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ABPL30048//SM1//2012

DESIGN STUDIO AIR JOURNAL YUMIE LE//387551 TUTOR//LOREN & CHRIS

DESIGN STUDIO AIR 2012

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//Architecture as a Discourse

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NAME LOCATION ARCHITECTS

BEIJING BIRDS NESTS (National Stadium) BEIJING, CHINA HERZOG & DE MEURON

THE BEIJING BIRDS NESTS IS ONE OF THE MOST ICONIC ARCHITECTURAL PIECE THAT REPRESENTS MODERN ARCHITECTURE MOST. TO FULL FILL THE REQUIREMENTS OF THE BIDDING PROCESS, THE DREAM CAM OUT WITH A "RANDOM LOOKING ADDITIONAL STEEL" TO HIDE STEEL SUPPORT FOR THE RETRACTABLE ROOF. FROM THIS DECISION IT HAS ADDED THE UNIQUENESS AND CULTURAL MEANING TO THIS STADIUM AND LATER BECOME THE ICONIC ELEMENT OF THE WHOLE STRUCTURE. THIS IS AN EXAMPLE OF A HIGHLY COMPLEX STRUCTURE THAT PROVES HUMAN ABILITY OF DESIGNING AND CONSTRUCTING SUCH GIANT AND AMAZING STRUCTURE. THE USE OF ADVANCE TECHNOLOGY AND COMPUTATIONAL PROGRAM IS CLEARLY USED EFFECTIVELY TO ACHIEVE SUCH ACCURATE AND COMPLEX SYSTEM.

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NAME LOCATION ARCHITECTS

BEIJING WATERCUBE (NATIONAL AQUATICS CENTER) BEIJING, CHINA PTW ARCHITECTS

THE DESIGN WAS INITIATED BY TEAM EFFORT: CUBE REPRESENTS "EARTH" AND BUBBLES REPRESENTS "WATER". THE DESIGN REFERENCES CHINESE SYMBOLIC ARCHITECTURE. THE OUTER WALL IS BASED ON THE WEAIRE-PHELAN STRUCTURE, MADE UP OF SEVEN DIFFERENT SIZES FOR THE ROOF AND 15 FOR THE WALLS.

THE SPECIAL AWARD FOR THE MOST ACCOMPLISHED WORK IN THE SECTION ATMOSPHERE IS AWARDED TO THE AUSTRALIAN ARCHITECTURE FIRM PTW ARCHITECTS, CSCEC + DESIGN AND ARUP FOR THE PROJECT NATIONAL SWIMMING CENTRE, BEIJING OLYMPIC GREEN, CHINA. THE PROJECT DEMONSTRATES IN A STUNNING WAY, HOW THE DELIBERATE MORPHING OF MOLECULAR SCIENCE, ARCHITECTURE AND PHENOMENOLOGY CAN CREATE AN AIRY AND MISTY ATMOSPHERE FOR A PERSONAL EXPERIENCE OF WATER LEISURE”

— QUOTE FROM THE JURY REPORT OF THE OFFICIAL AWARDS 9TH INTERNATIONAL ARCHITECTURE EXHIBITION – METAMORPH, VENICE BIENNALE

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NAME SEEDS CATHEDRAL LOCATION SHANGHAI WORLD EXPO 2010 ARCHITECTS THOMAS HEATHERWICK THERE WERE HUNDREDS OF STRUCTURE IN THE SHANGHAI WORLD EXPO 2010 BUT THERE WERE ONE THAT ESPECIALLY DRAWN THE MOST ATTENTION OF THE CROWD BECAUSE OF THE WAY IT CONSTRUCTED AND THE UNDERLINING MEANING BEHIND THE DESIGN. THE STRUCTURE IS MADE OUT OF BRISTLING FORM OF 60,000 FIBRE-OPTIC RODS, EACH WITH A SEED IMPLANTED IN ITS TIP. THE IDEA OF HAVING “DANDELION EFFECT” ON SURFACE OF THE DESIGN IS SIGNIFICANT. NOT ONLY THE UNIQUENESS IT PROVIDES BUT ALSO ACTING LIKE A LIVING OBJECT AS IT SWAYS IN THE BREEZE. IN THE GATEWAY PROJECT, WAYS STRUCTURE’S SURFACE FORMS CAN BE CONSIDERED AS MAIN ORNAMENT OF THE WHOLE STRUCTURE.

SEEDS CATHEDRAL //FIRST AIM WAS TO DESIGN SOMETHING THAT HAS MANIFESTATION OF WHAT IT WAS EXHIBITING. //SECOND AIM WAS TO ENSURE THERE IS ENOUGH SPACE FOR VISITOR TO SIT AND RELAX OR CHOOSE EITHER TO ENTER THE BUILDING. //AND FINALLY IS IT SHOULD STAND OUT AMONG THE OTHER COMPETITORS.

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WYNDHAM GATEWAY //DESIGN SOMETHING THAT MANIFESTS THE REASON THAT THIS GATEWAY SHOULD BE CONSTRUCTED (IE: WELCOMING PEOPLE TO MELBOURNE CITY...) //HAS UNDERLINE MEANINGS (RELATE TO POLITICS, POPULATION ISSUE...) THAT CAN EASILY BE RECOGNISED AND UNDERSTAND. //UNIQUE DESIGN AMONG OTHER COMPETITORS.

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//ComputationInArchitecture

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NAME ALGORITHMIC HOUSING LOCATION THIRD PLACE OF THE 2007 HOUSING COMPETITION ARCHITECT MARCIN PILSNIAK

THE AIM OF THIS PROJECT IS TO EXPLORE POSSIBLE HOUSING SOLUTION FOR RAPIDLY DEVELOPING CITIES WORLDWIDE. WITHIN AN ENVIRONMENT AS DYNAMIC AS SHANGHAI A FLEXIBLE AND ADAPTIVE HOUSING PROJECT IS REQUIRED; A SOLUTION THAT ALLOWS NATURAL ORGANIZATION, WITH A SYSTEM OF BASIC BUILDING BLOCKS GOVERNED BY A SET OF GROWTH RULES THAT CONTINUOUSLY EVOLVE ACCORDING TO THEIR INTERACTION WITH THE ENVIRONMENT. THE RESULT IS A DESIGNED GENOTYPE OR SET OF RULES FOR A HOUSING DEVELOPMENT, INSTEAD OF A DEFINITIVE PRODUCT. THIS SYSTEM CAN BE APPLIED TO AN INFINITE NUMBER OF ENVIRONMENTS AND PRODUCE RADICALLY DIFFERENT OUTCOMES, SPECIFIC TO EACH LOCATION.

