on Solar energy and other renewable energy re-

layout and strategically situating the city so that sea breeze will come in and

sources, such as wind farms and geotechnical energy source. This city

clean out the air in the city, Masdar City is actually stretching the possibilities

is designed specifically to integrate renewable energy and sustain-

of the traditional common sense to its fullest; assisted by sustainaility aimed

able technologies within a large scale of living and working commu-

technologies. This approach, being simple yet unique and effective should be

nity. The idea that is not necessarily new to the discourse of architecture,

implemented more intothe future of architecture, as it contains properties that

but is still very limited and in development due to not the inadequacy of

can change the discourse of architecture, especially towards sustainability.

economy support that is essential to the discourse of sustainable design.

Dwelling on its development process, Masdar City will utilise

already-available technologies to design an ideal sustainable community in city scale instead of smaller scale community that we can see these days. Jay Witherspoon and CH2M Hill firm, the people behind the management of the

“It’s kind of like when Roger Bannister ran the first four minute mile.

Now everyone breaks the four minute mile. But until they broke that four minute mile, nothing changed, it was considered an impossible goal�. - Jay Witherspoon


studio air

SEED CATHEDRAL Thomas Heatherwick

Seed Cathedral, a 20 metres tall pavillion built by Thomas Heather-

the visitor space inside the Seed Cathedral were drilled with great geomet-

wick as a part of the World Expo 2010, is formed from 60,000 slender transparent

ric accuracy to ensure precise placement of the aluminium sleeves through

rods, each 7,5 metres long and each containing several seeds at its tip. During

which the optic fibre filaments are inserted. This was achieved usind 3D

daytime, these rods act as optic fibres and extract sunlight into the pavilion; at

computer modelling data, fed into a computer controlled milling machine”.

night, these rods glow with individual light sources, causing the whole structure

With its complex digitally generated form, Seed Cathedral is an example

to glow. The optic “hairs” of the building also dynamically move as the wind blows.

of a project that includes sculptural properties into a full scale pavillion.

Standing out from the predictable trend for driven technology pa-

With all the properties mentioned above, it is clear that

villions, Seed Cathedral ambitions for a spectacular low-tech approach as op-

Seed Cathedral has merged nature, sculptural computational de-

posed to Asian high-tech solutions, allowing people to engage with nature, in the

sign and engineering expertise into one magnificent product. This ap-

form of the seeds at the tip of each individual hair, encased in a seemingly dis-

proach, as architecture is currently going in that direction, can be

tant-from-nature, computation generated, almost alien architecture product.

considered as a method that can change the architectural discourse.

The paradox of this project is that its low-tech approach actu-

ally requires a very high-tech solutions. Supported by wood and steel frame, “the holes in the 1 metre thick wood diaphram structure forming

vitto andreas 396627


WEEK TWO

Computational Design


VOXEL-BASED GEOMETRIES

Michael Hansmeyer

This unique project commenced by Michael Hansmeyer explores a

to fluctuate in both time and space. However, this process is rather difficult to

different approach in generating forms utilising computational design engines.

control that the outputs are relatively unpredictable.

This project utilises volumetric cells (or voxels) as its basic geometry, instead

of playing with surfaces. Voxels are elements of volume that consists three-

one parameter based on its state, thus making it relatively easier to control.The

dimensional space.

production rules are constrained by the different states of the neighbouring

Pre-defined rules and restrictions are applied to these voxels so

cells. The results exhibits a variety of forms with something in common,

they contain data that are able to communicate with data of nearby voxels.

“There are no regional variations in the dimensions of the structure or in the

These interactions are then transmitted repetitively so data can be propagated

level of detail�. The experiment proved that the application of this method in

through the space of these volumetric cells; resulting in visualised datas within

architecture is more appropriate to generating components of a structure than

these voxels.

the structure itself.

There are two algorithms that are explored in this form experiment,

On the other hand, cellular automata uses a cell that only contains

This experiment shows the capability of computational design to

reaction-diffusion processes and cellular automata. Reaction-diffusion

explore the generation of forms like never before. By applying a set of rules

processes explores chemical interactions between substances that made the

and parameters, this computational design approach creates the possibilities

voxels as the parameters. Utilising minimised inputs (single-cell or a line of

of new interesting forms and great details.

cell), this experiment studies what happens when the parameters are allowed


D-TOWER

D Tower is a 12 meter high artwork in Doetinchem, Netherland, that

NOX Architekten & Lars Spuybroek molding technique (CNC milled styrofoam).

features architecture as an interactive system for the inhabitants of the area.

