ARCHITECTURE DESIGN STUDIO: AIR JOURNALADRIANA D’AMICO (392397)

Case of InnovationExpression of InterestProject Proposal

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SHELL, KOTARO IDE/ARTECHNIC ARCHITECTURE, JA-PAN, 2008

The context for this building is in the middle of the woods, the large shell shaped structure is unlike anything in its surroundings and clearly doesn’t resemble nature. Because of the shape and scenery, it is familiarised with a sci-fi film like image almost like a spacecraft where with time will be encircled by trees. The large shell structure floats above the ground.

This is advancing in architectural discourse in terms of placement in contexts, the material it has been built in; concrete, is also widly unused in this area. The foreign structures symbol-ism and idea of a ‘spaceship’ deflects nature. It is a villa, where the Japenese virtue between the boundary of human life and nature is ambiguous. In theory this isn’t practical for this villa due to the maintenance.

Fuller developed a global strategy to do more with less through technology in his creation of the geodesic dome. His design intent was to develop a shelter that was; light weight, transport-able globally, applied the most modern technology, most efficient use of materials, save costs and to make shelters that were more economically available. He researched the difference of the triangle and rectangle in response to loads; a rectangle would fold whilst a triangle would withstand the pressure. This principle directed his studies toward a new architectural design; the geodesic dome, where he discovered the spherical structure, created by triangles, to have unparalleled strengths.

The geodesic shelter has been built all around the world and still proves to be the most effi-cient human shelters. Many designs (seen below) have now used the same principle in creat-ing shelters, which has advanced architectural discourse.

GEODESIC DOME, R.BUCKMINSTER FULLER, 19541 1

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BLOOMBERG PAVILION, AKIHISA HIRATA, TOKYO, 20112

Located at the entrance of the Museum of Contemporary Art Tokyo. The form of the pa-vilion is derived from the structure of a tree; it intends to provide shade to the immedi-ate area. At the roof plane, triangular planar walls begin to unfold into a series of pleats. It is constructed with white metal panels in the shape of isosceles triangles with bends that create a curving wall reflecting and introduc-es soft light into the interior.

How was this built: Use of digital modeling of isosceles triangles beginning with one trian-gular space and morphing into a roof struc-ture encasing this space.

What would the alternative have been if this type of technology wasn’t available: The space would not have the same dynamic; the roof in particular wouldn’t have such an ir-regular form. Less ‘pleats’ would be achieved. The ability to achieve light filtering would be constrained.

How does the geometry affect spaces used: The pleats in the surface resemble the as-pects of a tree providing shade. The space is inflicted beneath the structure to form a re-laxing atmosphere resembling sitting under a tree.

From this case study a clear understanding is made about the manipulation of geom-etries to affect the surrounding environment. It could further be integrated into different landscapes by morphing the structure with computation methods.

“Computation is about the exploration of indeterminate, vague, unclear, and often ill-defined processes; because of its exploratory nature, computation aims at emulating or extending the human intellect. It is about rationalization, reasoning, logic, algorithm, deduction, induction, extrapolation, exploration, and estimation. In its manifold implications, it involves problem solving, mental structures, cognition, simulation, and rule-based intelligence, to name a few.”

Toyo Ito’s pavilion for Serpentine gallery presents an example of how computation can be used to encourage further exploration from an existing design intent with the use of algorithmic construction for an underlying geometric structure.There is a focus on the development of computational design logic (which is a sequence of algebraic, analytical and geometric operations) that manipulates data and then translates into architectural properties. The design demonstrates the use of interactive subdivisions of struc-tural members as well as the distribution of openings for enclosed cubic spaces. The patterns were derived from the algorithm of a cube that expandes as it roates. This is a useful example that demonstates the ability to maintain design intent whilst form finding and experimenting with computation.

2PAVILION FOR SERPENTINE GALLERY, TOYO ITO, LONDON, 2002

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‘Scripting, the capability offered by design software packages that allows the user to adapt, cus-tomize or completely reconfigures software around their own predilictions and modes of work’.

RESEARCH PAVILION, ICD/ITKE, STUTTGART, 201133

Design Intent:To explore the architectural transfer of bio-logical principles of the sea urchin’s plate skeletron morphology by means of coputer based design and simulation methods as well as computer controlled manufacturing for building implementation. It is constructed with thin sheets of plywood 6.5mm which relates to the high performance range connecting to the bionic principles. The skeletal shell of a sand dollar (sub-species of a sea urchin) is a modu-lar system of plygonal plates which are linked by finger-like calcite protrusions.

