ARCHITECTURE DESIGN STUDIO :
YONG QUAN GOH ----- 553243 THE UNIVERSITY OF MELBOURNE
â€œParametricism is the only credible candidate to become the epochal style of the 21st century.â€? Schumacher, 2012
PART I. EXPRESSION OF INTEREST
I.1. CASE OF INNOVATION
I.1.1.0 ARCHITECTURE AS A DISCOURSE
I.1.2.0 COMPUTING FOR ARCHITECTURE
I.1.3.0 PARAMETRIC MODELLING
I.1.4.0 CASE FOR INNOVATION CONCLUSION
I.2. RESEARCH PROJECT
I.2.1.0 SCOPE OF POSSIBILITIES
I.2.1.1. IMPUT / ASSOCIATION / OUTPUT MATRIX
I.2.1.2. REVERSE-ENGINEERED CASE-STUDY
I.2.1.3 EXPLORATION OF PATTERNS
I.2.1.4. MATERIAL EFFECTS
I.2.2.0 RESEARCH PROJECT CONCLUSION
I.3. EXPRESSION OF INTEREST CONCLUSION: COMPETITIVE ADVANTAGE
I.4. LEARNING OBJECTIVES AND OUTCOME: INTERIM
PART II. PROJECT PROPOSAL
II.1. PROJECT INTERPRETATION
II.2. PROJECT DELIVERY
II.3. PROJECT PRESENTATION
II.4. PROJECT PROPOSAL CONCLUSION
PART III. LEARNING OBJECTIVES AND OUTCOMES: FINAL
III.1. PERSONAL BACKGROUND AND LEARNING OBJECTIVES
III.2. LEARNING PROGRESS
III.3. LEARNING OUTCOMES
III.4. FUTURE WORK
â€œPatterns will be explored here in the narrow sense of designed patterns that spread across all sorts of surfaces, including architectural surfaces.â€? Schumacher, 2009
PART I. EXPRESSION OF INTEREST I.1.1.1 PATTERN as a DISCOURSE C_WALL
This project is the latest development in an ongoing area of research into cellular aggregate structures that has examined honeycomb and voronoi geometries and their ability to produce interesting structural, thermal, and visual performances. The voronoi algorithm is used in a wide range of fields including satellite navigation, animal habitat mapping and urban planning as it can easily adapt to local contingent conditions. Within the research, it is used as a tool to facilitate the translation and materialization of data from particle-simulations and other point-based data. Through this operation, points are transformed into volumetric cells which can be unfolded, CNC cut, and reassembled into larger aggregates.
ARCHITECTS: ANDREW KUDLESS & IVAN VUKCEVICH FIRM: MATSYS YEAR: 2006 LOCATED: Banvard Gallery, Knowlton School of Architecture, Ohio State University, Columbus, Ohio
Pattern is common in both the natural and man-made world. The human’s ability for pattern recognition and fabrication is innate. Encompassing the historical, vernacular and parametric, this title explores the creation, materialisation and theorisation of some of the world’s most significant and spectacularly patterned spaces. It investigates how interiors, buildings, cities and landscapes are patterned through design, production and manufacturing, use, time, accident and perception. It also brings into focus how contemporary advanced spatial practices and CAD are now pushing patterns to encompass a greater range of structural, programmatic, aesthetic and material effects and properties. As Wyndham City is seeking responses from design professionals for the design and documentation of an exciting, eye catching installation at Wyndham’s Western Gateway, it has come to my understanding that how and why the deployment of patterns is shaping the future of architecture.
PROJECT SOURCE: 1. http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html 2. http://softrigid.com/2011/07/13/pattern-redux/
â€œWe must remember that everything depends on how we use a material, not on the material itself...â€? Mies van der Rohe, 1938
I.1.1.2 MATERIAL as a DISCOURSE SHENYANG CIVIC SPORTS CENTER
The National Games Arena is located on the West end of the site, an iconic figure against the relaxed background of the sports landscape. This building is a symbol of both the Games and the new status of Shenyang as a top-ten Chinese provincial capital and international city. The architecture is based on crystal patterning found in nature at all scales. The design features large membrane bubble windows with views out to the Park and the city. The patterning of the windows spreads out onto the metal panel facades of the building, erupting as zones of solar panels on the roof. The transparent areas will be made of ETFE bubbles, which are pressurized with air. This system is extremely lightweight compared to glazing, and therefore requires minimal structure to support it. In order to reduce solar gain in summer and heat-loss in winter, proposal to exchange patches of the transparent ETFE bubbles with translucent bubbles consisting of multiple layers of ETFE insulated with aero gel or other high-performance insulation has been made. ETFE panels “had a positive/negative leaf pattern printed on the outer two of the three-layer system. These foil cushions, with a 3% pattern overlap, where pneumatically able to transform the wall envelope from a translucent to an opaque system.” This configuration allows us to design a ‘program’ for the gateway material to create an innovative and prominent indicator to provide a focus to the Western Interchange entry to the City.