Connected to an online questionnaire system that the inhabitants can access

design allows architecture to be a part of a social interactive system, an

and fill out, this tower collects its statistical basis on emotions of the inhabitants

unexpected aspect that can only be observed effectively by computational

and translates it into hand-drawn graphical representations that are presented

data inputs that translates the information into a physical result. It allows

on the website. Then, every night the tower changes colour symbolically

people to contribute to the generation of the form of the tower. It also allows

representing the most prominent emotion of the day; yellow for FEAR, green for

people to participate and experience the piece of architecture by filling up the

HATE, blue for HAPPINESS and red for LOVE. In addition, because the website

questionnaire, making this tower literally the identity of the city.

collects the ZIP code, it is possible to map out the emotions of the inhabitants,

allowing people to see what street houses contain the happiest or angriest

funky forms and complex repetitions. It opens up a possiblity to design

people.

a project that tells a story about the site and its inhabitants more than ever

The tower uses the concept of a gothic vault, where columns and

surfaces share a continuum. This structure make up complex surfaces with both standard and non-standard geometry, utilising a computer generated

This tower is a unique example which shows that computational

This project shows that computational design is more than creating

before, making the city the identity of the architectural piece, instead of the piece being an identity of the city.


Computational Design

E X P R E S S I O N of I N T E R E S T

This week’s tasks explores

unique form that has never been explored

that the product of architecture does not

the interesting and different outcomes

before? Also, what if the equation is

necessarily rely on the form, especially in

of computational design. Hansmeyer’s

reversed? What happens if instead of the

this case, the product of architecture is the

experiments

generation

creation of a form, the disfiguration of

social interaction system that allows the

based on volumetric cells illustrates the

form takes place? Is it possible to build a

inhabitants to contribute to how the final

unexpected yet interesting results of

formless piece of architecture? This idea

product would look like.

computational design. Voluptuous forms

of immaterialisation or formlessness is

with substantial amount of details can be

intriguing to investigate.

together and relating it to Wyndham City

created with a simple set of computational

tower

Gateway project, I would like to critique the

datas, thus opening up possibilities for

illustrates that the form of a piece of

traditional views on iconic gateway that

new forms to appear in architecture.

architecture or the way it looks can be

relies on the bulky, almost monolithic form

However, with so many different forms

generated in social interaction. This shows

by trying to design a piece of architecture

that are in the nature and in architecture,

that the social interaction shapes the form

that challenges the idea of formlessness

is it still possible to create, or find a

of D tower. Moreover, this also shows

and immateriality.

with

form

Furthermore,

D

Combining the two ideas


WEEK THREE

Scripting Culture


G E N E T I C S T A I R S

Genetic stairs is the centerpiece of a duplex

apartment in Manhattan, New York. It translates cryptic computational data codes into a visible sculptural set of stairs. Exploring genetic algorithm and reinterpreting it into woven metal, Genetic Stairs is an example of a wellthought organised chaos.

Using Rhino script, Caliper Studio generates

a set of individual staircases with various diagonal members in many different spots. These diagonal members are created based on the genetic algorithm. These staircases are then assessed in another structural analysis program called CADRE lite. This program provides engineering and structural reports containing the limitations and the constrictions of the intersecting diagonal woven metal bars. The restrictions and limitations are so detailed that the solutions to these problems can almost be foreseen. Thus, instead of being an idea generation tool, the genetic algorithm is more of a problem solving tool. By defining a set of rules in the beginning of the process, the solving of the problems then becomes the idea generation itself.


Caliper Studio

This argument can then be both a compliment

and a critique to computational design and scripting culture. By setting up rules and restrictions prior to generating ideas, computational design and scripting culture allows precisions and great details to be produced as effectively as possible. Also, with structural evaluation programs, the outcome in real life can somehow be predicted, thus also solving the problems that may occur during the construction process. This is where computational design and scripting culture becomes very useful in effectively designing a piece of architecture, effectively solving a number of problems and saving time.