=> USING COMPUTATION IN ARCHITECTURE HELPS TO DEVELOP ALTERNATIVE SOLUTIONS FOR HOUSING DEVELOPMENT AND MANAGEMENT. BY USING MATHEMATICAL COMPUTING SOLUTION, MARCIN PILSNIAK BE ABLE TO PRODUCE A FORMULA FOR HOUSING DEVELOPMENT AS WELL AS HAVING THE AESTHETIC THEME THROUGHOUT THE WHOLE PROJECT. HIGHLY COMPLEX AND FUTURISTIC STRUCTURES ARE CREATED BASED ON THE INTERACTION OF URBAN GROWTH AND ENVIRONMENT CHANGES.

http://www.evolo.us/architecture/algorithmic-housing/

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NAME PARAMETRIC URBANISM LOCATION 2007 SKYSCRAPER COMPETITION ARCHITECT DOMINIKI DADATSI, FOUNTOULAKI ELRINI, PAVLIDOU ELENI

THIS PROJECT WAS SPECIAL MENTIONED IN THE SKYSCRAPER COMPETION IN 2007 AND IS ONE OF THE EXAMPLE OF ADAPTIVE ARCHITECTURE. BASED ON ECOLOGICAL SYSTEMS, THE TEAM INVESTIGATES HOW AN URBAN DEVELOPMENT CAN BE EXPLORED AS A SIMULATION MODEL OF NATURAL GROWTH THAT NEGOTIATES AND ADAPTS TO THE EXISTING URBAN FABRIC.BORROWING RULES AND FUNCTIONS FROM THE NATURAL WORLD, SUCH AS GROWTH AND PHYLLOTAXIS, THE PROJECT IS AN INVESTIGATION OF PARAMETRIC DEVELOPMENT ADAPTING TO DIFFERENT URBAN NEEDS. THE PROJECT AIMS TO CREATE AN OPEN PARAMETRIC SYSTEM, TOWER AS VERTICAL URBANISM, CAPABLE OF ADJUSTING DUE TO DIFFERENT CONDITIONS. IT STUDIES HOW TO PRODUCE ARCHITECTURAL FORM BASE ON THE UNDERSTANDING AND SIMULATING ON HUMAN'S BEHAVIOUR AND MOVEMENT INSIDE URBAN PATTERNS. THE OUTCOMES OF THIS PROJECT PRODUCES A SYSTEM THAT CREATES GENERAL URBAN FIELD AND VERTICAL PATHS FOR THE GENERATION OF THE TOWERS. ON THE INTERIOR, 2 TYPES OF CIRCULATION ARE PREPOSED: VERTICAL CIRCULATION THAT FOLLOW THE PATHS OF THE TOWER AND DISTRIBUTES USERS INTO UNITS AND HELICAL MODEL OF CIRCULATION THAT DEFINES PUBLIC REALM OF THE BUILDING.

=> LOOKING AT SKYSCRAPER AS VERTICAL URBANISM, THE ARCHITECTS BE ABLE TO DESIGN AND DEVELOP SUCH HIGHLY COMPLEX SYSTEM THAT HAS CLOSE CONNECTIONS TO THE PEOPLE THAT INTERACTS WITH THE STRUCTURES. BY HAVING THIS CLOSE CONNECTION, THE OUTCOMES DIVERSE AS THE VARIETY OF HUMAN INTERATION THEREFORE GIVING DIFFERENT EXPRESSION FOR THE SKYSCRAPER BOTH EXTERNALLY AND INTERNALLY.

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IN RELATION BETWEEN WYNDHAM GATEWAY PROJECT AND THESE PRECEDENTS, BOTH REQUIRE A STRONG CONNECTION BETWEEN STRUCTURE AND THE PEOPLE, INTERACTION HAS NOT BEEN A MORE IMPORTANT ELEMENT IN DESIGNING BUILDINGS. LOOKING AT THESE PRECESENTS, I CAN ADOPT THE IDEAS OF CHANGING GEOMETRY OF THE STRUCTURE ACCORDING TO THE ENVIRONMENT SURROUNDING IT, IN OUR CASE, THE PEOPLE TRAVELS TO WYNDHAM ON FREEWAY.

“THE DESIGNER WHO WANTS TO BE COMPLETELY IN CONTROL OF THE RESULTS MUST BE IN CONTROL OF THE PROCESS AND TO BE IN CONTROL OF THE PROCESS, THE DESIGNER MUST BE IN CONTROL OF THE TOOLS. HERE, THE TOOLS ARE COMPUTATIONAL; THEREFORE A DESIGNER WHO WANTS TO BE IN CONTROL MUST ALSO BE A SCRIPTER. ” (ROBERT AISH, 2006)

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//ParametricDesign

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NAME RESEARCH PAVILION LOCATION UNIVERSITY OF STUTTGART, GERMANY ARCHITECT STUTTGART ARCHITECTURE STUDENTS IN 2010, THE INSTITUTE FOR COMPUTATIONAL DESIGN (ICD) AND THE INSTITUTE OF BUILDING STRUCTURES AND STRUCTURAL DESIGN (ITKE) DESIGNED AND CONSTRUCTED A TEMPORARY RESEARCH PAVILION. THE STRUCTURE SHOWS THE LASTEST DEVELOPMENTS IN MATERIAL ORIENTED COMPUTATIONAL DESIGN, SIMULATION AND PRODUCTION PROCESS INAR CHITECTURE. THE RESULT IS A BENDING ACTIVE STRUCTURE MADE BY 6.5MM THIN ELASTICALLY BENT BIRCH PLYWOOD STRIPS.

=> WITH MINIMUM MATERIAL USED, THEY ARE ABLE TO CREATE MASSIVE BODY. THIS IS IMPORTANT TO RELATE BACK TO OUR PROJECT ABOUT THE ENVIRONMENT ASPECT AS WELL AS COST EFFECTIVE. MATERIAL WAS USED EXTREMELY WELL IN THIS PROJECT AS THERE ARE NO FOUNDATION, STEEL OR CONCRETE COLUMNS TO SUPPORT THE WHOLE STRUCTURE, THE PLYWOOD ITSELF BENTS AND HELP TO CREATE THE UNIQUENESS OF THE DESIGN (ACTING AS STRUCTURE SUPPORT, AESTHETIC ELEMENT (FOR BOTH EXTERIOR AND INTERIOR), STRUCTURE BOUNDARY, …)

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WHY SCRIPTING

//REACHING BEYOND ANALOGUE PROCESSES; //CAPTURING MATERIAL LOGIC AND COMPUTING PERFORMANCE; //BEING PLAYFUL; //EXPLOITING GENERATIVE PROCESSES; //SEEKING DEEPER ACCESS TO THE IMAGINATION; //ENGAGING WITH COMPLEXITY; //INDUCING RAPID ITERATION AND VARIATION; //GRAPPLING WITH THE PERFORMATIVE; //TOYING WITH THE UNEXPECTED AND DELVING INTO THE UNKNOWN; //BEING FORCED TO BE EXPLICIT; //DISCOVERING NOVELTY;

SCRIPTING IS THE CAPABILITY OFFERED BY ALMOST ALL DESIGN SOFTWARE PACKAGES THAT ALLOWS THE USER TO ADAPT, CUSTOMISE OR COMPLETELY RECONFIGURE SOFTWARE AROUND THEIR OWN PREDILECTIONS AND MODES OF WORKING.

ARCHITECTS ARE ULTIMATELY CHOREOGRAPHERS OF SYSTEMS, AND THE BENEFITS OF TEACHING PROGRAMMING IN AN ARCHITECTURAL CONTEXT ARE MANIFOLD. IF ARCHITECTURE WANTS TO SURVIVE AS A DISCIPLINE, IT NEEDS TO ENGAGE THE CULTURE OF INNOVATION AND COMPUTING.

