ADS Final Journal

JOURNAL architecture studio airXi Ting Samantha Loo 347119

cONTeNTS PAGeA Case For Innovation - Architecture As A Discourse - Unique Innovations - Contemporary Scripting - Other Group Precedence - Gateway Criteria

Matrix Cut/ Fabricate - Personal Matrixes - Rest of Group Matrix - Explaniation - Matrix conlusion - Case Study Personal - Case Study Group

Competitive Advantage

Wyndham City Gateway Project -Background Information -The Site -Design Idea (Cultural Unity) -Design Process -Grasshopper Defi nition (Model) -Grasshopper Defi nition (Fabrication) -Materiality -Construction Details -Model Images -Perspective View on Site

Refl ection After Feedback -Response to Feedback -Ammended Design Idea

Learning Objectives and Outcomes -Personal Background and Learning Objectives -Learning Progress -Learning Outcomes -Future Work

Bibliography

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PART 1GATewAy PROJecT

eXPReSSiON Of iNTeReST

ARchiTecTURe AS A diScOURSeStudley Park Boathouse

eOi week 1

For Architecture studio water, we were given an assignment where we were each assigned a spe-cifi c and revolutionary architect. We were then supposed to study their work and analyze their architectural style and consequentially design a boathouse in the style of that particular architect.

I ended up analyzing the work of Mario Botta. Botta was part of a group of infl uencial Italian speaking swiss architects from Ticino who aided the Italian Neo-Rationalism movement in the 1960s. Botta started developing his own personal style where he uses bold shapes and forms, slits for circulation and symmetry.1The idea behind the boathouse design was to design a space that con-nected the water to the land. I did so by ensuring that the upper fl oors hung over the river and by bringing the river into the boathouse by incorporat-ing the pier into the design.

Personally, I have been to one of Botta’s building, namely the San Francisco Museum of Art. The fi rst thing that I noticed about the building was its mag-nitude and how solid it seemed to be. The exterior of the building was made out of bricks which made the building feel large. It contrasted well with the entrance which was made out of glass.

For this project, I used Botta’s ideas and design ideas as a starting point. One problem that arose was fi nding a balance between Botta’s style and my own. I ended up learning from Botta by build-ing on his ideas and consequently developing my own philosophy for the project.

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I wanted the boathouse to make an impression on people the same way that Botta’s building made me feel. I decided on insitu concrete for the facade as I wanted the building to feel heavy and large. I also used a skylight and small circular windows to illuminate the building and also the ‘break’ the solidity of the building and make it seem lighter. I found myself constantly trying to fi nd a balance between aesthetic and functionality as both are very important when trying to create a great building.

In fact, throughout history new forms have emerged due to new constrains and limitations. For instance, skyscrapers were brought about due to the lack of space in cities. For this proj-ect, I would attempt to overcome limitations and restrictions by submitting a project that is both aesthetically pleasing and functional.

1 William J. R. Curtis, Modern Architecture since 1900, 3rd edn (London: Phaidon Press Limited, 1996), p. 58.

Link to the Gateway ProjectFor the Gateway project, I would build on existing forms and structures and improve on them. I would also ensure that the installation would feel massive and solid. The installation would also be grounded in local culture and it would allow people passing through the installation to experience the cultural diversity of Wyndham city.

“architecture is a discipline that gives an order to the space in our life, therefore it can give a structure to the organisation of space” - Mario Botta

Personal Project

ARchiTecTURe AS A diScOURSeLou Ruvo center for Brain health

eOi week 1

The Lou Ruvo Center for Brain Health was designed by Frank Gehry in order to spread public awareness about Alzheimer’s.

Like most of Gehry’s buildings, the centre appears almost unruly, unfinished and chaotic.2 In this case, the trapezoid shaped window was encased in the steel grey framework so it could work with the façade. The external cladding is covered with a reflective material, which gives the impression that the building is moving.