PROJECT SOURCE: 1. http://www.zigersnead.com/current/blog/post/what-is-ethylene-tetraflouroethylene-etfe/ 2. http://digital.library.adelaide.edu.au/dspace/handle/2440/63373
ARCHITECTS: TOM WISCOMBE FIRM: EMERGENT YEAR: 2013 LOCATED: Shenyang, China
â€œParametricism offers a credible, sustainable answer to the crisis of modernism that resulted in 25 years of stylistic searching.â€? Schumacher, 2008
ARCHITECTS: CHAD CARPENTER & DINO ROSSI FIRM: MATSYS YEAR: 2009 LOCATED: San Francisco Museum of Modern Art
I.1.1.3 DISCOURSE as an INNOVATION P_WALL
This project was commissioned by SFMOMA for this exhibition and its permanent collection, marks a radical reinvention of the gallery wall. Typically smooth, firm, regular and, by convention, “neutral,” the gallery wall has shed its secondary status to become a protagonist in the space it lines. Made of one hundred fifty cast plaster tiles, individually formed by pouring plaster over nylon stretched atop wooden dowels, the new wall possesses an unmistakable corporeal quality. Bulges and crevices; love handles and cleavage; folds, pockmarks, and creases: these are among the characteristics of human skin that come to the fore.
sensual and, at times, bizarre shapes. P_Wall replaces the modern gallery wall with an unwieldy skin that can only approximate the fleshy enclosure that we, as human beings, inhabit throughout the course of our lives.
The use of design generative technologies, parametric in particular, opens the ground for achieving at different scales a more immediate exchange of information, exploring new alternatives in spatial and formal features. This will helps to enhance the physical environment through the introduction of a visual arts component. It will have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further Contemporary in its effort to capture dynamic reflection about the installation beyond a first forces in static form, P_Wall nonetheless has glance. its origins in the experiments of earlier, 20th century architects including Antoní Gaudí and Miguel Fisác, both of whom investigated the potential of cast material to yield unique,
PROJECT SOURCE: 1. http://www.todayandtomorrow.net/2008/03/16/p_wall/ 2. http://www.generativeart.com/on/cic/papersga2008/9.pdf
â€œA new design continuum a direct link from design through to construction, is established through design technologies.â€? Kolarevic, 2003
I.1.2.1 COMPUTING in ARCHITECTURE VORONOI MORPHOLOGIES
Voronoi Morphologies is the latest development in an ongoing area of research into cellular aggregate structures. The voronoi algorithm is used in a wide range of fields including satellite navigation, animal habitat mapping, and urban planning as it can easily adapt to local contingent conditions. Within the research, it is used as a tool to facilitate the translation and materialization of data from particle-simulations and other point-based data into volumetric form. Through this process, it becomes much easier to produce highly differentiated structures that are responsive to local performance criteria. The project was developed though both 2D and 3D voronoi cellular structures. In both cases, a field of points is used to determine regions of space, or cells, that are closer to a certain point than any other point. As the cells are not constrained by a fixed geometric topology, the cells properties can be tuned in much more specific ways than a tradition rectangular or hexagonal cell arrangement. A custom-designed script was written to connect Rhino with Qhull which did the actual voronoi calculations. The script also digitally unfolds, labels, and prepares the geometry for CNC fabrication. Since Wyndham has become known for its support of public art and sculpture by way of a number of initiatives, through the tool to facilitate the translation and materialization of data from particlesimulations and other point-based data into volumetric form, it can create a familiar feature within Wyndham from urban centres and suburban parks to sculpture walks and rural attractions.