(MARK COLLINS & TORU HASEGAWA, PROXY)

=> ACCORDING TO THE USE OF SCRIPTING, ARTISTS (INCLUDING ARCHITECTS) HAS FLEXIBLE TOOLS TO PRODUCE VARIETY OF OUTCOMES. THERE ARE DESIGNS THAT COULD BE IMPOSSIBLE WITHOUT THE USE OF SCRIPTING. IT MAKES HUMAN TO ACHIEVE THE HIGHER LEVEL OF DESIGNING AND USING COMPUTER, SOFTWARES TO CREATE ARTPIECES THAT CAN NOT NOT MADE BY HANDS OR BY OTHER TOOLS. DESIGN STUDIO AIR 2012

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CASEY REAS IS AN ARTIST THAT EXPLORES THE RELATIONSHIP

BETWEEN NATURALLY INVOLCED SYSTEMS AND SYNTHETIC SYSTEMS BY USING SCRIPTING AS WELL AS OTHER KINDS OF COMPUTER SOFTWARES. CASEY 2D WORK CAN BE THE INSPIRATION FOR WYNDAHAM GATEWAY PROJECT AS THE IMAGERY OVOKES TRANSFORMATION AND VISUALIZES SYSTEMS IN MOTION AND AT REST. HIS PIEVES HAVE DIFFERENT FEELS:SOFT AND FLEXIBLE OR STRONG AND STRAIGHT FOWARD. LEARNING FROM THE WAY CASEY MANAGES TO PRODUCE AMAZING 2D DIGITAL ART CAN GAIN MORE IDEAS FOR THE PROPOSED DESIGN FOR WYNDHAM CITY GATEWAY.

“FOR THE FIRST TIME PERHAPS, ARCHITECTURAL DESIGN MIGHT BE ALIGNED WITH NEITHER FORMALISM NOR RATIONALISM BUT WITH INTELLIGENT FORM AND TRACEABLE CREATIVITY.” (TERZIDIS, 2006) DESIGN STUDIO AIR 2012

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//ResearchProject CUT:develop

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CUT PROJECT

MATRIX

SURFACEGRID_ATTRACTORPOINT_EXTRUSION

PATTERNANDOVERLAP_MULTIPLEMATHSFUNCTIONS_ROTATION

PATTERNANDOVERLAP_IMAGESAMPLER_ROTATION

TRANSFORMATION: CHANGING //COMPLEXITY // METAMORPHOSIS // PATTERNS CHANGING OF GEOMETRY OVER TIME/SPACE DESIGN STUDIO AIR 2012

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CUT PROJECT

MATRIX

OVERLAPPATTERN_ATTRACTORPOINT_EXTRUDE

OVERLAPPINGPATTERN_ATTRACTORPOINT_EXTRUSION

REPETITION: SIMPLICITY vs COMPLEXITY //OVERLAPPING // PATTERNS THE REPETITION CREATES THE ILLUSION EFFECT AND HAVE THE ABILITY TO CREATE INTERESTING SHADOW PATTERNS.

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SURFACEGRID_CURVEATTRACTOR_ROTATION

SURFACEGRID_ATTRACTORPOINT_EXTRUDE

PATTERNANDOVERLAP_STREAMTEXT_SHADEREXTRUSION

BOOLEANPATTERN_ATTRACTORPOINT_EXTRUDE

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//ResearchProject CUT:develop

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RESEARCH PROJECT CUT

“IN ARCHITECTURE, MORPHOGENESIS (CF. “DIGITAL MORPHOGENESIS” OR “COMPUTATIONAL MORPHOGENESIS”) IS UNDERSTOOD AS A GROUP OF METHODS THAT EMPLOY DIGITAL MEDIA NOT AS REPRESENTATIONAL TOOLS FOR VISUALIZATION BUT AS GENERATIVE TOOLS FOR THE DERIVATION OF FORM AND ITS TRANSFORMATION OFTEN IN AN ASPIRATION TO EXPRESS CONTEXTUAL PROCESSES IN BUILT FORM (STANISLAV ROUDAVSKI, 2009)

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RESEARCH PROJECT CUT

ARCHITECT

KONING / EIZENBERG

THE SCREENS REPRESENT DIGITALIZED CLOUD SURROUND THE BUILDING, HELP THE APPEARANCE CHANGES WITH VARIATIONS IN DIFFERENT LIGHT CONDITIONS, WEATHER AND TIME OF THE DAY. AND WHEN THE WIND PASSES THROUGH, THEY RIPPLE JUST LIKE CLOUD MOVING IN THE SKY

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RESEARCH PROJECT CUT

ARCHITECT

BEARTH & DEPLAZES ARCHITECTS

SIMPLE CONCRETE STRUCTURE WITH SPECIAL BRICK EFFECT FAÇADE HAS MADE THIS BUILDING UNIQUENESS. 20000 BRICKS WERE PROGRAMMED TO ORIENTED AND SPACING IN A WAY THAT PRODUCE PATTERNS ON THE FAÇADE.

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RESEARCH PROJECT CUT

ARCHITECT

HAJIME MASUBUCHI OF STUDIO M

THIS MIXED-USE RESIDENTIAL AND COMMERCIAL BUILDING HAS VERY SIMPLE FORM BUT HIGH DECORATED SCREENS THAT HIGHLIGHT AS WELL AS PROTECT THE BUILDING FROM EXTERNAL IMPACT. THE SCREEN IS MADE OUT OF RIGID ALUMINIUM COMPOSITE MATERIAL AND WAS DIGITALLY GENERATED GEOMETRY PATTERN. IT WAS OVERLAID TO PRODUCE EXTRA EFFECT AND IS A DYNAMIC THRESHOLD BETWEEN PUBLIC AND PRIVATE SPACE. DESIGN STUDIO AIR 2012

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RESEARCH PROJECT CUT

ARCHITECT

FOREIGN OFFICE ARCHITECTS

THE STORE IN ENCLOSE BY A DOUBLE GLAZED FACADE SYSTEM THAT ALLOWS CUSTOMERS TO HAVE CITY VIEW FROM INSIDE.

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BANQ RESTAURANT PROJECT CREDITS BANQ RESTAURANT

1375 WASHINGTON STREET, BOSTON, MA / 2006-2008

PROJECT SIZE 4,800 SQUARE FEET CLIENT SOWA RESTAURANT GROUP, LLC ARCHITECT OFFICE DA, INC. PROJECT DESIGN PRINCIPAL IN CHARGE

NADER TEHRANI, MONICA PONCE DE LEON

NADER TEHRANI

PROJECT ARCHITECT DAN GALLAGHER PROJECT COORDINATORS

CATIE NEWELL, BRANDON CLIFFORD

PROJECT TEAM HARRY LOWD, RICHARD LEE, LISA HUANG, REMON ALBERTS, JANGHWAN CHEON, JUMANAH JAMAL, AISHAH AL SAGER STRUCTURAL CONSULTING ENGINEER SIMPSON GUMPERTZ & HEGER INC. LIGHTING CONSULTANT BUILDING CODE CONSULTANT / HAL

COLLABORATIVE LIGHTING.