Gehry usually incorporates very mundane features of the building’s landscape into the design.3 In this case, Gehry uses the sun which is almost ever present in Vegas to create the movement in his de-sign and bring in natural sunlight into the building.

I find the building aesthetically interesting because I like the fluidity of the design and the interesting cutouts for windows. However, the building has also been deemed an eyesore by some. Therefore, how ‘artistic’ a building is very subjective as beauty lies in the eye of the beholder. During an interview with the Las Vegas Sun, when asked about his design, Gehry said ‘who knows what I was thinking? I just wanted it provocative.’ 4 He succeeded in that aspect because Gehry’s buildings tend to invoke strong emotions from people and that was what I believe made him famous.

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Architect: frank GehryLocation: Las Vegas

2 Chistopher Hawthorne, ‘Frank Gehry’s Cleveland Clinic Lou Ruvo Center for Brain Health in Las Vegas’, Los Angeles Times, (2010). 3 Curtis, p. 663.4 Tom Gorman, ‘Ruvo Center Architect’s Form Helps Direct Focus on a Cure’, Las Vegas Sun, (2010).5 Hawthorne.6 Hawthorne.7 Gorman.8 Joseph Giovannini, ‘Lou Ruvo Center for Brain Health - Las Vegas Gehry Partners’, Architect, (2011) <http://mydigimag.rrd.com/

publication/?i=66206> [accessed April 2012] pp. 84-94).

The idea behind Gehry’s buildings are generally direct and metaphoric. 5 In this case, Gehry agreed to design this building after much urging from Lou Ruvo because he had personal interest in the research of Huntington’s disease after his good friend’s wife and sisters - in - law succumbed to it. 6

The building demonstrates technological advances and in its own way the culture of today’s society. For instance, the building itself is a contradiction. Although building was specifically designed for the Vegas landscape, the team responsible for the building was not all on site for the construction. In fact, different pieces that made up the façade of the building had GPS chips embedded in it so that the building’s surveyors could ensure the façade was pieced together accurately. Furthermore, the project involved structural engineers globally, namely from Poland, India and Germany.7

The cultural context being global where it is pos-sible in today’s society with global teams where people need not be physically present to complete a project. Furthermore, Lou Ruvo was quoted say-ing that the architecture of the building was used as a marketing tool to impress upon people that the centre was taking Alzeheimer research seri-ously.8

Link to the Gateway project The design for the installation has to firstly be effective. One must always be open to new techno-logical advances to achieve the intended design. Secondly, a design with a strong idea and or in this case a metaphoric story is important as it, in a way, gives the project a rational for its existence. Furthermore, in today’s context, architecture can be used as a marketing strategy, the same way that the Gateway project will be, to show that the residents there are also forward looking and open minded and that they are serious about trying to improve the image of the city.

eOi week 1

ARchiTecTURe AS A diScOURSeMode Gakuen cocoon Tower

The cocoon tower designed by Tange Ar-chitects and was the winning design for an educational building. In a way, the cocoon is a metaphor for education. For instance, the cocoon is the incubation period where the lava turns into a butterfly. Similarly, the tower serves as a location where the student ‘lava’ is being educated ‘incubated’ to be useful members of society ‘butterfly’.

The structure of the cocoon tower is unique where the tower appears to be ‘wrapped’ with a web of white ‘fabric’ like a cocoon. The white structure in a way acts as a shade and the narrow portion on the top acts provides unobstructed views of Shin-juku. The building also blends nicely in the landscape and although there are 50 lev-els, it is not the tallest tower in the city. 9

The cocoon tower tried to bring in nature into the design. This is because the city did not have any space for greenery and they wanted the students to experience nature. Therefore, they had to bring ‘nature’ into the building. They did so by incorporating student lounges in between classrooms. These lounges were actually three story atriums with panoramic views of the city. The idea of the interaction between na-ture and the built environment has been increasingly common in 21st century archi-tectural design especially with the increase in awareness about the environment and the need for green spaces.