Nevertheless, these restrictions set at the

beginning of the design can also be constricting and thus reducing the freedom in design by alternating the method to be problem solving instead of idea generation. It is true that computational design and scripting culture can explore new and unique forms to its fullest, however, these new forms are actually only solutions of a set of problems instead of an expansion of explorations in design that are commonly achieved by generating ideas.


E X P R E S S I O N of I N T E R E S T

Scripting Culture

The

discussion

about

formlessness and immateriality is explored.

it’s monumentality. Instead of doing that,

computational design and scripting culture

A set of rules and restrictions

our group formulated an idea on how to

from before argues that instead of being

for the gateway was identified; the gateway

reinterpret monumentality into something

a design too, computational design and

needs to represent Wyndham in trying to

that is not form-focused. An experience

scripting culture produce its unique results

change its image from an industrial city

is formless and immaterial, however,

by solving a set of problems that are defined

into a more exciting recreational hub, it

it creates an unforgettable impact on

at the beginning of the design process. By

will be placed on the highway for drivers to

those who experience it. Therefore, the

doing so, this design method focuses more

enjoy and it needs to be eye-catching and

experience itself has become a “monument”

on the form and the buildability of that form

exciting..

for these people. Based on this idea, our

in meticulous details. Again, this method

seems to rely on the form and the details

traditional view of the form of a gateway

EXPERIENCE.

of the piece of architecture. In relation to

needs to be reinterpreted. Historically,

previous week’s interest in challenging

a gateway is a large architectural piece

is for the people to say, “Have you been

this, an attempt to reinterpret the idea of

that relies on its form to demonstrate

there?” instead of, “Have you seen it?”

In order to accomplish this, the

group is interested in trying to design an The ambition for this interest


WEEK FOUR

Matrix of Combinations


chosen for further development

I N P U TS ( b

Arbitrary Points

Curve Intersections

A S S O C I AT I O N S

Attractor Points

Curve Attractor

Image Sampler

Maths Functions

Multiple Maths Functions

Streaming Text Files

Using Sets

Boolean Patterning


b re adth Explicit Grids

s e a rc h )

Overlapping Patterns

Surface Grids

Using Surface Normals


Surface Grids - Streaming Text

Explicit Grids - Multiple Math Functions


The aim of this interest is to design a piece of

architecture as an experience. To accomplish that goal,

Pattern Overlap - Math Functions

experimentations in forms that focuses on optical illusions was performed, because it has the chance of formulating an experience.

Surface grids and explicit grids inputs are

relaively easiy to control and manipulate The rules and restrictions for these functions are so well defined that the outcomes are almost predictable even before the variations are put in. On the other side, pattern overlap input is rather unpredictable, because even if it has similar set of rules with the other inputs, overlapping these patterns can result in creating a whole new effects that are unexpected.

From these experiments, it was found that

the association is actually where the patterns on these definitions are based on. Streaming text functions well when a set of data is pre-defined, creating rather precised and detailed set of patterns. This association function may open possibilities to translate a set of surveyed data into a specific type of form or patterns. Math Functions and Multiple Math Functions acts pretty much similarly. The only difference is that one allows more than one math equations to base the patterns on. Upon exploring these functions, large amount of difficulties were encountered as some of the math equations don’t work with the inputs. Nevertheless, these functions can be useful to achieve probably the most variations in the matrix, especially when combined with rotation output.

Out of all the output functions, extrusion and

rotation are the ones that actually produce varying obvious results that can actually be developed into architectural forms. A personal favourite would be extrusion, as it creates three dimensional forms that can create optical illusions.


E X P R E S S I O N of I N T E R E S T

OPTICAL ILLUSION

By combining overlap function and extrusion, a set of overlapping rods are produced and because they are arranged closely to each other, they create an optical effect that shows dense-sparse change when looked at. This definition looks differently from different angles. As the interest from previous weeks stated that the focus of this exploration is to design an experience, definitions with optical illusion like this can be relevant to the exploration.

Similar to the previous definition, this one has a certain pattern effect that changes as the point of view is changed. Utilising extrusion and range function, a group of tubes with different thicknesses and heights are produced, creating an optical illusision that there is a picture embedded on the form that looks differently from different angles of the form.This quality can also be used to interpret the idea of an “experience�, because observing how it looks like in different angles can be an example of a curious experience.