PROJECT SOURCE: 1. http://www.iaacblog.com/digitalfabrication/2010/10/21/%E2%80%9Carchitecture-can-be-understood-as-material-body%E2%80%9D-andrew-kudless/ 2. http://ffffound.com/image/c5cd91a9de08d6902d8218e76a05af9fcad6b6a7
ARCHITECTS: JELLE FERINGA FIRM: EZCT ARCHITECTURE AND RESIGN RESEARCH YEAR: 2005 ~ 2006 LOCATED: Columbus, Ohio
â€œIt is important to note that parametricism - as a style - constitutes an artistic agenda that embodies a will to form.â€? Schumacher, 2009
I.1.3.1 PARAMETRIC MODELLING CHRYSALIS (III)
ARCHITECTS: ANDREW KUDLESS & JASON VERESCHAK FIRM: MATSYS YEAR: 2012 LOCATED: Permanent Collection of the Centre Pompidou, Paris, France
The latest in a series of projects exploring cellular morphologies, Chrysalis (III) investigates the self-organization of barnacle-like cells across an underlying substrate surface. The cells shift and slide across the surface as they attempt to find a more balanced packed state through the use of a relaxed spring network constrained to the surface. Each cell is composed of two parts: a cone-like outer surface made from cherry veneer and a non-planer inner plate made from poplar veneer that stresses the outer cone into shape. Each of the 1000 cell components are unfolded flat in the digital model, digitally fabricated, and hand assembled. The modelling tools we have at the present moment are clearly unsatisfactory. Their principal limitation is the lack of appropriate instruments to modify interactively the model once it has been created. This is a fundamental aspect in any design activity, where the designer is constantly going forward and backwards, reelaborating once and again some particular aspect of the model, or its general layout, or even coming back to a previous solution that had been temporarily abandoned. However, parametric modelling intended to assist designers to generate architectural forms in an easy and interactive way. With the help of parametric modelling, the gateway project will enhance the physical environment through the introduction of a visual arts component. It will have longevity in its appeal, encouraging ongoing interest in the Western Interchange by encouraging further reflection about the installation beyond a first glance.Â
PROJECT SOURCE: 1. http://www.rethinking-architecture.com/introduction-parametric-design,354/ 2. http://generativedesign.wordpress.com/category/architecture/
SHENYANG CIVIC SPORTS CENTER
I.1.4.1 CASE FOR INNOVATION: CONCLUSION â€œHaving abandoned the discourse of style, the architecture of modern times is characterized by its capacity to take advantage of the specific achievements of that same modernity: the innovations offered it by present-day science and technology. The relationship between new technology and new architecture even comprises a fundamental datum of what are referred to as avant-garde architectures, so fundamental as to constitute a dominant albeit diffuse motif in the figuration of new architectures.â€?
Ignasi de Sola Morales, 1997
Parametric modeling has been proposed as an effective means to embed domain expertise in models of buildings. As information technology becomes more powerful in terms of the ability to manipulate large parametric models, the potential grows to build increasingly sophisticated functional systems for designing, modeling and fabricating buildings. Implementing more powerful systems implies greater functional specificity, which requires elicitation and capture of increasingly detailed and complex domainspecific semantics and knowledge.
BOOLEAN PATTERNING + ATTRACTOR POINT + EXTRUSION
SURFACE GRIDS + MATHS FUNCTIONS + EXTRUSION
SURFACE GRIDS + IMAGE SAMPLER + ROTATION
OVERLAPPING PATTERNS + IMAGE SAMPLER + EXTRUSION
SURFACE NORMALS + IMAGE SAMPLER + EXTRUSION
BOOLEAN PATTERNING + IMAGE SAMPLER + EXTRUSION
BOOLEAN PATTERNING + IMAGE SAMPLER + ROTATION
OVERLAPPING PATTERNS + MULTIPLE MATHS FUNCTIONS + ROTATION
SURFACE GRIDS + IMAGE SAMPLER + EXTRUSION
SURFACE GRIDS + CURVE ATTRACTOR + EXTRUSION
BOOLEAN PATTERNING + MATHS FUNCTIONS + EXTRUSION
OVERLAPPING PATTERNS + CURVE ATTRACTOR + EXTRUSION
I.184.108.40.206 INPUT/ASSOCIATION/OUTPUT MATRIX
Grasshopper component, Rhino, definitions and documenting is a process of learning as a beginner to design parametric as a design tools. The practise of developing all the input, association, and output matrixs gives the ideas and technic on how parametric works. Exploring the geometries forms and design for the case study is important. We are able to choose the architectural effects that can demonstrates the EOI and concepts in relation to the geometry for the Gateway in Whyndham City.