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Architect: Tange Architects Location: Shinjuku, Tokyo

9 Chistopher Hawthorne, ‘Frank Gehry’s Cleveland Clinic Lou Ruvo Center for Brain Health in Las Vegas’, Los Angeles Times, (2010). 10 Paul Noritaka Tange and Minami Masato, ‘Mode Gakeun Cocoon Tower’, Council on Tall Buildings and Habitat, (2009).

The cocoon tower tried to bring in nature into the design. This is because the city did not have any space for greenery and they wanted the students to experience nature. Therefore, they had to bring ‘nature’ into the building. They did so by incorporat-ing student lounges in between classrooms. These lounges were actually three story atriums with panoramic views of the city. The idea of the interac-tion between nature and the built environment has been increasingly common in 21st century architec-tural design especially with the increase in aware-ness about the environment and the need for green spaces.

This tower was ground breaking in the aspect of reducing seismic activity. This building is the first circular tower in Tokyo that is earthquake resistant. This example in technological advancement is most-ly applicable in countries where earthquakes are common. In that aspect, the building demonstrates how local environmental constrains does not restrict but rather forces the architect to think outside the box and come out with new and interesting forms.

Personally, I have been to the tower before and my first impression of it was that it seemed to stand-out from the surrounding building. Although the height of the building was a huge factor, the main reason was that it seemed the lightest around. It was because of the contrast between the ‘wrapped’ facade and the amount of glass used.

Link to the Gateway ProjectAs the design is meant to catch the attention and make an impact on the people passing through it, it should have interesting contrasting textures.10 Although earthquake technology is not very ap-plicable in Melbourne the tower is a good example of how local environmental constrains does not restrict but rather forces one to think outside the box for newer and more innovative ideas.

Louisiana Sports hall of fame Museum

eOi week 2

UNiqUe iNNOVATiONS PReSeNTed By cONTeMPORARy cOMPUTATiONAL deSiGN TechNiqUeS

One project that utilizes comtemporary computational design techniques is the Louisiana Sports Hall of Fame Museum. The Architect for the project is Trahan Ar-chitects. However, the modeling and geometry of the stadium was done by Method Design.

The Louisiana Sports Hall of Fame Museum is located at Natchitoches in Louisiana. Although the project was to be completed in 2011, it is still under construction.11

Method Design, served as a geometry and detailing consultant for the project. As method design are the consultants to Advanced Cast Stone, a pre-cast panel fabricator. Hence they worked with the specialty steel consultant to design a suitable structural platform to service a support system for the stone panels.

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Architect: Trahan ArchitectsGeometry and detailing consultant: Method design

Location: Natchitoches, Louisiana

11 Trahan Architects, ‘Lousiana Sports Hall of Fame Museum’, (2012), p. Project Description on the Lousiana Sports Hall of Fame Museum.12 Trahan Architects, ‘Lousiana Sports Hall of Fame Museum’, (2012), p. Project Description on the Lousiana Sports Hall of Fame Museum.13 Method Design, ‘Louisana State Sports Hall of Fame + Regional History Museum’, (2012), p. Geometry and Detailing Consultant Portfo-lio for the LSH project.14 Branko Kolarevic, Architecture in the Digital Age - Design and Manufacturing, (Taylor & Francis, 2003), p. 8.15 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (MIT Press, 2004), p. 4.

According to Stasiuk from Method Design, the design was mostly created using grasshopper to extract information about the orientation and to instantiate elements of the design that cannot be fully generated by algorithm alone. They also used other software like Karamba and Geometry Gym and together with grasshopper, they operated it in parallel with Robot structural analysis software to do detailing for the steel. This enabled them to transfer information seamlessly across the different softwares. The result is a fully detailed model of the structural member, support and connection of that was ready for fabrication and installation of steel supports and cast stone connections.13

The Sports hall of Fame, according to Kolarevic’s definition is the eventual target that one should strive to achieve in architecture. This is because steel structural system is an example on how a sys-tem can be done and compiled wholly on the com-puter and when completed is also ready for fabrica-tion. This is because the 4D model contains all the qualitative and quantitative information that allowed the construction of a single model that contains all the relevant and vital information that is needed to produce a building.14