This definitions explores the possibility of an extruded version of a data input based pattern. It does not show much of an optical illussion, but this method explores more in relating the form to Wyndham City. Assuming data input from Wyndham City is an option for the final design, this can be an example of how it would look like.


WEEK FIVE

Reversed Engineering


DIOR GINZA

Inspired by the pattern of the classic “Lady Dior” handbag, the

double-layered facade of this Christian Dior building in Tokyo reinterpret the plaid and diagonal patterns overlapping each toher into the scale of a city.

Using perferation techniques, they achieved to remade the famous

carnage patterns into the building’s facade. They also put lights inside the facade. This, combined with the overlaping multiple perferation technique that they have, it created an optical illusion effect that made the facade look differently in different point of view. This is interesting to be explored in trying to create an experience.


Using image sampler function and

pattern overlap function, a representation of what was done with the Dior Building facade could be achieved. The first intention in studying this facade is to explore the multiple overlapping perferation technique that they used to create the optical illusion that looks differently from different point of views. Using light underneath the multiple layers of perferations, the optical effects of this facade is enhanced. However, this effect will only work to those who stop and examine the building, then try to carefully compare how it looks like from one point of view to another point of view. Since the gateway project is for drivers to enjoy, this might not be the best idea to be put as a final result of the exploration in creating an experience.


E X P R E S S I O N of I N T E R E S T

OPTICAL ILLUSSION

During the experimentations with

optical effect, however, it requires people to

the case studies, our group has grown an

stay, examine and compare the difference

interest in creating optical illusions and/or

between one point of view and another point

effect that will create an experience for the

of view, thus unfitting for the gateway project.

consumers of the architectural piece. Each of

the group members experimented with their

consideration for the actual gateway

own assigned case studies in attempting to

project will be put into priority; taking into

create this effect.

considerations the conditions that the drivers

on the site will experience.

As mentioned above, the facade

of Dior building in Tokyo seems to have this

For further explorations, the


WEEK SIX

Fabricate


VORONOI

FIGURE-GROUND RELATIONSHIP

Voronoi definition has an interesting nature that may be relevant

in creating an experience, its figure-ground relationship. When looked at, voronoi can be interpreted in two different ways, the frame or the holes, but never both of them at the same time. With this fabrication experimentation, our group tried to explore this figure-ground relationship, as it interestingly create an illusion between the frame and the holes and it seems like it would create a rather optically interesting experience.

However, as we experimented on lighting conditions, studying its

shadow and how it looks like in different conditions, it was obvious that the effect that was expected was not working well. Voronoi definitions on a flat surface, despite its potential in creating an interesting figure-ground illusion, only work up to a point in creating that effect that will not be enough for drivers to notice its funciton in creating an experience.


CONTOURS

LIGHT& TRANSLUCENCE

Using

perspex

panels,

this

experimentation aims to trigger emotional response, especially excitement, with light, shadow and movements.

The ambition for this experimentation

relates to the attempt of designing an experience that is different, eye-catching and memorable. Also, in the process of developing those rules, the idea of formlessness, or making an illusion of the piece of architecture being there and not there at the same time is formulated into the equation. This experimentation tries to achieve both at the same time.

Being translucent, the perspex creates

an illusion of being physically visible and invisible at the same time when natural lighting is available. Furthermore, in the dark, when a focused source of light is applied under and/or the side of the model, it creates a hypnotic visual phenomenon. Having this result, our group decided that this can be potentially the answer to the attempt of designing an experience for the gateway project.


E X P R E S S I O N of I N T E R E S T

O P T I C A TheL aimI forL thisL week’s U StaskSisIto Ofabricate N

conceptually interesting figure-ground relationship, has

examples of grasshopper definitions and explore its

failed to perform physically in creating optical effects that

properties, such as materiality, light, shadow, optical effects,

creates an eye-catching experience.

etc. Furthermore, relating to our group’s interest in creating

an experience as a reinterpretation of monuments for the

perspex panels resulted in unexpectedly pleasing results

gateway project, explorations with the voronoi definitions

that does not only achieve the aim to provide an optical effect

and the perspex panels was performed. The ambition of

in order to create an experience, but also in challenging the

these explorations is to create an optical illusion or effects

idea of immateriality itself with its translucent properties.

that will be eye-catching enough for the drivers that go

through the site to remember it, without relying on the form.

perspex panels in developing this idea to a more final form

for the gateway project.