Computation used:The project is exploring the architectural transfer of biological principles skeleton mor-phology with computer based design.The plates and finger joints were produced by a robotic fabrication system enabling economic production of more that 850 geometrically dif-ferent componenets and 100000 finger joints

Defend/Critique designers philosophy:An eleborate geometric form has been created as well as an intensive link to the sand dollar. This includes the related properties of bionic principles and geomotries used in the shell of the pavillion. The minute protrusions of a sea urchin’s shell plates notch together sand which has been translated constructively and repre-sented by slotting the prefabricated elements together using a finger joint. This method is af-fective, fluidly connecting cells but also linking back to the design intent.

With the intent to combine architecture, nature and the environment through the creation of an algorithmic architecture, NEX has designed the 2011 Pavilion for the Chelsea Flower Show, which is based on algorithms that mimic natural growth allowing visitors to experience through the geometry, the patterns of a biological structure at a larger scale. Design philosophy: The cellular structure of plants and their processes of growth informed the design’s development with the final structure designed using computer algorithms mimicking the natural growth. In my opinion, this is a good example of how to use scripting to help escalate geometries from a particular design intent, The philosphy of the design has been maintained where points have been alocated with specific reference to the data researched in cellular structures. A feature that I particularly like is the plastic cells which frame views out to the gardens, as well as the implementation of a capillary device to capture and reuse water.

TIMES EUREKA PAVILION, NEX ARCHITECTURE AND BURO HAPPOLD, LONDON, 2011

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4 4CUT DEFINITIONS: MATRIX CUT DEFINITIONS: MATRIX

Association + Input

1/2 Image sampler and Surface grid

2/2 Attractor point and Boolean

Input + Association

1/3 Arbitrary point and Curve attractor

3/3 Boolean and Attractor point

2/3 Curve intersection and curve attractor

(INPUT AND ASSOCIATION CON’T)

Association+ Output

1/2 Curve attractor and Data driven extrusion

2/2 Attractor point and Extrusion

Input + Output

1/4 Arbitrary point and Shading

2/4 Boolean and rotation

3/4 Boolean and Extrusion 4/4 Boolean and extrusion

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Output+ Association

1. Extrusion and Attractor point

These are examples of my individual matrix exploration. At first I randomly selected particular combinations but once understanding the effect each input/association/output could have I began to choose combinations that I thought could ultimately affect how I perceived computational design. Attractor point, Boolean and Extrusion are the only techniques that are relevant in the follow-ing EOI. This is because of our choice in vornoi as a structure and form. All three have been further developed which is present in the following pages.

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4WEEK: CUT DEFINITIONS: MATRIX EOI

Wyndham City Gateway ProjectEXPRESSION OF INTEREST:

- Proposition - Client brief- Design aspirations- Precedents - Airspace Tokyo - Nex Times Eu reka Pavilion - Patrick Blanc- Journal article research- Matrix- Reverse engineering- Form finding - Greg Lynn - ‘S’ diagram - Development- Catenary Structure- Ecology- Capillary System- Material - Fabrication- Voronoi application- Section/ Elevations- Model photos; shadowing- EOI conclusion

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We have designed two catenary structures with voronoi applie to both surfaces.One structure will be placed over the road from site A to B whilst the other structure will be positioned along site A elongating and stretching towards Wydnham City.

GATE WAY PROPOSITION EOI

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Client: Wyndham City

Project: Western Gateway Design project

Client Aspirations: The creation of a gateway into Wyndham for city-bound traffic on the Princes freeway with an equally com-pelling installation as that of the project “Seeds of Change”The installation must be exciting, eye catching and enrich the municipality. It should create a focal point at an iconic scale providing an entry statement and an arrival experience.The proposed site is located with high exposure to those en-tering the urban precinct as well as those travelling along the freeway therefore primarily viewed by motorists travelling at high speed. This gateway will provide the first indication of arrival into metropolitan Melbourne.Further considerations into how the installation can integrate with and/or sit in the immediate and surrounding landscape, how to create an original and engaging form and how the site location is prominent at the entry to metropolitan Melbourne will be explored.

BRIEF

The Western City Gateway Design Project has presented an invaluable opportunity for Wydenham city to multiply its growth through the use of an innovative and contem-porary installation. Our design intent is as follows:

Application of voronoi on a catenary structure.

We want to respect the surrounding environment and

emphasise on ecology with the promotion of growth

over time through a trellis of vegetation that will consistently evolve. The growth of the vegetation will be

aided by a capillary device.