CUTLER

PHOTOGRAPHER JOHN HORNER

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WE HAVE DEVELOPED A STRIATED WOOD-SLATTED SYSTEM THAT CONCEALS THE VIEW OF THE MECHANICAL, PLUMBING, AND LIGHTING SYSTEMS ON THE LONGITUDINAL AXIS, WHILE OFFERING A VIRTUAL CANOPY UNDER WHICH TO DINE. THE GEOMETRY OF THE WOOD SLATS CONFORM TO EACH EQUIPMENT ABOVE, BUT ARE ALSO RADIUSED IN ORDER TO SMOOTHEN THE RELATIONSHIP BETWEEN OTHER ADJOINING EQUIPMENT, CREATING A SEAMLESS LANDSCAPE. THE COLUMNS AND THE WINE STORAGE, IN THE MIDDLE OF THE HALL, SERVE TO UPHOLD THE FICTION, AND APPEAR TO BE SUSPENDED FROM THE CEILING. IF THE LONGITUDINAL AXIS EMPHASIZES THE SEAMLESS SURFACE, THEN LATERAL VIEWS OFFER STRIATED GLIMPSES INTO THE SERVICE SPACE ABOVE, AND DEMYSTIFY THE ILLUSION. TO UNDERLINE THIS STRATEGY, CERTAIN AREAS OF THE CEILING “DRIP” AND “SLUMP”, ACKNOWLEDGING THE LOCATION OF TO PLACE EXIT SIGNS, LIGHTING FEATURES, AND OTHER DETAILS. (Nico,2012)

OFFICE DA HAS COMBINED AN ECONOMY OF MEANS WITH AN INNOVATIVE SPIRIT, THEY HAVE CREATED A VERY ELEGANTLY SIMPLE SYSTEM. BY USING ONLY THIN WOODEN SLABS, THE UNIQUESNESS AND MOTION HAS CREATE FOR THIS OTHERWISE FEATURELESS DINING SPACE. A NEW TOPOGRAPHY ACTING IN BOTH HIDDEN CAPACITY AS WELL AS PLAYING AN DECORATIVE ROLL FOR THE INTERIOR OF THIS RESTAURANT, GIVING ITS STYLE AND IDENTITY. DESIGN STUDIO AIR 2012

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//ResearchProject CUT:develop

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BASED ON OUR CUT EXPERIMENTATION, WE BEGAN TO CREATE SOME SIMPLE CONCEPT MODELS AND TRY TO STUDY THE FORMS AND PATTERNS THAT CAN BE CREATED. AS OUR THEME IS ABOUT URBAN GROWTH, WE TRIED TO EXPERIENCE WITH DIFFERENT DENSITY AND SHAPES IN TUNNEL FORMS.

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ARCHITECTURAL EFFECT //UNDER DIFFERENT LIGHTING CONDITIONS. //SHADOW //BEHAVIOR OF MODEL DURING DAYTIME. THE SERIES OF IMAGES ABOVE IS TAKEN FROM OUR MOST SUCCESSFUL MODEL. THE IDEA BEHIND THIS DESIGN IS PURELY BASE ON OUR THEME: “URBAN GROWTH”. IT CAN BE DESCRIBED AS A TUNNEL MAKE OUR OF RIBS WHICH BECAME LESS SPACED APART AS THE TUNNEL CLOSED IN (CREATING THE FEELING OF BUSY AND DENSE CITY LIFESTYLE)

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//ExpressionofInterest

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CONTENTS //INTRODUCTION //ARCHITECTURE AS DISCOURSE (SEEDS CATHEDRAL) //COMPUTATION IN ARCHITECTURE (BEIJING WATERCUBE) //PARAMETRIC MODELLING (ICD/IKE RESEARCH PAVILION/THE VERYMANY ARCHITECTS) //PUBLUC ART & MOTOWAYS (NANNING GATEWAY) //PERFORMANCE DRIVING DESIGN (BUBBLE-BMW PAVILION) //DESIGN BRIEF //CUT DEFINITION //CONCEPTUAL MODELS //REFERENCE

WYNDHAM CITY IS ALREADY HOME TO A NUMBER OF PUBLIC ARTWORKS, INCLUDING THE NOTABLE “SEEDS OF CHANGE” (2003) AT THE EASTERN INTERCHANGE OF THE PRINCES FREEWAY. THE CITY IS HOPING FOR A SUCCESSFUL ADDITION TO THEIR REPERTOIRE, WITH A NEW ARTWORK PLANNED FOR THE WESTERN INTERCHANGE. THIS ARTWORK IS TO INDICATE ARRIVAL INTO METROPOLITAN MELBOURNE AND SHOULD CATER TO ALL AUDIENCES. IN THIS EOI WE HOPE TO PUT FORWARD A STRONG CASE FOR A DESIGN TECHNIQUE: PARAMETRIC MODELLING. WE HOPE TO CONVINCE CRITICS OF ITS MERITS BY DEMONSTRATING THE SUCCESS OF PREVIOUS PROJECTS CREATED USING THIS TECHNOLOGY, PARTICULARLY BY MEANS OF SUCCESSFULLY COMMUNICATING A MESSAGE.

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DESIGN BRIEF

WYNDHAM GATEWAY PROJECT //WHO: WYNDHAM CITY COUNCIL //WHERE PRINCES FREEWAY WESTERN INTERCHANGE ENTRY TO THE CITY. THUS IT WILL BE PRIMARY BE VIEWED BY MOTORISTS TRAVELLING AT HIGH SPEED AND PROVIDE THE FIRST INDICATION OF ARRIVAL INTO METROPOLITAN MELBOURNE //SITE INFOMATION SITE RESTRICTRIONS SITE A_50 000m SITE B_22 000m SITE C_ 4 000m SITE CONTEXT & SURROUNDINGS WERRIBEE OPEN RANGE ZOO WERRIBEE PARK MANSION NATIONAL EQUESTRIAN CENTRE MELBOURNE WATER WESTERN TREATMENT PLANT (significant world wetlands) AVAILABLE SERVICES NO WATER SYSTEM ELECTRICITY AVAILABLE AT COST STARTING AT $50000

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//WHAT: AN “INNOVATIVE AND PROMINENT INDICATOR TO PROVIDE A FOCUS TO THE WESTERN INTERCHANGE ENTRY TO THE CITY”. THE INSTALLATION 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 ONGOING INTEREST IN THE WESTERN INTERCHANGE BY ENCOURAGING FURTHER REFLECTION ABOUT THE INSTALLATION BEYOND A FIRST GLANCE. THE INSTALLATION SHOULD AIM TO BE ACCESSIBLE TO A WIDE PUBLIC AND SHOULD EXPLORE PLACE-MAKING ASPECTS AND QUALITIES. //REQUIREMENTS: MATERIALS DIMENSIONS A DESCRIPTION OF DESIGN APPROACH AND THEORY //WHY TO MAKE A SIGNIFICANT IMPACT ON VISITORS UPON ARRIVAL INTO METROPOLITAN MELBOURNE TO PROVIDE AN ENTRY STATEMENT AND ARRIVAL EXPERIENCE TO BECOME A NEW IDENTIFIER FOR THE MUNICIPALITY TO CAPTURE A LITERAL INTENT OR A MORE ABSTRACT, ASPIRATIONAL FEELING TO ENCOURAGE A SENSE OF PRIDE WITHIN THE COMMUNITY //KEY CONSIDERATION AND ISSUES PROMINENT LOCATION OF THE SITE AT THE ENTRY TO METROPOLITAN MELBOUNRE BACK DROPPED BY A LARGE SCALE SERVICE CENTRE CONSIDERATION OF HOW THE INSTALLATION INTERGRATES WITH OR SITS IN THE IMMEDIATE SURROUNDING LANDSCAPE DIALOGUE BETWEEN SCULTURE OR A MORE EXPERIENTIAL APPROACH LITERAL OR ABSTRACT ADHERENCE TO THE REGULATIONS IMPOSED BY VICROAD DAY AND NIGHT TIME VIEWING MAINTENANCE REGULATION, MATERIAL AND DURABILITY.