The voronoi definitions, despite having a

On the other hand, the experiment with the

Further explorations will be performed with the


WEEK SEVEN

Building Expression of Interest


PROGRESS LINE WEEK 1

WEEK 2

Looking at the precedents that

A

in

Understanding scripting culture as

constribute to the discourse of

understanding computational design

a new tool in designing that relies

architecture, an interest in redefining

and how it opens up possibilities in

on problem solving instead of

architecture the way it has never

designing new, innovative types of

design generation. Setting up rules

been defined before is formulated.

architecture like never before. The

for the gateway project, the idea

Also, using computational design as

idea to challenge formlessness was

of “DESIGNING EXPERIENCE� as the

a tool to achieve that ambition allows

conceived.

main interest was formulated as the

Architecture Discourse

further

exploration

more possibilities to be explored.

BODYSPACE I Vitto Andreas

WEEK 3

Computational Design

Scripting Culture

extension of formlessness.

VOXELS Michael Hansmeyer

MASDAR CITY Masdar

Genetic Stairs Caliper Studio SEED CATHEDRAL Thomas Heatherwick

D Tower NOX


EXPRESSION of INTEREST WEEK 4

WEEK 5

WEEK 6

Matrix of Combination

Reversed Engineering

Fabricate

A substantial amount of explorations

A further exploration in producing

Fabrication of the definitions that

in Rhino and Grasshopper, with the

optical illusions as EXPERIENCE by

was explored through Rhino and

aim of discovering ways to create

studying various precedents and

Grasshopper. The discovery of using

optical illusions as a realisation of

trying to re-create them in Rhino and

perspex as material exploration,

creating an EXPERIENCE as a piece of

Grasshopper.

resulted in a more fixed conceptual

architecture.

journey for Wyndham gateway project.


BYPRODUCT gas naptha gasoline kerosene diesel oil shock heavy oil residual

EMOTIONAL RESPONSE

WYNDHAM GATEWAY

gas naptha gasoline kerosene diesel oil heavy oil ASPIRATION: residual

DISTILLATION COLLUMN

BYPRODUCT

WYNDHAM GATEWAY

DISTILLATION COLLUMN

PEOPLE

OIL

shock comprehension

EMOTIONAL RESPONSE

curiosity

E X P R E S S I O N of I N T E R E S T

contemplation

comprehension

discourse

W Y N D H A M C I T Y G A T E W AY P R O J E C T

CLIENT INSTALLATION ENRICHING INSPIRING

curiosity

contemplation

ACTS AS A PART OF AN ONGOING DISCOURSE

to achieve what the new Wyndham

discourse

needs, it is required to reinterpret the traditional views of monumentality.

THE NEW IMAGE FOR WYNDHAM

OLD NEW FORMALDYNAMIC RIGIDRICH HISTORICALRECREATIONAL

RURALFUTURE

and the conceptual journey that goes with it, it was formulated that in order

EYE CATCHING

LONGEVITY IMPACT

With the precedents that was examined,

Historically, a gateway was usually rigid EXTERNAL / FORMAL MONUMENT THE CLICHE

in form and its form is everything that INTERNALIZING THE

made it soMONUMENT monumental. This interest ambitions to reinterpret that definition of THE CRITIQUE/CHALLENGE monumentality by creating an EXPERIENCE

as an architectural product. An experience that is exciting, eye catching and memorable will become the monument for the people who experience it.

Wyndham City is trying to gain a new image for EXTERNAL / FORMAL the city.MONUMENT Clearly shown in its recently changed

INTERNALIZING THE MONUMENT

logo, the NEW Wyndham city aims to be more interestingTHE andCLICHE dynamic in the future. They’re

THE CRITIQUE/CHALLENGE

Furthermore, the new Wyndham is

trying to become the new recreational hub.

exciting and dynamic, full of energy. This

Therefore, with the gateway project, the new

interest is trying to translate that energy

Wyndham is trying to be the face of the ongoing

of the city into the site in the form of light

discourse of architecture in Victoria. Aiming for

and movement. This was realised in the

an exciting, eye catching gateway, the gateway

experimentation with perspex and light.

project needs to fulfill this demand .