Incorporating the design into the landscape where the trellis of vegetation will begin to grow at points that touch the ground in the catenary structure. The dynamic structure will evolve and grow over time, as a represen-tation of the city’s natural growth.

Enhance and prolong the welcoming experience by a design based on longevity, taking into account motorist travelling at high speed and viewing capacity.

Representing the elements of the Wyndham City motto “City, Coast, Country” primarily depicted through the

overall installation, the vegetation and the material-ity.

Creating an interesting and unique visual experience through framing and fragmenting views of the surround-ing landscape and horizon.

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DESIGN ASPIRATIONSEOI EOI

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The façade is designed by Faulders Studio and aims to artificially mimic the abundant surrounding vegetation that was one present. The voronoi pattern imitates the trees’ foliage and is not just decorative it’s functional. The façade functionally works as a screen to provide a sense of privacy; this has been achieved by layering voronoi façade. Materials: 3mm laser cut aluminum and plastic composite, separated by a 15cm air gap.Respecting the surrounding environment, as well as embracing the exist-ing natural landscape are two very important aspects of the developments of Wyndham City and its gateway. We would like to simulate the patterns and the ideas behind the façade airspace Tokyo. In our design intent we have outlined

part of our aim to create a nature-friendly gateway that blends into the surrounding environment, they are very much in conjunction with airspace

Tokyo’s. voronoi will be used to represent the growth of Wydenham city.

instead of fragmenting views the gateway will be framing views of the en-trance to Wydenham city as well as surround landscape. In line with airspace Tokyo we aim to design a light structure that appears to float on the horizon of

the entry. It will functionally work as a structure.

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AIRSPACE TOKYOEOI

As discussed in early precedent, similar to this project we aim to maintain our design intent

then apply computation to help expand ideas. Framing and fragmentation of views, and its

surrounding vegetation and the capillary device to naturally promote growth of ecology, is of particular admiration.

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NEX TIMES EUREKA PAVILION EOI

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In our design intent we have stressed the idea for the integration of the gateway into

the natural landscape. We would

also like to encourage growth over time; where a trellis of vegetation can be incorporated into the structure to rep-resent this. French contemporary artist/botanist Patrick Blanc is famous for com-bining architectural structures with nature and ecology, by creating green walls. Plants are chosen that can grow without soil and sit in a specifically designed felt mesh that receives water and nutrients several times

a day. We hope to relate our contem-porary fabricated gateway meshed

with ecological diversity and the natural environment.

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PATRICK BLANCEOI

There are several articles, which demonstrate ideas on how to generate points for voronoi pro-

duction. Specifically related to this project, features of the topology, ecology and general

urban landscape will be taken into consideration when devising points.

Method OneAn article from T.Barrett in Canadian journal of Forest Research 1997, explores voronoi tessella-tion methods to delineate harvest units for spatial forest planning. The article primarily explores how to devise space in the forest using voronoi methods with respect for natural growth of the vegetation. By using geographic information systems (GIS) for the forest planning where mul-tiple maps were devised to analyze specific features to then delineate points. This included maps with information on classified vegetation, buffered stream zones, ownership boundaries, special habitat zones, roads and the slope of the landscape, which could further be broken down to land units. The maps were layered over one another where polygons were created.

Method TwoR.Feick and B.Boots’s geographic analysis method looks at simple recursive point voronoi dia-grams where voronoi concepts are used to tessellate space with respect to a given set of genera-tor points. A visual representation of the underlying surface where specific data sites can repre-sent fundamental features can be created. A data site is an attribute taken at specific locations in a geographic space. The article also outlines the use of Delaunay triangulation around the data sites generating additional voronoi point locations. In this example the use of specific generator sets were used in conjunction with spatial data measurements at specific locations

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VORONOI ARTICLE RESEARCH EOI

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Method ThreeIn regards to using voronoi as a load bear-ing structure, E.Friedrick, C.Dexix and S.Hanna’s structural optimization method show the form can move from a simple modular repetitive system towards a more complex adaptive one with interconnected parts which cannot stand alone but rather form an organic whole. The article looks at a structure through a grid to specifically iden-tify how the repetitive system can withhold pressure. They have devised images of how blocks can be removed from the cubic mass and still withhold structurally. The voronoi points are added within this cubic mass to change the form and produce a unique structurally accepted system.

Each method is valuable in application the gateway design. Important points to take from the article research include:

- An analysis of specific features can be conducted to delineate the points. On the site, the petrol station ideally shouldn’t be blocked out.