BOOLEAN PATTERNING + MATHS FUNCTIONS + EXTRUSION
BOOLEAN PATTERNING + MULTIPLE MATHS FUNCTIONS + ROTATION
BOOLEAN PATTERINING + MATHS FUNCTIONS + EXTRUSION
BOOLEAN PATTERNING + MATHS FUNCTIONS + ROTATION
BOOLEAN PATTERNING + IMAGE SAMPLER + EXTRUSION
SURFACE NORMALS + ATTRACTOR POINT + ROTATION
SURFACE NORMALS + IMAGE SAMPLER + EXTRUSION
SURFACE NORMALS + ATTRACTOR POINT + ROTATION
SURFACE NORMALS + ATTRACTOR POINT + ROTATION
SURFACE NORMALS + ATTRACTOR POINT + ROTATION
I.220.127.116.11 INPUT/ASSOCIATION/OUTPUT MATRIX
This research project has been intended to encapsulate and diversify the grasshopper learning process. Research on case studies and precedence were also done to understand parametric design better. In groups of three, we were advocated to experiment with countless of matrices to stimulate the design process and later on proceed with several fabrication methods.
I.18.104.22.168 REVERSE-ENGINEERED CASE-STUDY AIRSPACE TOKYO The design of the screen design is inspired by the abundant greenery that previously occupied the site, the screen faรงade comprises four different overlapping organic patterns. The thickness of the screen is visually enlarged by the effect of the compressed patterns, making the screen a dynamic buffer of shadows and oddly framed views. And the double layer screen is derived from a compressed combination of unique patterns generated with parametric software, and is constructed using a composite metal panel material used for billboard backing and infrastructural protective coverings. To allow the cellular mesh to visually float, a matrix of thin stainless steel rods is threaded from top to bottom, to which the panels are affixed. Related to the project of Whynham City, the precedent study from Airspace Tokyo inspired us to discover the pattern of Voronoi in matrix. The play of light and shadow, patterns and materials from the study can be intersting if we are able to create a series of different patterns of voronoi as part of the installation in the gateway of Whynham City. This is because voronoi geometries can be able to produce interesting structural and visual performances into volumetric cells or cellular.
PROJECT SOURCE: 1. http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=1142 2. http://www.archicubed.com/airspace-tokyo/
ARCHITECTS: THOM FAULDERS FIRM: STUDIO M YEAR: 2007 LOCATED: Tokyo, Japan
I.22.214.171.124 PRECEDENT STUDY WATERCUBE
ARCHITECTS: PTW ARCHITECTS YEAR: 2008 LOCATED: Beijing, China
ETFE, Ethylene Tetrafluoroethylene, is used in faรงade construction in some modern buildings. Bubble-shaped skin on faรงade of the Water Cube in Beijing is also made up of ETFE instead of using glass and plastic. Compared to the glass, ETFE transmits more light, has better insulation, and is much cheaper in installation. The major reasons of using this material in modern architecture (possibly parametric design) are its lightweight and stretchability that ETFE can be stretched to three times of its length without loss of elasticity. These benefits of ETFE contribute a lot to the Water Cube: good transmission of light enables Water Cube to shine with artificial but beautiful light during the night time, and the extraordinary elasticity of ETFE allows the skin to be shaped in bubble-like form. Related to the Wyndham City project, the use of modern materials like ETFE instead of glass and plastic could generates possibilities to design to have more dynamic forms in various sizes. To add, dynamic forms could help to create senses of movement or aesthetic from the design.