WEEK EIGHT

Expression of Interest


ORDINARY ORDINARY EMOTIONAL PEOPLE PEOPLE RESPONSE

shock

EMOTIONAL EMOTIONAL RESPONSE RESPONSE

WYNDHAM GATEWAY

BYPRODUCT BYPRODUCT gas gas napthanaptha gasoline gasoline kerosene kerosene diesel diesel oil oil heavy heavy oil oil residualresidual

WYNDHAM GATEWAY

E X P R E S S I O N of I N T E R E S T DISTILLATION COLLUMN

DISTILLATION COLLUMN

WYNDHAM GATEWAY

CRUDE CRUDE OIL OIL

shock shock

C R I T comprehension FEEDBACKS

comprehension comprehension

curiosity curiosity

curiosity

contemplation contemplation

D E F I N I N G :“ GAT EWAY“ discourse discourse

contemplation

The initial concept for the final form is to challenge the cliched views on monumentality and how it focuses on the exterior and

discourse

the form of an architectural piece. Instead of designing this type of monuments, we aim to internalise the monumentality and reinterpreting it into an experience. Therefore, the experience becomes the monument.

EXTERNAL EXTERNAL / FORMAL / FORMAL MONUMENT MONUMENT THE CLICHE THE CLICHE

INTERNALIZING INTERNALIZING THE THE MONUMENT MONUMENT THE CRITIQUE/CHALLENGE THE CRITIQUE/CHALLENGE

However, during the Expression of Interest crit, this concept was critiqued to have yet to be well translated into the models. Therefore, there was a suggestion by the crit to expand the idea, particularly to redefine the definition of a gateway, and how an experience can be created within the gateway. After redefining “gateway” as a monumental “GATE” with a tunnel system underneath, a new and perfected concept was formulated, is to completely blank out the exterior of the form, and focus in creating a particular experience inside a tunnel system. This satisfies the initial concept and thus, will be our final concept.

INTERNALIZING THE MONUMENT THE CRITIQUE/CHALLENGE


WEEK NINE

Wyndham City Gateway Project


GATEWAY PROJECT

Final Form Exploration

EXPERIMENTATION

ELABORATION

As mentioned in the previous week, the concept requires explorations of new forms that do not focus on the exterior, but the interior of the tunnel system that will create an exciting experience as people drive through it. Looking back at all the forms that we’ve explored, we developed a new form, using 3D voronoi function, that translates the aim really well. This form looks simply like a box exteriorly, but has an extremely intricate interior that creates an experiential visual chaos.

NARROWED APPROACH

FINALIZED CANDIDATE


WYNDHAM CITY GATEWAY PROJECT

GOING DISCOURSE THE NEW IMAGE FOR WYNDHAM

OLD NEW FORMALDYNAMIC RIGIDRICH HISTORICALRECREATIONAL

RURALFUTURE

GATEWAY PROJECT

B

A C

CITY

Relate Back to Wyndham City COAST

COUNTRY

The initial idea is to look at Wyndham and how it’s changing its image to be more exciting and habitable. This further shows in their motto, “City. Coast. Country”. They are trying to improve their image to be a perfect place to live in. They’re trying to be the new recreational hub and at the same time a residential paradise. However, this does not eliminate the fact that Wyndham is an industrial area, along with the rest of SouthWest area of Melbourne. The fact that there are old factories located extremely close to residential areas in the area brought us into the idea of pollution and how we are challenged to critique this in our design proposal as an inspiration for the final form.

CRITIQUING POLLUTION THROUGH INNOVATIVE PARAMETRIC REPRESENTATION TO PROMOTE WYNDHAM’S EMERGENCE. .DESIGN AMBITION.

Therefore, just like the old factory that is not far from the site, our final form will represent pollution with its intricate visual chaos during the day, and at night, it lights up creating a more enhanced and energisedd version of the pollution.