- The use of Delaunay triangulation can generate additional voronoi points that may be needed to change structural qualities.

- It is essential to make sure the voronoi structure will be structurally eligible and

strengthened in areas of particular load bearing.

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ARTICLE RESEARCH CON’TEOI

The panel of 3 images below use attractor point; it is an associative technique where when combined with voronoi patterning, the voids of the voronoi may be adjusted according to the locations of the points that wished to be promoted and fragmented. Multiple attractor points can be used especially because of the focus on horizontality in the design. The larger image be-

low (figure 4) incorporates surface normal with the associative technique image sampler, by extruding different sized circles to generate a form. Once our initial form is developed, we can

rotate surface normal two or three dimensionally and apply voronoi patterning.

Figure 4: Surface Normal and Image Sampler

Figure 1-3: Attractor Point exploration.

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MATRIX EOI

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In order to imitate the façade of Airspace Tokyo we looked into simulating the vo-ronoi pattern two dimensionally, then esca-lated to extrude three dimensionally which became much more complex. When two dimensional voronoi systems are repeated and layered, framing and fragmenting views are easily achievable. To achieve a great depth in shadows, three-dimensional voronoi is of preference (image on right). Vornoi systems have a useful and structural logic where they can produce stable yet irregular structures. As our form develops, the structural aspects of voronoi systems can be explored.

Figure 1 addition of voronoi system onto a curve. Figure 2 two-dimensional voronoi extruded.

Figure 3/4 attractor point applied to voronoi.

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REVERSE ENGINEERINGEOI

Model 1: voronoi system applied to curveModel 2: Layered Voronoi

Model three: attractor point and vornoi

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EOIMODEL IMAGES

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EOI

Greg Lynn demonstrates the idea of movement and dynamism through his work. He argues that even though the works of architecture are mostly seen as static, it is possible to design architecture that is dynamic. These images show his entry for the Port Authority Gateway Competition in New York, which looks at the movement and low patterns of the pedestrians, cars and buses. He introduces particles (red and green colored) that adjust their positions and geometries according to the intensities of the movement forces. The cycles are recorded over a period of time and then used as a basis for the form of his gateway structure.

Because curvatures are able to express vectorial at-tributes they are then able to express time and mo-tion. The composite curve image shows each section of the curve to be defined by the radius of the circle governing it. The diagram below shows the curve defined by using spline geometry where each sec-tion of the curve is controlled with a vertex that has weight and direction.

Model made out of tubular frames.

Composite curve.

Curve defined using spline geometry.

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GREG LYNN; FORM FINDINGEOI

Iwamotoscotts’ voussoir cloud; this structure works in compression with a series of five columns that have smaller modules towards the base. The design draws from the work of Frei Otto and

Anotonio Gaudi who used hanging chain models to find efficient form. By looking at computational hang-ing chain models, we could experiment with the combination of the voronoi sys-

tem for a support mechanism. With experimenting with the hanging chain model we are looking into the vo-

ronoi itself being self-supported, without the need for beams.

IWAMOTOSCOTT VOUSSOIR CLOUD; FORM FINDING EXPLORATION

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FORM FINDING EXPLORATIONEOI

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EOI

Diagram one: Diagram two:

Following on from the previous ‘S’ diagram analysis we analysed 3 cars entering the site to Wyndham, to CBD and to Geelong, on the Princess Freeway but chose a different more useful diagrammatic way to analyse their relationship across the site. With the intervals at 5 seconds the car travelling both to CBD and to Wyndham move 140 metres, and the one travelling to Geelong moves 80 metres. Diagram one shows this sequence.

The lines of intersection were established by looking at the relationships of the move-ments of the cars and drawing lines between them (diagram two).

In order to prolong the welcoming experience, sections were chosen within these inter-secting lines that follow the directions of movements in each road (diagram three).

Anchor points for the catenary were located where the lines intersect. The fourth dia-gram shows the grey areas where our structures are located and the black dots show the locations of the anchor points.

Diagram three: Diagram four:

Inspired by Greg Lynn’s exploration with movement patterns, the movements of the cars travelling on the princess freeway were analyzed. Hypothetically showing three cars enter-ing into our site boundary, each travelling at 100km/h, but one car exists at Geelong road and slows down to 60km/h (upper road). Using attractor point 8 snapshots were taken at 5-sec-ond intervals, in which the car travels 140m. If we were to locate the gateway in the middle of the biggest site, the total period of time that motorists can enjoy the gateway is approximate-ly 20 seconds. As we want to prolong the experience we need to start looking at stretching the form. As a basis point, we will be looking at the intersection of the movement as the three cars pass the site. The two lines shown on the map (diagram one) have been drawn at two 5-second interval snap shots and can become the outline from which the form can arrise.