In order to be able to complete an entire model for a building and have it ready for fabrication requires a lot of computer skills. The fact is that there is always a trade off between what the designer really wants and the limitations of the software. This is because most of the computer aided design re-search that has been taking place over the past 50 years have generally been targeted in making the job easier for the human designers and not really focused on attempting to create new forms.15 All of the computer software available today has its limi-tations. Hence, one way of achieving one’s design goals is to use a wide range of software, as seen by the system done by Method Design.

Link to Gateway project For the gateway project, the aim is to have all the necessary information on the structure to be collat-ed and represented on the computer and be ready for fabrication using grasshopper. This project is a good example on how it is done in the industry today.

MSwcT Snowflake Tower

UNiqUe iNNOVATiONS PReSeNTed By cONTeMPORARy cOMPUTATiONAL deSiGN TechNiqUeS

eOi week 2

The Snowflake Tower is meant to feature new thinking in architecture. The building was originally developed as a prototype that was meant to translate brand values into memo-rable architecture. It is also the first of many towers that would be built around the world in the new style.16

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Architect: LAVALocation: Abu dhabi UAe

16 LAVA (Laboratory for Visionary Architecture), ‘Mswct Snowflake Tower’, (2008), p. Project Description on MSWCT Snowflake Tower.17 LAVA (Laboratory for Visionary Architecture), ‘Mswct Snowflake Tower’, (2008), p. Project Description on MSWCT Snowflake Tower.

The design was based on attempting to fulfill the requirements of the brief, which was the need for optimal lighting, air distribution, panoramic views minimal structure, good user comfort and integrating the tower with the water. The form that resulted was one that was sleek, aerodynamic and took geometries from nature (hence the name snow flake tower)

The tower also relates to nature with technology that responds to the environment. There are intelligent systems and skins installed in the building that reacts to external influences like the air pres-sure, temperature, humidity, solar radiation and even pollution.17

The geometric and streamlined shaped of the tower was generated and formed in grasshopper and rhino especially to control the form, occupancy and building structure. Like the Sports Museum, the entire struc-ture was generated on the computer and was then broken down and exported for fabrication.

Link to the Gateway ProjectThis building’s geometric and streamlined shape shows speed which is what I want the installation to represent due to it being installed along the highway.Also like the sports museum, the entire design pro-cess was done on a computer and our main objective would be to prepare the design to be exported for fabrication like the sports museum.

Parametric cell facade study for the slab

cONTeMPORARy ScRiPTiNG/PROGRAMMiNG cULTUReS wiTh cRiTiqUe

eOi week 3

OMA Research and InnovationParametrics Cell, Facade Study forthe Slab, 2008A number of data-driven iterations ofthe facade were generated usingdifferent internal and externalsociocultural source material, varyingdegrees (low to high) of mutation,several directional types of mutation(one, two or three dimensions) and arange of functional, structural andmaterial parameters. Theseiterations, besides articulating theexternal contextual urban patterns,also indicated the two internal publicfloors through a differentdeformation process (a script thatrandomly ‘shook’ the grid pattern inthese two horizontal zones) andutilised special transformation scriptsto increase the level of articulation:extra mutation (different thicknesses)at sky lobby zones, enlargedopenings at the lobbies and radialthickness deformation around thelower sky lobby.

options, consider more types of information, andgenerally be more creative with how we use them. In thePetabyte Age we can ‘view data mathematically first andestablish a context for it later’.9 We can incorporate datafrom many sources, including aesthetics and thesociocultural, political and historical dimensionsbecause massive data is the new meaning. Rather thannecessitating the mere reduction of the qualitative intothe quantitative, this approach actually creates theconditions for the optimistic potential of emergence: thecumulative effects of complexity and multiplicity maythemselves result in the production of new qualities,which in turn allow new relationships betweenarchitecture and culture to emerge.10