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EXPRESSION OF INTEREST

CRIT & FEEDBACK

FEEDBACK THE PRECEDENTS WERE CHOSEN FOR THIS CONCEPT ARE BASED ON THE ABILITY TO CREATE AN ATMOSPHERE FOR PEOPLE THAT INTERACTS WITH THE SITE AND ALSO ATTRACTION FOR THE SITE ITSELF (LARGE IN SCALE THAT CAN BE RECOGNIZED FROM DISTANCE). HOWEVER FEEDBACK FROM THE TUTORS FROM THE MID SEMESTER CRIT WAS THAT OUR GROUP HAS NOT CHOSEN RELATED PRECEDENTS TO OUR ACTUAL DESIGN. FOR EXAMPLE THE BEIJING WATER CUBE DOES RELATE TO OUR CONCEPTUAL DESIGN IN TERMS OF GIVING THE INTERNAL ATMOSPHERE FOR PEOPLE THAT INTERACTS INTERNAL SPACE OF THE STRUCTURE BUT COMPARING THIS PRECEDENT WITH OUR DESIGN IT IS A COMPLETELY DIFFERENT FEELINGS THAT THEY GIVE. ANOTHER PROBLEM THAT WAS MENTIONED WAS THE MAIN POINT OF OUR EOI: ARGUING FOR THE CASE OF USING PARAMETRIC DESIGN RATHER THAN OTHER MEANS OF DESIGNING SOLUTIONS. MISUNDERSTANDING ABOUT EXPECTATIONS FROM THIS MID SEMESTER CRIT HAS LEAD US TO THE WRONG DIRECTION. WE DID NOT HAVE ENOUGH DESIGN EXPLORATION (INCLUDING EXPERIMENTING MODELS, PHOTOGRAPHY SHOWS LIGHT/SHADOW CHANGING, PERSPECTIVE VIEW DAY AND NIGHT TIME, STOP MOTION ...) TO GENERATE BETTER DESIGN SOLUTION THAT HAS SOLID FOUNDATION AND DEPTH.

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REFLECTION

AFTER DELIBERATION, MY GROUP HAS DECIDED TO MOVE AWAY FROM THE INITIAL CONCEPT-URBAN GROWTH - IN BOTH THE IDEA AND PHYSICAL FORM OF THE DESIGN. HAVING SAID IN THE CRIT THAT OUR INITIAL CONCEPT WAS SO MUCH OF A “TYPICAL PARAMETRIC DESIGN”, WE DECIDE TO START FRESH AND LOOKING FOR BETTER CONCEPT. THERE ARE SEVERAL ISSUE TO BE DISCUSSED ABOUT IN THE NEXT FOUR WEEKS: INSPIRATIONS, PHYSICAL FORMS, CONNECTION WITH WYNDHAM CITY, USING DIGITAL COMPUTATIONAL DESIGN TO CREATE SOMETHING THAT DOES NOT GIVE THAT OBVIOUS “PARAMETRIC LOOK”. ALSO MORE EXPERIMENTING WITH MODELS IN TERMS OF MATERIALITY, SIZES... IN ORDER TO PRODUCE SOLID DESIGN SOLUTIONS.

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FINAL DESIGN

FURTHER RESEARCH & DEVELOPING IDEAS AFTER RESEARCHING IN DEPTH ABOUT THE SITE ITSELF, WE FIGURED THE WESTERN TREATMENT PLANT (WERRIBEE WETLANDS) WAS ONE OF THE KEY FEATURE THAT HAS NOT BEEN DISCUSSED NOR MENTIONED. FURTHER RESEARCH SHOWS THAT THE WETLAND UNCOVERED HISTORICAL INFORMATION ABOUT ITS DEVELOPMENT AS A SITE AND THE IMPORTANCE TO GREATER MELBOURNE WHICH IS A VERY IMPORTANT LINK NOT ONLY TO WYNDHAM BUT THE GREATER MELBOURNE. THEREFORE WE DECIDED TO USE THIS AS IT IS A BRAND NEW CONCEPT AND SOLID AS IT HAS A STRONG CONNECTION TO THE SITE AS WELL AS MELBOUNRE. PEOPLE ALWAYS TENDS TO THINK A GATEWAY AS SOMETHING ESPOSE AND SCULPTURE-LIKE STRUCTURE, BUT IT DOES NOT NEED TO BE. SINCE EVERYONE ELSE IS CHOSING THE TYPICAL PATH, OUR GROUP DECIDED TO TAKE RISK, HAVING OUR GATEWAY INTEGRATES INTO THE GROUND, GIVING THE MAXIMUM UNIQUE DRIVING EXPERIENCE FOR THE PEOPLE THAT TRAVELS INTO WYNDHAM CITY. THIS CAN ALSO BE SEEN AS A REWARD FOR PEOPLE THAT TRAVEL TO THIS NEW CITY THEREFORE THEY LOOK FORWARD TO COME BACK SOME OTHER TIMES.

PARAMETRIC WATERSHED LANDSCAPE, NYC

PARAMETRICALLY ALTERING A LANDSCAPE WAS AN IDEA THAT CAME TO US AFTER OUR INITIAL DESIGN APPEARED TO BE ATYPICAL OF PARAMETRIC DESIGN. RESEARCH INTO PRIOR USES OF PARAMETRIC DESIGN IN LANDSCAPE ARCHITECTURE UNEARTHED THE NYC WATERSHED LANDSCAPE, WHICH WAS PARAMETRICALLY DESIGNED TO CREATE AN ECOSYSTEM THAT WOULD PROVIDE UNCONTAMINATED WATER TO THE CITY. FURTHERMORE, THE LANDSCAPE WAS DEVELOPED TO BE A RECREATIONAL SITE AS WELL, SO THAT THE WATERSHED DESIGN WOULD BE ACCEPTED AS BEING PART OF THE LANDSCAPE. OUR GATEWAY WILL NOT BE JUXTAPOSED WITH THE LANDSCAPE BUT SEEK TO BECOME A PART OF IT. PARAMETRICALLY DESIGNED LANDSCAPES CAN HAVE AN IMPACT EQUALLY EFFECTIVE AS PARAMETRICALLY DESIGNED SCULPTURES. DESIGN STUDIO AIR 2012 36


WERRIBEE WETLANDS

THE EXTENSIVE WERRIBEE WETLANDS, LOCATED TO THE WEST OF WYNDHAM, WERE THE BASIS OF OUR DEVELOPMENT OF THE GATEWAY PROPOSAL. HOME TO THE WESTERN [SEWERAGE] TREATMENT PLANT, THE WETLANDS ARE AN INTEGRAL PART OF THE IDENTITY OF WESTERN MELBOURNE AND GREATER VICTORIA. THE WETLANDS NOW HOST MANY DIFFERENT ECOSYSTEMS AND BIRD HABITATS, THANKS TO THE RICH SEWERAGE SEDIMENTS ONSITE. WE WANTED TO GIVE VISITORS TO WYNDHAM A TASTE OF WHAT THEY COULD EXPERIENCE IN THIS GREAT MAN-MADE WETLAND AREA, WHICH HAS THRIVED AS A NATURAL SYSTEM, AND PERHAPS EVEN TRY TO IMITATE ITS SUCCESS. THE KEY DISTINGUISHING FEATURE BETWEEN THE WERRIBEE WETLANDS AND THE GATEWAY PROPOSAL IS THAT WHILST BOTH WILL BE MAN-MADE, THE GATEWAY WILL UTILISE PARAMETRIC DESIGN IN ITS LAYOUT.