PROJECT SOURCE: 1. http://www.chrisbosse.de/watercube/ 2. http://en.beijing2008.cn/cptvenues/venues/nac/headlines/n214241555.shtml
I.126.96.36.199 PRECEDENT STUDY CASALGRANDE CERAMIC CLOUD
ARCHITECTS: KENGO KUMA YEAR: 2010 LOCATED: Casalgrande, Reggio Emilia
This sculpture is conceived as a synthesis between artificial and natural elements: the vibrant ceramic wall is the symbol of a refined work of the intellect, whereas the surrounding space, including water surfaces and pebbles, is full of hints to a Zen garden, according to the typically Japanese vision in which nature and artificial interventions are the opposite but not conflicting and ends of a constantly balanced and stimulating dialogue. Related to the project Whynham City, the characteristics of lights and shadows plays important roles in creating experience of a journey through path way of one destination to another destination by creating different sense of environment and inspired the beauty of nature landscape around us. It give us pause for thought and encourage us to look at our surroundings with new eyes and be freshly engaged by the peripheral subtleties that normally pass us by as a â€œtopological spaceâ€? from which the view can frame portions of scenery, a filter between the nature and the observer. PROJECT SOURCE: 1. http://www.casalgrandepadana.com/index.cfm/1,869,2070,0,html/Casalgrande-Ceramic-Cloud-by-Kengo-Kuma-The-Inauguration 2. http://www.designboom.com/weblog/cat/9/view/11849/kengo-kuma-casalgrande-ceramic-cloud.html
I.188.8.131.52 PRECEDENT STUDY VOUSSOIR CLOUD
Voussoir Cloud using a system of three-dimensional modules formed by folding paper thin wood laminate along curved seams which produced a form that relies on the internal surface tension to hold its shape and allows for a structural porosity within the constraints of sheet material. The form-finding exploration of the whole is dependent on the geometric performance of the individual units and their relation to the gallery walls. To do this, a computational script was developed for the Rhino model that managed the petal edge plan curvature as a function of tangent offset, the more the offset and the greater the curvature. Related to the project Whynham City, the gateway project could be experience using the complex calculations that allow a diverse range of complex forms to be created with great ease using computer algorithms.
PROJECT SOURCE: 1. http://www.alanslu.com/Voussoir-Cloud-IwamotoScott 2. http://slcl.ca/portfolio/voussoir-cloud/ 3. http://www.triangulationblog.com/2011/06/voussoir-cloud.html
ARCHITECTS: IWAMOTOSCOTT YEAR: 2008 LOCATED: Southern California Institute of Architecture gallery, Los Angeles
I.2.1.3 EXPLORATION OF PATTERNS FIRST EXPLORATION
I.2.1.3 EXPLORATION OF PATTERNS SECOND EXPLORATION
The patterns were modelled by different lines and points to create spiral and flower-like voronoi. The more points created the more complex patterns.
I.2.1.3 EXPLORATION OF PATTERNS THIRD EXPLORATION
I.2.1.4 MATERIAL EFFECTS
The double layer screen is derived from a compressed combination of unique patterns generated with parametric software. When the sunlight shrine, it shows light and shadow.
CASALGRANDE CERAMIC CLOUD
I.1.2.2 RESEARCH PROJECT: CONCLUSION PATTERN The pattern shows repetition work and function as decoration in the site. Based on the case study, we intended to use the pattern of Voronoi as the parametric design for the installation of Public art on the gateway site in Wyndham city. The solid and void in the surface layer of Voronoi, creates the light and shadow, and it is flexibility in creating movement and dynamic, playing of material and texture.
LIGHT AND SHADOW Light and shadow work in tandem to configure the visual sense in spaces. The light plays as a perpetual dance, its swift and fleeting and the shadow act as a spatial dynamics which transfigured our perceptual orientation. To create an eye-catching installation, play of lighting in daytime and night time, when the sun rise on the east side on side, and sunset on the west, it create a sense of rhythm and continuity. In night time, the light will be shown by artificial light, based on the case study of Casalgrande ceramic cloud, Kengo Kuma.
MOVEMENT When driver pass through the installation with the pattern shown on the picture below, the pattern consist of density from large pattern to gradually smaller pattern create dynamic movement. This creates a motion and kinetic movement based on the pattern when motorist pass through the site along the Princess Freeway, with a speed limit of 100km/h in site.
EOI CONCLUSION: COMPETITIVE ADVANTAGE Wyndham city is known for the way in which it has preserved and developed its attributes to create a prosperous and exciting place in which to live and work. (Wyndham City, 20112015). One of the vision of city planning of Wyndham city is to create a city image by improve Wyndhamâ€™s gateways, open space areas and streetscapes to enhance the aesthetics and amenity for residents, businesses and visitors, in the same time its improve the visual appearance to encourage a sense of pride and as a place to live, work and invest in Wyndham City. (The Quality Community Plan 2007). The connection between the case study and the expression of interest are similar in the installation of Wyndham city. Based on the research, there are materials and the combination of patterns needs to be generated and explored based on the site condition of the Wyndham city. Spatial and journey of experience can be effect by different combination of patterns, lighting and movement. The CUT project has definitely highlighted my knowledge in grasshopper which was at the rudimentary level during the start of the semester. The process of experimenting with digital tools themselves, rather than fabricating any specific outcome, has personally been of the most value as they rely on the student to consider why they are using definitions a certain way. The knowledge, principles and ideas will be brought forward and further refined in the gateway project.