Reconceptualised RoleSuch an approach implies that the architect’s role should bereconceptualised from that of romantic genius or technological guru tothat of multidisciplinary strategist. The new architect is still ultimatelyresponsible for design intent and needs to be able to look at the bigpicture to decide which factors to parameterise, to give limits to theparameters, assign a weight to each factor and determine the order andmethod of the information modelling process: in summary to strategisewhich factors and methods will be used, how they will be applied orgenerated, and to judge what they contribute. But, just as in the ‘new,softer science’, algorithms assume the burden of rigorous quantitativemethodology and the mind is left ‘free to move around the data in themost creative way’.11 Technically this implies a broader use ofcreative scripting in the initial stages of design, one that is capable of

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OMA Research and Innovation Parametrics Cell, Facade Study for the Slab, 2008This parametric facade strategy experimented with the soft data of sociocultural material through scripts thatarticulated the building’s internal public zones and registered the site’s external urban pattern whileincorporating technical functional, structural and material parameters. The series of diagrams shows how thecontext was translated into data through a process analogous to that of creating a physical impression: 1) thefacade grid was conceptually ‘flipped down’ on to the existing ruins of a site; 2) an impression of each building’slocation and height was measured; and 3) the data was registered into the corresponding cell of an Excel sheet.A special script was created that keyed this input data to a degree and type of mutation in the facade grid.

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There are large amounts of data available today and when used with mathematics it supersedes every other tool.

Traditional scientific methodology is lacking when the data gets too big or complicated to document. Therefore since the tools are already available, today, one can calculate a lot of data and with it produce very concrete results in fields such as science and technology. This could be the zeitgeist of this age. Therefore it is logical that one should incorporate modern technologies into building design.18

For this study done in 2008, OMA research team wanted to obtain data on the social and cultural context of the site and using the data to articulate the building’s internal public zones and external urban pattern.In order to translate the data into analog format, they ran the slab through a series of steps.

Firstly, they wanted to obtain data of the existing buildings. Hence they conceptually ‘flipped’ the slab on top of the buildings.

This calculated the height and location of the build-ing. The data was then recorded and put onto an excel spreadsheet where each number correspond-ed with a feature of the building on the site.

By using this process there were able to fabricate different patterns by altering and using special transformation scripts in order to increase the ar-ticulation level. This process allowed for the input of cultural data of the site which helps develop the relationship between culture and architecture.

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OMA Research TeamLocation: N/A


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Link to the Gateway ProjectI really liked the potential behind this concept as it can be further expanded where the social, cultural and historical data can also be used to incorporate voronoi patterning or even graphs into the project. This approach is applicable to the gateway project as it is an interesting method of incorporating the cultural aspect of Wyndham City into the design.

However, I found it difficult to connect the idea behind the facade to the target audiences. The idea of using computer modeling is new and it is not easy to decipher the idea behind a project simply by look-ing at it. For instance, when I showed by mother my grasshopper matrix, she commented that it was nothing more than a bunch of dots. Therefore, unless the entire city is behind the project, no one but the architect will know that actual meaning behind the facade. Hence, since our group will be using this project as the main precedence, the biggest challenge that we would face is making the facade of the structure relatable and easily understood by the general public.


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18 Cynthia Ottchen, ‘The Future of Information Modelling and the End of Theory Less Is Limited, More Is Different’, Architectural Design, 79 (2009).

week 3 Burry Reading Review

cONTeMPORARy ScRiPTiNG/PROGRAMMiNG cULTUReS

eOi week 3

Scripting In Grasshopper

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19 Mark Burry, Scripting Cultures: Architectural Design and Programming, (Wiley & Sons, 2011).

Scripting has been called the driving force for archi-tecture in the 21st century. This is because scripting allows the designer to overcome limitations with software currently available.

The current model has the designer trusting soft-ware engineers to produce the application needed for architectural models. However, with scripting, which is a computer program overlay, now the designer can become the new toolmaker. Hence, scripting allows the designer to unleash their cre-ative potential and not be restrained and conform to current norms.