SALT MARSH ENVIRONMENT

ACCORDING TO PARKS VICTORIA, THE WERRIBEE WETLANDS IS PARTIALLY COMPRISED OF COSTAL SALT MARSH. THIS HAS LOCAL SIGNIFICANCE PARTICULARLY TO WYNDHAM AS IT IS LOCATED IN GRAHAM’S WETLAND RESERVE WHICH IS MANAGED BY THE WYNDHAM CITY COUNCIL. COASTAL SALT MARSH ENVIRONMENTS ARE DYNAMIC ECOSYSTEMS THAT HAVE REGULARLY CHANGING WATER LEVELS. AS A GENERAL RULE, TIDAL SALT MARSH WILL EXPERIENCE DAILY LOW TIDE, MEAN LOW TIDE, HIGH TIDE AND VERY HIGH TIDE. THE GATEWAY PROPOSAL DRAWS ON THIS NATURAL WATER LEVEL CHANGE TO CREATE A DYNAMIC AND EVER-CHANGING GATEWAY. THE VORONOI PATTERN IS BASED LOOSELY ON THE NATURAL FORMATION OF SALT MARSH SYSTEMS. DESIGN STUDIO AIR 2012 37


FINAL DESIGN

DESIGN DEVELOPMENT ROAD

MONITOR

WATER LEVELS

TREE POT

ONE OF THE IDEAS THAT WE GENERATED WAS “FLOATING TREES”. THE CONCEPT WAS TO HAVE PATTERN THAT MOVES ACCORDING TO WATER LEVEL, CREATING DIFFERENT PATTERNS EACH TIME PEOPLE TRAVEL THROUGH THE STRUCTURE. EACH FLOATING WILL BE FLOATING TREE POTS, CREATING THIS INTERESTING PATTERN MADE BY REAL TREES. THE BOTTOM OF THESE POTS WILL THEN ATTACHED TO ONE MONITOR PLACE ON THE BOTTOM ADJACENT TO THE ROADS. THESE MONITORS PULL THESE POTS TOWARDS THE ROAD, SO THE HIGHER WATER LEVEL IS, THE CLOSER THESE PLANTS ARE TO TRAVELLERS. THIS WILL CREATE EVEN GREATER INTERACTION BETWEEN TRAVELLERS WITH THE DESIGN OR THE VISITOR TO THE SITE (SINCE THIS AREA INCLUDE ZOO AND PARKLANDS.) MAXIMUM OF THE POTS CAN GO IS PARALLELING TO THE ROAD DUE TO GRAVITY. THE ONLY PROBLEM IS WHEN THE WATER LEVEL LOWER, PATTERN CREATED CAN BE MESSY AS POTS CAN FLOAT ANYWHERE. THIS CONCEPTUAL IDEA WAS GREAT IN TERMS OF DYNAMISM AND THE INTERESTING EXPERIENCE IT CAN PROVIDE FOR PEOPLE THAT TRAVELS TO WYNDHAM CITY BUT DOES NOT RELATE TO PARAMETRIC DESIGN (PROJECT BRIEF REQUIREMENTS)

ANOTHER CONCEPT THAT OUR GROUP CAME UP WITH WAS LAYERING SLABS WITH PATTERN CUT OUT ON THE SURFACE, CREATING HOLES. AFTER EXPERIMENTING AND CONSIDERATION, 4 SLABS (0.2M THICKNESS) IS CHOSEN TO BE LAYERED. THE TOP SLAB HAS BIGGEST AND THE MOST AMOUNT OF OPENINGS ALLOW MAXIMUM VISIBILITY FOR PEOPLE TO SEE THROUGH. SECOND LAYER HAS FEWER HOLES BUT STILL ALLOW ABILITY TO LOOK THROUGH. THIRD SLAB HAS LESS HOLES AND THE LAST SLAB HAS THE LEAST OPENINGS. THE REASON FOR THIS CONCEPT WAS TO DRAW CURIOSITY FOR THE TRAVELLER TO LOOK DEEPER INSIDE THE STRUCTURE, DRAWING HIGHER ATTENTION FROM THE PEOPLE TO THE GATEWAY. ALSO, INTERESTING PATTERNS IS CREATED IN SEVERAL WAYS: 1) PATTERN IS SEEN DIFFERENTLY DUE TO DIFFERENT ANGLE VIEW (PEOPLE TRAVEL 100KM/H ON FREEWAY) 2)WHEN IT RAINS, RAIN WATER CAN LEAD TO THE BOTTOM SLAB, CREATING INTERESTING PATTERNS, 3) LIGHT CAN BE PLACED SO THAT CREATE POSITIVE AND NEGATIVE SPACE OF DESIGN, GIVING A ARTISTIC EFFECT/PATTERN DESIGN STUDIO AIR 2012

38


FINAL DESIGN

DESIGN DEVELOPMENT AFTER RESEARCH IN DEPTH ABOUT THE WETLAND ENVIRONMENT OF THE SITE, WE STARTED TO GENERATE IDEAS OF PATTERNS FOR OUR DESIGN. RATHER THAN HAVING A RANDOM LOOKING PATTERN, WE WANTED OUR DESIGN IN GENERAL STILL HAVE THE MAN MADE LOOK. THEREFORE THE VORONOI PATTERN HAS BEEN SELECTED.

DESIGN STUDIO AIR 2012

39


DESIGN DEVELOPMENT 1. THE FIRST DIAGRAM DEPICTS A FREE-FORM LINE, WHICH EMULATES THE FLOWING FORM OF NATURAL LANDSCAPES. THE RECTANGLE IS THE BOUNDARY SURFACE DEFINING ONE HALF OF THE GATEWAY. 2. SECONDLY, CONTROL POINTS OF THE LINE WERE EXTRACTED VIA GRASSHOPPER. THESE POINTS BECAME THE BASE FOR THE VORONOI PATTERN. 3. THIRDLY, THESE CONTROL POINTS OF THE VORONOI WERE EXTRACTED AND REINTERPRETED AS NEW CURVES VIA GRASSHOPPER TO GIVE AN ORGANIC CELL LIKE STRUCTURE. TO CREATE THE CONTOURS OF THE MOUNDS, NEW CURVES WERE OFFSET INSIDE THE SHAPES AT INTERVALS. 4. FINALLY, THE ORIGINAL CURVES WERE REMOVED TO LEAVE GAPS AT ZERO LEVEL BETWEEN VORONOI MOUNDS. THE PATTERN WAS TRIMMED AT EDGES OF SURFACE BOUNDARY. THE FINAL PATTERN WAS MIRRORED TO CREATE THE SECOND HALF OF THE GATEWAY.

DESIGN STUDIO AIR 2012

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LOCATION OF DESIGN PROPOSAL WYNDHAM

MELBOURNE

GEELONG

OUR DESIGN PROPOSAL IS LOCATED ON THE FREEWAY TOWARDS WYNDHAM, JUST BEFORE THE ROAD SPLIT. THE REASON WHY THIS LOCATION WAS CHOSEN WAS BECAUSE OF THE TOPOGRAPHY AND IT CAN ALSO BE SEEN FROM ANOTHER FREEWAY THAT LEADS TO MELBOURNE CITY. THIS LOCATION WAS PERFECT FROM OUR DESIGN AS THE WIDTH AND LENGTH IS LARGE ENOUGH FOR THE INTERACTION BETWEEN TRAVELLER AND THE PROPOSE GATEWAY THAT WELCOME PEOPLE TO WYNDHAM CITY

IN PROCESS OF FINALISING OUR FINAL DESIGN, THERE ARE DIFFERENT DECISIONS WE HAD TO MAKE, ONE OF THOSE WHERE THE ACTUAL SHAPE OF MOUNDS, AT FIRST WE WANTED THEM TO BE SMOOTH, AS A REPRESENTATION OF NATURAL SOIL MOUNDS IN 4 DIFFERENT HEIGHT.