LEARNING OBJECTIVES AND OUTCOMES: INTERIM Much of architectural design is now about tweaking parameters. While we are yet to master the fine art of parametric design, there is much excitement about it. Perhaps too much of it. Thanks to it, most architects are now aware of the benefits of parametric design – where modification can be easily made and (parametric) variations easily explored. The biggest learning outcome was I learnt Grasshopper which is a graphical algorithm editor tightly integrated with Rhino’s 3-D modeling tools. Unlike RhinoScript, Grasshopper requires no knowledge of programming or scripting, but still allows designers to build form generators from the simple to the awe-inspiring. Parametric design as a title may be wide enough for some, yet limiting for others, hence the subtitle, generative architecture, which in my feeling is a complimentary thing to the latter. Some people might argue, but if we look closely at fabrication processes of complex shapes or solids, even in most complex, multi-layered structures, in most cases they wouldn’t be possible without breaking down the problem into set of input parameters, and resolving it locally. Although I could only create surface patterning as of now: I am yet to figure out how the next layer of complexity can give birth to building rooms, ventilation, views and visual delight. Till that time, I should stop making glorious connections to old world mathematics. A new world of form is now being born out of a new world of mathematical and biological understanding. I am yet to come to terms with it.
PART II. PROJECT PROPOSAL
WYNDHAM CITY GATEWAY PROJECT
II.1 PROJECT INTERPRETATION Wyndham city is known for the way in which it has preserved and developed its attributes to create a pros vision of city planning of Wyndham city is to create a city image by improve Wyndham’s gateways, open s and visitors, in the same time its improve the visual appearance to encourage a sense of pride and as a p Intended for:
The installation for Gateway in Wyndham city is intended for local resident, visitor and motorist that trave Design Intention: • A visual sense for the site. • An eye-catching and iconic installation that create awareness of existing gateway. • Interconnection between the human and nature environment. • Exploring a way that architecture is the catalyst in which people experience this perpetuated journey. • Focuses on how the journey, lighting, pattern and movement. Location of the site
The driveways adjacent to the sites run in two directions, there are highway toward the city facing the eas best view for installation to catch the most views for people who enter the city is the site A and Site B, wh
sperous and exciting place in which to live and work. (Wyndham City, 2011-2015). One of the space areas and streetscapes to enhance the aesthetics and amenity for residents, businesses place to live, work and invest in Wyndham City. (The Quality Community Plan 2007)
elling along the Princess Freeway and the urban precinct of the municipality.
st, and west toward the country. The road between site A and site B takes the most traffic. The hich is one of the major highway between the interchange of entering city and country.
II.2 PROJECT DELIVERY
CONCEPT The interchanging of freeway along the gateway of Wyndham City shows a series of circulation route between the roads from East towards the city and the West towards the country side. This inspired the idea of creating the points for voronoi pattern for the surface based on the circulation between the interchanging pathways. The model was designed following the natural landscape and the earth surface in site boundaries that creates the idea of movement. INTENTION The intention in this project is to create an installation that gives the impression that is born from the earth, the elements of the form as part of the ground as its stretching from the ground surface and the shell surface of voronoi pattern seem to become inflated to define the nature and movement of the landscape. Artificial landscapes are coherent spatial systems. They proliferate infinite variations rather than operating via the repetition of discreet types. Artificial landscape as a part of nature is nearly always created, formed and structured by principles which are not of â€˜naturalâ€™ nature, but of human who designs and constructs their world. And vice versa, the experience of landscape has been nourished and formed by an aesthetic view for a long time.
II.3 PROJECT PRESENTATION
LIGHT & SHADOW
- Improves a person’s physiological function by allowing them to view ‘natural’ scenes and elements. - Removes carbon from atmosphere which improves air quality. - Provides opportunity to increase biodiversity.