However, they are still problems with scripting. Firstly, it is still in in its experimental stages and are not in most university curriculums. Secondly, although the programs available to make scripting easier, the end result is not very original. Lastly, trying to learn how to script is difficult and people just starting would have the tendency to appropriate other’s scripts.

According to Burry, there are three main scripting cultures, namely, productivity, experimentation by scripting a path to the ‘answer’ and scripting as a voyage of discovery.19

Personally, I mostly agree with the author. Script-ing is interesting and revolutionary in the aspect that it allows designers to ‘own’ their work and not be constrained by the limitations of the software they are using. However, scripting is also difficult to grasp and understand. In a way, it is like learn-ing a whole new language.

Learning it and experimenting with it is time con-suming and one would need to be very motivated and driven for them to see it through. Therefore, it might seem easier to simply ‘borrow’ another person’s script and work with it. It would then un-dermine the whole reason for scripting in the first place as the designer would still find themselves constrained.

Other Group Precedence

OTheR cASeS fOR iNNOVATiON

GROUP eOi

fun cloud PavillionThis pavillion is a constructed en-tirely by a computational architec-tural machine. It can not only adapt the pavillion to contextual and future architectural changes but also con-trol and dim or brighten the artificial lighting that can be controlled via a computer. For the gateway project, one should always utilize new tech-nology as it is a means of creating interesting and innovative designs. Also, lighting would be used to cre-ate an experience that represents the culture of Wyndham City. Also, it creates a pocket of space where the driver is completely engrossed in the experience.

BIFID is an interactive ceiling proto-type that was done for the New York New Museum in 2005. The design was programmed by ‘plusing light-ing patterns” based on the same mathematics wave interference that is applied to the geometry of the ceiling. This approach can be applied to the Gateway project as it allows us to “ produce infinite number of of variation without increasing the cost of production” through unfolding fabrication drawings.

Architect: ecOLogicStudioLocation: London

BifidArchitect: Alisa Andrasek (Biothing)

Location: New york

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According to the brief by Wyndham city, the installation has to be ‘exciting, eye-catching’ and would ‘inspire and enrich’ the municipility.

Architecture should firstly be forward looking. This is because architecture is about creating a suitable space for people to live, work and interact in. Architecture is a also about overcoming limitations and restrictions to achieve a new and exciting form. For instance in Tokyo, circular towers are not common-place because of earthquakes. The Mode Gakuen Tower is a good example of a design trying to over-come obsticles, to strive for a new form, making it the first circular tower ever built in Tokyo. Similarly for the Gateway project, we would try to stretch and overcome our limitations.

For the gateway project, it is our intent to use the latest in design technology and altering the form in order to overcome project limitations. The installation should also have a massive impact and presence in Wyndham city and create an unforgettable experience about the city’s culture.

Gateway criteria

ZA11 wooden Pavillion Architect: d Stefanescu, P, Berdarf and B. hambasan Location: cluj, Romania

The Wooden Pavillion was an ambitious student based project which aimed to attract passers-by to the ZA11 Speaking Architecture Program in Romania. The team had the challenge of intergrating the pavillion into the historical setting of the program.

The Idea was concieved during a parametric design workshop that was specifically geared towards pro-duction. The team also had to work with material constrains and yet were still able to use the structure to showcase the design that was done using digital tools.