BUT THEN WHEN WE LOOK BACK OF WHAT WE WANT TO ACHIEVE WAS TO HAVE A FORM OF GATEWAY WILL MIMIC FORMS AND MOTIONS OF REAL SALT MARSH ENVIRONMENT BUT STILL GIVING THAT SENSE OF MAN MADE TO IT

DIMENSION 80M

15M 7M ROAD 15M

THE GATEWAY ITSELF MEASURES 80 METRES IN LENGTH AND STRETCHES 15 METRES OUT FROM EACH EDGE OF THE ROAD. THIS AREA WOULD BE EXCAVATED 4 METRES AND A WATERPROOF RETAINING WALL CONSTRUCTED TO DEFINE THE GATEWAY’S BOUNDARY. DESIGN STUDIO AIR 2012

41


COASTAL SALT MARSH CHANGING LANDSCAPE ONE OF THE MAIN PURPOSE OF CHOOSING NATURAL SALT MARSH IS THE VARIATION OF VISIBILITY OF THE MOUNDS. BASE ON THE NATURAL TIDE CHANGE OF SALT MARSH ENVIRONMENTS, THE WATER CHANGE WILL HIDE OR EXPOSE THE FORM DIFFERENTLY, CREATING DIFFERENT AESTHETIC VIEW IN DIFFERENT SEASON/WEATHER CONDITIONS. BELOW IS THE DEMONSTRATION OF 3 MOST LIKELY TIDE TO SHOW THE HIDE/EXPOSE PARTS OF THE DESIGN

LOW TIDE 1M

HIGH TIDE 2M

VERY HIGH TIDE 2.5M

LOW TIDE 1M

HIGH TIDE 2M

VERY HIGH TIDE 2.5M

LOW TIDE 1M

HIGH TIDE 2M

VERY HIGH TIDE 2.5M

DESIGN STUDIO AIR 2012

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FINAL DESIGN

FURTHER DESIGN EXPLANATION

TO EMULATE THE CONCEPT OF A “CHANGING LANDSCAPE”, THE GATEWAY WILL BE CHANGING IN 3 WAYS. FIRSTLY THE WATER LEVEL WILL BE DYNAMIC, CHANGING ACCORDING TO WEATHER CYCLES. FOR EXAMPLE, WHEN IT RAINS THE WATER LEVEL WILL BE HIGHER, HIDING SOME OF THE MOUNDS, BUT WHEN THE WATER BODY EVAPORATES THE WATER LEVEL WILL GO DOWN AND EXPOSE MORE MOUNDS. SECONDLY, THE REFLECTION OF THE SKY ON THE STILL WATER BODY WILL BE A DIFFERENT COLOUR DEPENDING ON EITHER THE WEATHER OR THE TIME OF DAY, THIS IS SHOWN IN OUR PHOTO MONTAGES. THIRDLY, THE UNDERWATER LIGHTING WILL ACT SIMILARLY TO STREET LIGHTS, IN THAT IT WILL SENSE DARKNESS AND SWITCH THE UNDERWATER LIGHTING ON, CREATING AN ENTIRELY DIFFERENT EFFECT TO THAT OF THE DAYTIME. (SHOW VIDEO) THE CHANGING LANDSCAPE CONCEPT WILL BE SUCCESSFULLY ACHIEVED BY MEANS OF ALL THREE TECHNIQUES. THUS THE LANDSCAPE WILL LOOK DIFFERENT EACH TIME IT IS VISITED. OUR GATEWAY PROPOSAL WILL PROVIDE A MONUMENT TO THE CITY AND ITS PARTICULAR SUCCESS AND INVOLVEMENT WITH THE WESTERN TREATMENT PLANT WETLANDS SITE. IT WILL GIVE FREQUENT COMMUTERS SOMETHING DIFFERENT TO LOOK AT EACH TIME THEY PASS THROUGH THE GATEWAY. AS A FORM, IT PROVIDES LONGEVITY AS A DYNAMIC SYMBOL OF THE CITY. ALTHOUGH IT MAY NOT MAKE THE SAME INSTANT IMPACT AS A DIFFERENT GATEWAY DESIGN, PEOPLE WHO EXPERIENCE IT WILL TALK ABOUT IT AND THUS KNOWLEDGE OF ITS EXISTENCE WILL SPREAD VIA DISCOURSE. WHILST IT MAY BE HUMBLE, ITS SUBSTANCE MAKES IT WORTH THE VISIT IF ONE TAKES THE PATH TO WYNDHAM.

DESIGN STUDIO AIR 2012

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SOIL GLASS ENCLOSURE CABLE

CONCRETE REINFORCEMENT STEEL

CONCRETE SLAB

REINFORCEMENT STELL

RETAINING POST WATERPROOF MEMBRANE

LIGHT BOLT

DETAIL GENERAL SECTION

IN ORDER TO BE CONSTRUCTED, THE SITE THAT WE HAVE DECIDED TO LOCATE OUR PROPOSAL DESIGN NEEDED TO BE EXCAVATED BY 3.5 METERS IN DEPTH. THEN THE NATURAL SOIL SURFACE WILL THEN BE COVERED BY CONCRETE SLAB WITH REINFORCEMENT STEEL .ON THE PROPOSE LOCATION OF EACH MOUND, CONCRETE WOULD THEN BE POURED ON-SITE IN VARY SIZES (THE HIGHEST MOUND WOULD BE 2.5 METERS). THE EDGES SHOULD BE CONSTRUCTED TO CONTAIN A SEED-BED FOR NATIVE PLANTS TO BE PLANTED. RHOGODIA CANDOLLEANA (SEABERRY SALTBUSH)

EARTH

OR, ATRIPLEX PALUDOSA (MARSH SALT BUSH)

CONCRETE

MATERIALITY

WHILST THE ORIGINAL CONCEPT IMITATES A WETLAND ENVIRONMENT, THE FINAL GATEWAY WILL BE BASED ONLY ON INSPIRATION FROM ITS FORM, AND NOT ITS MATERIALS. THE MOUNDS WILL BE CONCRETE MOULDS WITH HOLLOW INSIDES THAT CAN BE FILLED WITH SOIL AND SHRUBS PLANTED AT THE TOP. THIS WAY THE VORONOI-BASED PATTERN WILL NOT BE ALTERED OVER TIME BY NATURAL EROSION, AS A MOUND CONSTRUCTED FROM SOIL WOULD DO, AND AS SUCH IT WILL REQUIRE LITTLE MAINTENANCE COMPARED TO A NATURAL LANDSCAPE. THERE ARE A RANGE OF SUITABLE PLANTS FOR THIS ENVIRONMENT THAT ARE LOCAL TO THE AREA AND A FULL LIST CAN BE FOUND ON THE WYNDHAM CITY COUNCIL’S WEBSITE. FROM THIS LIST WE HAVE CHOSEN RHOGODIA CANDOLLEANA (SEABERRY SALTBUSH) AND ATRIPLEX PALUDOSA (MARSH SALT BUSH). AS THESE ARE SALT MARSH ENVIRONMENT-SPECIFIC PLANTS, THE WATER BODY IN THE GATEWAY WILL BE SEA WATER. DESIGN STUDIO AIR 2012 44