In the experiment detailed on the right (diagram two), the two lines were divided into a num-ber of segments. The curves were then rotated on its planar axes to become three-dimension-al. A surface can then be drawn between parts of the curves and playing with the angles of the gives can give an initial form for the gateway structure. This is merely an exploration of one of the methods available for form finding. The following page shows a more accurate attempt of a hanging chaing model by determining anchor points.

FORM FINDING EXPLORATION: ‘S’ DIAGRAM

Prototype sketch model collaborating catenary structure with diagram one’s curvatures.

Diagram one: Diagram two:

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Using Patrick Blanc’s vertical garden as inspiration we want to add to the dynamisms of the

gateway structure by including a trellis for plans to evolve and grow throughout areas of the voronoi structure. This represents the element of growth expected in Wydnham city and the natural ecological growth. It also helps to integrate the installation smoothly into

the landscape. The diagram (left) is a projected representation over a time period begin-ning at completion, to 4 years later. As the plants grow over time they will mimic and create an analogy for the growth of Wyndham.

PATRICK BLANK; ECOLOGY EOI

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EOI

In order to maximize structural efficiency, we adopted the use of catenary structure that is based on the ideology of the hanging chain under gravitational force, which, when turned upside down, acts purely in compression. Catenary structure was generated using Kangaroo in Grasshopper, using the anchor points that were derived from the previous site analysis in diagram four. Kanga-roo is a physics plug-in which enabled us to determine an accurate catenary structure with any given anchor point. Forces were applied onto the overall structure, which controlled the shape and heights. These forces were adjusted to suit the site and intentions. Vornoi was then applied to these surfaces. Below show the two catenary structures obtained using kangaroo where we have adjusted heights to allow for cars to travel under or for it to be visible on approach to the site.

CATENARY STRUCTURE

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EOI

A capillary system has been integrated into the design, where rainwater can be caught as it falls and channelled through the structure to the ground. It can then be stored in a wa-ter tank and recycled for use on the plants growing over the installation. Diagram on left shows this where the blue lines represent rainwa-ter being channelled off the structure to the water tank, and the red lines showing the water being used for the plants growth. In this way the installation can be environmentally sustainable as it continues to grow and change over time.

Our structure will work with natural light to create shadows on the road through the vornoi voids. We have chosen to use copper sheeting for the voronoi cell and galvanized steel to struc-turally support it.

The two top left photos are examples from the De young museum in San Francisco by Herzog de Meuron and A Zahner company who have used a copper skin to form a partnership with nature that

will be years in the making; weathering is embraced and mirrors the vegetation surround-ing the museum. The perforated copper panels transition from red, to brown, to black and even-tually a slowly emerging earth green. (Kolarevic,

2003) Copper can be used in representation of country and coast; a material that is widely used for agriculture, and a material that will weather, a symbol to represent the coast near by. Because of the Wydenham City council budget, copper will only be used for part of the installation, the actual vornoi cell where galvanized structural steel will hold the copper cells.

As we propose to include a trellis along the form of growing vegetation, the sys-tem to water the vegetation will include a

capillary device to channel rainwater to a specific point and reuse the water to help the growth of the plants. This is noted in work from Airspace Tokoy, NEX Times Eureka pavilion and Iwamotoscott’s jelly-fish house.

MATERIAL EOICAPILLARY SYSTEM

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C_wall by Matsys design demonstrates their progress to fabrication through simple steps. The assembly method begins

with a “parametric massing model” that has then been assigned

“points” for the voronoi to develop

into “cellular solids”. Overall this

leads to the “voiding”, the creation of voronoi cells itself. The next two methods of fabrication are particularly of use when fabricated the overall prototype model and overall structure. The next step is

panelization where the structure has literally been broken into pieces. Because our model won’t be a 3D mass as such, it will be a lot simpler. The next step is the

fabrication layout, because the overall model made is of large scale the layout is separated into at least 150 panel-ized squares which were CNC cut.

Overall our final design will use the same method of panelization, which will be demonstrated by our main prototype model.

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FABRICATIONEOI

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VORONOI MODELING EOI

This is a double curved structure therefore this installation will be fabricated in panels. The fabrication diagram shows how the cell will be extracted from each panel, labelled and unrolled, then cut on copper sheeting. Our proto type model also demonstrated this fabrication method.