The idea of POLLUTION brought us to the process of the

ORDINARY PEOPLE

CRUDE OIL

BYPRODUCT gas naptha gasoline kerosene diesel oil heavy oil residual

EMOTIONAL RESPONSE

WYNDHAM GATEWAY

DISTILLATION COLLUMN

oil purification. It runs based on a basic rule, INPUT, shock comprehension

curiosity contemplation

PROCESS, and OUTPUT. In relation to that, we are trying to create an experience that is based on the similar rule. People ENTERS the tunnel with no knowledge of what is going to happen, then they EXPERIENCE the visual chaos within the gateway, and it leaves them

discourse

CONTEMPLATE-ing the experience in awe. FINS = VISUAL CHAOS / VISUAL POLLUTION

EXTERNAL / FORMAL MONUMENT THE CLICHE

INTERNALIZING THE MONUMENT THE CRITIQUE/CHALLENGE

The idea of POLLUTION, therefore, is translated into the

driver in their experience going through the gateway,

fins in the interior of the gateway that creates a visual

and leaves them contemplating that experience and

chaos; hazy, unclear, yet it is there and it “pollutes” the

what it means as they leave the gateway.


WEEK TEN

Wyndham City Gateway Project


GATEWAY PROJECT

Final Model and Fabrication Method

exploded final model

Because the final form ustilises the complex 3D Voronoi function, its intricate details are relatively tricky to fabricate. The first step was to “break apart” or “explode” the whole form into portions. Then each portion were unrolled and laser cut, then it was reassembled as a physical model based on its original digital form.


GATEWAY PROJECT

Final Model and Fabrication Method Utilising glue guns and abundant amount of patience, the physical model was completed in 20 hours, looking magnificent, almost majestic and monumental, without being exteriorly prominent. The process of the model making taught us that this intricate form translates the concept really well, however, the actual construction of the gateway might need extraordinary craftmanship and structural expertise. In addition, the perspex that we used tend to get dirty relatively easy, a form of glass coating might be needed,


GATEWAY PROJECT

Final Model and Fabrication Method


GATEWAY PROJECT

Materiality & Construction Details

The proposed material for this project is structural glass, with cleats as the connection between glass sheets. It has been done by Apple at one of their office in Fifth Avenue, New York. However, this example is relatively small compared to our gateway, therefore, steel frames and other structural support might be needed for our gateway.


GATEWAY PROJECT

Materiality & Construction Details

exploded final model

Utilising structural glass, the gateway will consist of differently cut glass, connected to other sheets of glass with cleats and bolts.


WEEK ELEVEN

Wyndham City Gateway Project


CLIENT ASPIRATION: INSTALLATION ENRICHING INSPIRING

EYE CATCHING

WYNDHAM CITY GATEWAY PROJECT

LONGEVITY IMPACT

ACTS AS A PART OF AN ONGOING DISCOURSE THE NEW IMAGE FOR WYNDHAM

OLD NEW FORMALDYNAMIC RIGIDRICH HISTORICALRECREATIONAL

RURALFUTURE B

A C

CITY COAST COUNTRY clearly shows in its recently changed logo. The old city logo is rigid and almost boring, illustrating an industrial

As the very first step, we looked at Wyndham City and how it is changing its image to be more exciting. This area with residential complex in it; however, the new logo is more fluid and exciting. with a sail of a boat in its logo, Wyndham is trying to depict themselves as a coastal residential paradise that is exciting and highly livable.


PROJECT FORMALDYNAMIC RIGIDRICH HISTORICALRECREATIONAL

RURALFUTURE B

A C

CITY

COAST

COUNTRY

This intention is clearly showed in Wyndham city’s motto “City. Coast. Country”, However, it does not change the fact that Wyndham is and will be in a long period of time, a residential area. There are old factories around the area that creates pollution over the area. This fact challenged us to design a gateway that does not only fulfill its purpose in representing Wyndham as an architectural discourse, but also critique the pollution in the area, as a strong and critical statement that will possibly change the city to be a better residential palace..

CRITIQUING POLLUTION THROUGH INNOVATIVE PARAMETRIC REPRESENTATION TO PROMOTE WYNDHAM’S EMERGENCE. .DESIGN AMBITION.