FINAL CONCLUSION

CRITICAL THINKING AND LEARNING OBJECTIVES

ACQUIRING A THEME: CHANGING LANDSCAPE, OUR DESIGN CRITERIA IS CLEARLY IDENTIFIED OUR OBJECTIVES OF THE DESIGN PROPOSAL. WE HAVE SUCCESSFULLY COMMUNICATING OUR CRITERIA AND REQUIREMENTS OF THE PROJECT BRIEF. OUR DESIGN PROGRESS SHOULD HAVE BEEN MORE IN DEPTH IF WE SPENT THE FIRST 8 WEEKS OF THE SEMESTER FOCUSING ON THE SAME THEME. HAVING SWITCH FROM “URBAN GROWTH” THEME TO A COMPLETELY DIFFERENT ASPECT OF DESIGNING, WE LOST SO MUCH TIME FIGURING WHAT WAS OUR MAIN PURPOSE AND CRITERIA. FOR THE FIRST 8 WEEKS, WE OVERUSED THE INFLUENCE OF THE CONTEXT (PARAMETRIC DRIVEN DESIGN) TO PRODUCE OUR DESIGN. IT WAS WELL SAID IN THE MID SEM CRIT THAT THE DESIGN WAS SIMPLY “BORING” AS WE FOCUSED TOO MUCH ON USING COMPUTATION RATHER THAN FOCUSING ON THE BRIEF AND THE CONTEXT ITSELF. LEARNING FROM OUR MISTAKE, TRYING TO MOVE AWAY FROM OUR INITIAL PATH, WE HAD OUR LAST 4 WEEKS BEING PRODUCTIVE AND QUITE SATISFY WITH OUT FINAL OUTCOME. OUR DESIGN WAS DIFFERENT, INNOVATIVE BUT YET STILL ECO-FRIENDLY AND REINTERPRETED THE LANDSCAPE OF THE SITE ITSELF. PARAMETRIC DESIGN WERE USED TO PRODUCE THE FINAL OUTCOME AS A TOOL BUT NOT OVERUSED.

DESIGN STUDIO AIR 2012

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FINAL OUTCOME

AERIAL VIEW

VIEW FROM PRINCES FREEWAY

PERSPECTIVE CAR VIEW

ISOMETRIC AT NIGHT

ISOMETRIC AT EVENING

PERSPECTIVE 1(video screen shot)

PERSPECTIVE 1(video screen shot)

DESIGN STUDIO AIR 2012

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PHOTO MONTAGE

LANDSCAPE IN DAYTIME

LANDSCAPE AT SUNSET DESIGN STUDIO AIR 2012

LANDSCAPE AT NIGHT 47


LEARNING OUTCOMES 1. LEARN HOW TO MAKE PERSUASIVE ARGUMENTS: HOW TO DEVELOP INNOVATIVE SOLUTIONS AND SOLUTIONS CAN BE ACCEPTED UNLESS THEIR ADVANTAGES ARE CLEARLY DEMONSTRATED THROUGHOUT THE PRECEDENTS ANALYSED IN THIS JOURNAL. FROM THE FEEDBACK OF THE INTERIM CRITIQUE, MY ARGUMENTS WERE JUDGED TO BE TOO SIMPLE AS SOME OF MY PRECEDENTS WERE TOO TYPICAL AND SIMPLE. SO LEARNING FROM THAT, I DECIDED TO RESEARCH IN DEPTH AND FIND MORE RELATIVE AND INNOVATIVE PRECEDENTS TO HAVE A MORE PERSUASIVE ARGUMENT. 2. LEARN HOW TO FORMULATE BRIEFS : IN PART 1 OF THE JOURNAL HELPS TO DEVELOP OUR DESIGN TO SATISFY THE PROJECT BRIEF. WE WERE REQUIRED AND LEARNED HOW TO THINK CRITICALLY TO GIVEN BRIEF AS A TEAM AND DESIGN ACCORDINGLY TO MANY STRICT REQUIREMENTS. 3. LEARN UNIVERSAL PRINCIPLES OF COMPUTATION: RHINO AND GRASSHOPPER WERE INTRODUCED TO US AS A FLEXIBLE TOOLS TO INFORM OUR DESIGN OUTCOMES. HAVING SAID THAT IT IS JUST A TOOL FOR US TO ACHIEVE WHAT WE ARE CAPABLE OF: GIVING ABSOLUTE ACCURATE COMPONENTS AND THE ABILITY TO ADJUSTING USING NUMBER SLIDER WAS THE BEST ADVANTAGE FOR US AS DESIGNER TO ALTER MATHEMATICALLY FOR THE MOST SUITABLE DESIGN, SATISFYING BOTH AESTHETIC OTHER REQUIREMENTS. 4. LASER CUTTING WAS ANOTHER INNOVATIVE MODEL MAKING TECHNIQUE THAT WE LEARNED THROUGHOUT THE SEMESTERS AND WE HAVE EXPERIENCE THAT WITH OUR EXPERIMENTAL MODELS. FOR OUR FINAL MODELS WE DECIDED TO HAVE IT HAND MADE AS WE WANT TO GIVE THE MAN MADE LOOK TO OUR DESIGN, EVEN WHEN IT IS ON A SCALE MODEL. LASER CUTTING COULD HAD USED TO PRODUCE A MORE ACCURATE AND NEAT LOOKING MODEL 5. FOCUS ON THE PROGRESS AND NOT OUTCOMES. AS WE WERE ONLY STUDENTS, THE PROCESS OF PRODUCING OUR FINAL DESIGN WERE MORE IMPORTANT THAN THE ACTUAL FINAL DESIGN ITSELF. LEARNING FROM MISTAKES AND IMPROVING DIFFERENT SKILLS CAN HELP OUR FUTURE DESIGNING PATH WHEN THE OUTCOME BECOMES MORE IMPORTANT THAN THE PATH WE TOOK TO GET THERE.

DESIGN STUDIO AIR 2012

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FUTURE WORK

IF WE HAVE EXTRA TIME WORKING ON THIS PROJECT, THERE ARE FEW CHANGES AND CONSIDERATIONS THAT WE WANT TO MAKE: 1) MORE PATTERN INVESTIGATION RATHER THAN STAYING WITH VORONOI SINCE THIS PATTERN IS OVERUSED AND ELIMINATED SURPRISE ELEMENTS. 2) BETTER LIGHT LOCATION

FUTURE CONSIDERATION WHEN STRUCTURE IS BUILT A. FURTHER RESEARCH AND INVESTIGATION ABOUT DRAINAGE PROBLEM AS IT IS IMPORTANT FOR THE STRUCTURE TO BE DRAINED IN ORDER TO MAINTAIN THE “CHANGING LANDSCAPE” CONCEPT. B. TO MAINTAIN THE SHAPE AND LOOK OF THE WHOLE STRUCTURE, REGULAR TRIMMING AND PLANTING MAINTENANCE SHOULD BE CONSIDERED. C. LOCATION OF LIGHT SHOULD BE STUDIED SO THAT THE REFLECTION AT NIGHT SHOULD NOT BE A DISTURBANCE TO TRAVELLERS. D. AS EXCAVATION HAPPENS ADJACENT TO THE FREEWAY, EROSION MIGHT HAPPEN, THEREFORE FURTHER ENGINEERING INVOLVEMENT SHOULD TAKE PLACE. (e.g.: Road sealed, reinforcement...) E. TO CHANGE THE LOOK OF THE GATEWAY, CITY COUNCIL CAN REPLACE NEW PLANTS EVERY 3-5 YEARS TO REFRESH ITS LOOK, PREVENTING BORE FOR TRAVELLERS.

DESIGN STUDIO AIR 2012

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DESIGN STUDIO AIR 2012

50

AIR STUDIO FINAL JOURNAL  

AIR STUDIO ABPL30048 FINAL JOURNAL SM1 2012

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