The fabrication of the site model was com-pleted by a waffle- grid system of the cat-enary surface. To produce a smooth double curved surface was largely inaccessible so we focused on representing the overall skel-eton of the structure using the top surface of the catenary structure:

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EOI VORONOI APPLICATION EOI

Section:

West elevation:

Because of the size of the installation the application of voronoi had to be separated into a num-ber of smaller panels (which is the method also adopted in fabrication). Because the top and bottom surfaces differ in terms of shapes and angles, projection of voronoi onto each surface be-came rather difficult to control. We decided to use the top surface and extrude the voronoi down-wards allowing us to achieve desired result. The voronoi cells create frames for the surrounding landscape and the experience for cars that are travelling underneath it, creating the impression of driving in the countryside where light flickers through the trees.

VORONOI APPLICATION

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EOI EOI

South Elevation:

Shadowing effects:

VORNOI APPLICATION & SHADOWING AFFECTS VORNOI APPLICATION & SHADOWING AFFECTS

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With the combination of voronoi and catenary structures we were able to produce a unique proposal for the gateway project for Wydnham city. We aim to integrate the structure into the surrounding landscape and promote ecology by including a trellis of vegetation that is supported with a capillary system, encouraging the growth of vegetation over time. The anchor points for our structure was derived from analyzing a basic sce-nario of cars entering the site from both directions and drawing their line of sight and relationship with one another, forming intersections. We want to prolong the welcoming experience, which paral-lels to the overall horizontality of the structure. We want to link the installation to the Wydnham City’s motto “city coast country” reflected through the innovative installation, extended growth of vegetation and the materiality of the structure. The voronoi cells will be made from copper which will naturally weather and will progress in colours from brown to greens, reflecting the weathering coast and rustic notion of the country. Structural galvanized steel will form the structure between the voronoi cells and will aid as a capillary device. Parametric advancements enabled us to formulate a catenary structure, precisely apply voronoi to the surface and fabricate such complex geometries through unrolling each individual cell.

CONCLUSIONEOI EOI

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04.06.12

CONCLUSION

Learning objectives and outcomes: The focus on digital architectural design constitutes one of the most vibrant and influential areas in cur-rent discourse. What I received most from learning the computational design tools was the vast possibilities for extending original design intents into a means not achievable through any other way. The understanding of the vast options and funtions in the Rhino and grasshopper program will has encouraged me to further develop computational skills. As this course comes to a conclusion not only has my knowledge broadened but I have gathered greater respect for the amount of possibilities that are now in reach whilst I design. It has opened my eyes to the potential for contemporary design that I had not yet imagined.

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REFERENCING04.06.12

http://bfi.org/about-bucky/buckys-big-ideas/geodesic-domesTerzidis, K., Algorithmic Architecture, Architectural Press, Oxford, 2006.Ito,T. and Balmond, C., Serpentine Gallery Pavilion 2002:Toyo Ito with Arup,Verlagder Buchhandlung Walther König, Köln, 2002.http://www.schwartz.arch.ethz.ch/Publikationen/Dokumente/computable_function.pdfhttp://designplaygrounds.com/deviants/bloomberg-pavilion-by-akihisa-hirata-architecture/http://www.morfae.com/0949-nex/http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/Kolarevic, Branko (2003). Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press), pp. 6 – 24http://www.archdaily.com/41364/digital-fabrications-architectural-and-material-techniques-lisa-iwamoto/http://www.iwamotoscott.com/http://faulders-studio.com/proj_airspace.htmlhttp://matsysdesign.com/2009/06/19/c_wall/http://www.metalabstudio.com/category/blog/grotto/http://www.archdaily.com/101711/new-harmony-grotto-a-reinterpretation-of-frederick-kielser’s-grotto-for-meditation-metalab-architec-ture-fabrication/http://www.nrcresearchpress.com/doi/abs/10.1139/x96-214http://www.environment.uwaterloo.ca/planning/publications/Feick_VRSPI.pdfhttp://discovery.ucl.ac.uk/5077/1/5077.pdf http://alexbeutel.com/posters/senior_thesis_poster.pdfChristine Killory, and René Davids, ‘De Young Muesum’, in Detail in Process. 1st edn, Asbuilt (New York: Princeton Architectural Press, 2008), pp. 100 – 111Ben Pell, ‘Airspace Tokyo’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 86 - 89http://faulders-studio.com/proj_airspace.htmlhttp://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/http://glform.com/