ORDINARY PEOPLE

gas naptha gasoline kerosene diesel oil heavy oil residual

ORDINARY PEOPLE

BYPRODUCT gas naptha gasoline kerosene diesel oil heavy oil residual

shock comprehension

curiosity contemplation

discourse

EMOTIONAL RESPONSE

WYNDHAM GATEWAY

CRUDE OIL

DISTILLATION COLLUMN

BYPRODUCT

EMOTIONAL RESPONSE

WYNDHAM GATEWAY

DISTILLATION COLLUMN

CRUDE OIL

shock comprehension

curiosity contemplation

EXTERNAL / FORMAL MONUMENT

INTERNALIZING THE MONUMENT

discourse THE CLICHE

EXTERNAL / FORMAL MONUMENT THE CLICHE

INTERNALIZING THE MONUMENT THE CRITIQUE/CHALLENGE

THE CRITIQUE/CHALLENGE


SITE PLAN 1:1000


DAY

NIGHT CRRIITTIIQ QUUIIN NG G PPO OLLLLUUTTIIO ON N TTHHRRO OUUG GHH C NN NO OV VA ATTIIV VEE PPA ARRA AM MEETTRRIIC C RREEPPRREESSEEN NTTA ATTIIO ON N IIN O PPRRO OM MO OTTEE W WYYN ND DHHA AM M’’SS EEM MEERRG GEEN NC CEE.. TTO .DESIGNAMBITION. AMBITION. .DESIGN


CONSTRUCTION DETAILS

exploded final model


WEEK TWELVE

Learning Objectives and Outcomes


PERSONAL BACKGROUND and LEARNING OBJECTIVES Having never learnt how to design and being relatively

high school and having to be relatively advanced on

new in architecture world, adapting to the conventional

it in order to understand the functions in parametric

design method was difficult for me. Learning parametric

design was a challenge. However, looking at various

design was a huge addition to these challenges in

precedents and lectures about parametric design,

trying to fit in the architecture culture and finding my

some aspects like ornamentations and effectiveness

own style. Initially, the idea of computational design

actually stimulated my creative thoughts, as I have

and scripting culture was alien to me, as I have never

never seen those aspects being explored with

liked parametric style, aesthetically speaking, also

parametric design. Thus, my personal objective in

because the whole programming background that is

learning parametric design and scripting culture

needed to do it did not register in my artistic mind.

is to explore them as an additional tools in creating

Mathematicss has never been a prefered subject on

aesthetically appealing architecture products.

LEARNING PROGRESS In exploring Grasshopper as computational design

a problem, just have to find the easiest route. In order

tool, it was found that utilising Grasshopper is similar

to achieve this, an adequate amount of mathematical

to sketching on a paper, just with a different language.

knowledge is needed. Looking back, my progress in

However, designing in Grasshopper is almost like a

learning the software was very slow. Being able to

detour in solving such a simple problem (i.e. drawing

work in a group helped subtantially in this, since I can

a line), when you don’t know the most effective way to

ask for Grasshopper assistance to my groupmates.

do it. Furthermore, there are more than one answers to


LEARNING OUTCOMES

The most useful skill that I obtained from this subject is group work; formulating a solid concept from three different brains, sacrificing personal preference and uniting visions for the project, and maintaining the group’s dynamics. This skill is essential in workfield, as we will be required to constantly do that. Furthermore, a more thorough and deep understanding in the infamous parametricism was also obtained in this subject. If anything, it would be the fresh, new cutting edge ways of formulating an idea that interest me in trying to understand parametricism. It’s exciting and new, regardless of the tool, Grasshopper, being relatively difficult to understand and master. Nevertheless, the only problem with parametric design is that one can get too caught in exploring forms that he would forget that eventually, the form will need to be fabricated, not only into models, but also in real life. If anythingm this was our group’s biggest challenge throughout the semester; finding a way to fabricate our intricate form. It is like taking a huge detour of explorations finding the “perfect” form, only to realise it is impossible to fabricate them, and forcing us to go back to simplify the chosen form. If this happened to one, it is most likely that the final solution that is fabricatable actually can be solved very quickly and easily, without having to go through all the difficulties that one has already gone through. Having said that, this is probably because of a limited set of Grasshopper skills in the group and will get better as one masters the software.

FUTURE WORK Despite the learning outcomes of this subject, to stop learning parametric design would be wasting a great set of design method that the ongoing architectural discourse is heading towards. There is definitely a trend going towards parametric design as the “NOW” style. And although parametricism would never be my main approach in designing, utilising it to generate forms and ornamentations that can not be designed by hands would definitely be a future exploration for me and in my contribution in the ongoing architecture discourse.


STUDIO AIR 2012 | VITTO ANDREAS


Journal Final Submission