VORONOI In mathematics, a Voronoi diagram is a special kind of decomposition of a given space, e.g., a metric space, determined by distances to a specified family of objects in the space. These objects are usually called the sites or the generators (but other names are used, such as â€œseedsâ€?) and to each such object one associates a corresponding Voronoi cell, namely the set of all points in the given space whose distance to the given object is not greater than their distance to the other objects.
FINAL OUTCOME Geometry form
- follow the scale boundary of the Site A between the high-way of Wyndham City.
Repetition Pattern - creates a motion and kinetic movement based on the pattern when motorist pass through the site along the Princess Freeway, with a speed limit of 100km/h in site.
Materials -Ethylene tetrafluoroethylene, ETFEE for surface. - Steel structure
Bottom chord to diagonals joint connection detail.
Joinery system for the structure for supporting the whole surface.
PROJECT PROPOSAL CONCLUSION OUR DESIGN FULFILL MOST OF THE CONBSTRAITS AND THE EXPRESSION OF INTEREST THAT WE WANT TO ACHIEVE WHICH ARE LIGHT, SHADOW, MOVEMENT, PATTERN AND MATERIAL. AS THE FUNCTION OF OUR PROJECT ACT AS AN ARTIFICIAL LANDSCAPE, WE STONGLY BELIEVE THAT THE LARGE SCALE PROJECT WHICH COVER THE ‘SITE A’ WILL BE CREATING AN INTERESTING FORM AND WE ALSO BELIEVE IT CAN ACHIEVE AS ONE OF THE ICONIC AND EYE CATCHING INSTALLATION WITH THE UNIQUE FORM AND BEAUTIFUL VORONOI PATTERNS. IMAGINE THAT YOU PASSING BY THE INSTALLATION WHILE DRIVING, THE LIGHT PENETRATED THE SKIN AND GIVE AN EYE CATCHING IMAGE AND VIEW. WE BELIEVE THIS CAN ATTRACT THE VIEWERS’ ATTENTION. IF WYNDHAM CITY AGREE WITH OUR DESIGN, WE BELIEVE WE CAN ACHIEVE WHAT WYNDHAM CITY WANTS FOR THEIR GATEWAY PROJECT WHICH IS AN ART THAT ENHANCE THE PHYSICAL ENVIRONMENT AND A NEW IDENTIFIER.
ADS : AIR.... is by far the toughest and the most challenging studio ever in the course of my architectural education. As I’m a transfer student from Malaysia, parametric modelling is a new challenge that I have not encountered back in my country. Learning digital architectural design is a difficult but hugely exciting challenge. In these conditions, I have to engage with computation or risk to receive education that is conceptually and practically obsolete. Computational capabilities introduce associative and performance-based processes that were not available in the pre-digital era. Consequently, these new methods change the conventional relationships between such fundamental categories as ideation and making or form and material. III.2. LEARNING PROGRESS I would like to thank my groupmates and tutors who have contributed much to the learning process which would otherwise be difficult to handle individually. Groupmates always share their crazy ideas to boost up my creativity and tutors have been given me suggestion such as ovening, baking or even cooking the produced models. These are brand new ideas which I never experience before in Malaysia. Besides that, I also learn to have a better communication with friends, groupmates and tutors all over the world. III.3. LEARNING OUTCOMES Although I must say this subject has been a very tough and “horrified” one but I enjoyed it alot and I have to admit that I’m pretty lucky and the knowledge and skills learnt is more than any other student in a different studio other than AIR, in addition picking up numerous software knowledge such as Indesign, Illustrator, Rhino and Grasshopper which would be highly beneficial for my future career as an architect. Previously, I could only create surface patterning through the CUT project but now I could create 3-dimensional object or design and I am hope to figure out how the next layer of complexity can give birth to building rooms, ventilation, views and visual delight. III.4. FUTURE WORK The goal of this subject in the long run, is the integration of the material properties as well as the methods of fabrication into the generation of geometric representation. In the best case an integrated design cycle takes full advantage of the possibilities of the digital medium and the computer controlled tools. By the further understanding of the techniques and skills on digital architectural design, it helps to analyze in depth the digital modeling process for the integration of parametric control of form and fabrication methods, identifying relevant aspects and common patterns in practice. There are important benefits to the implementation of parametric modeling techniques in terms of efficiency, quality and formal exploration, particularly in the design development and engineering of complex shaped buildings, where specific material and fabrication constraints limit the context of the design process.
T H E E N D