This is applicable to the gateway project because the installation should be able to fit into Wyndham City’s cultural background and provide the people using it a meaningful cultural experience.

individual Matrix

cUT defiNiTiON

MATRiX: cUT

set 1

set 2

12 3

4 5

1 2 3 4 5

set 3

1 2 3 4 5

set 4

1 2 3 4 5

6 7 8 9 10

set 5

1 2 3 4 5

set 6

1 2

21

set 6

3 4

set 7

set 8

1 2

3

1 2

3

3

set 9

1 2 3 4

individual Matrix

cUT defiNiTiON

set 10

1 2 3 4

5 6 7 8

set 11

1 2 3 4

5 6 7 8

set 12

1 2 3 4

5 6 7 8

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MATRiX: cUT

set 13

Rest of the Group Matrix: done by Jasmine

1 2 3

4 5 6

Matrix definition index

cUT defiNiTiON

Set 11) Arbitrary Points Maths Function, Component2) Arbitrary Point, Multiple Maths Function Component3) Arbitrary Point, Image Sampler, Component4) Arbitrary Point, Attractor Point, Component5) Arbitrary Point, Curve Attractor, Component

Set 21) Arbitrary Point, Attractor Point2) Arbitrary Point, Attractor Point Rotation3) Arbitrary Point, Curve Attractor4) Arbitrary Point, Image Sampler, Rotation5) Arbitrary Point, Rotation

Set 31) Arbitrary Point, Attractor Point, Rectangle Rotation2) Arbitrary Point, Curve Attractor, Rectangle3) Arbitrary Points, Image Sampler, Rectangle4) Arbitrary Points, Image Sampler, Rectangle Rota-tion5) Arbitrary Points, Rectangle Rotation

Set 41) Curve Intersection, Image Sampler2) Curve Intersection, Attractor Points, Rotation3) Curve Intersection, Maths Function4) Curve Intersection, Maths Function, Rotation5) Curve Intersection, Remapping Data6) Curve Intersection, Rotation7) Curve Intersection, Text Sampler8) Curve Intersection, Attractor Points9) Curve Intersection, Curve Attractor10) Curve Intersection, Image Sampler, Rotation

Set 51) Curve Intersection, Image Sampler, Rectangle2) Curve Intersection, Image Sampler, Rectangle Rotation3) Curve Intersection, Image Sampler Rectangle (Varia-tion)4) Curve Intersection, Maths Function, Rectangle5) Curve Intersection, Components

Set 61) Arbitrary Points, Image Sampler, Extrusion2) Arbitrary Points, Maths Function, Extrusion3) Arbitrary Points, Multiple Maths Function, Extrusion4) Arbitrary Points, Extrusion

Set 71) Arbitrary Points, Image Sampler, Rectangle Extrusion2) Arbitrary Points, Rectangle Extrusion3) Arbitrary Points, Multiple Maths Function, Extrusion

Set 81) Boolean Pattern, Maths Function, Extrusion2) Boolean Pattern, Multiple Maths Function, Extrusion3) Boolean Pattern, Multiple Maths Function, Rectangle Extrusion

Set 91) Using Surface Normals, Attractor Points, Rotation2) Using Surface Normals, Attractor Points, Extrusion3) Using Surface Normals, Attractor Points, Rectangle Output4) Using Surface Normals, Image Sampler

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MATRiX: cUT

cUT defiNiTiON

Set 101) Boolean Pattern, Image Sampler2) Boolean Pattern, Image Sampler Rotation3) Boolean Pattern, Maths Function4) Boolean Pattern, Maths Function, Rotation5) Boolean Pattern, Using sets6) Boolean Pattern, Using Sets Rotation7) Boolean Pattern, Stream Text8) Boolean Pattern, Stream Text Rotation

Set 111) Boolean Pattern Image Sampler, Rectangle2) Boolean Pattern, Image Sampler, Rectangle Rotation3) Boolean Pattern, Math Function Rectangle4) Boolean Pattern, Maths Function, Rectangle Rotation5) Boolean Pattern, Using Sets, Rectangle6) Boolean Pattern, Using Sets, Rectangle Rotation7) Boolean Pattern, Stream Text, Rectangle8) Boolean Pattern, Stream Text, Rectangle Rotation

Set 121) Explicit Grid (Normal Grid), Attractor Points2) Explicit Grid (Hexagonal Grid), Attractor Points3) Explicit Grid (Normal Grid), Image Sampler, Shader4) Explicit Grid (Hexagonal Grid), Image Sampler, Shader5) Explicit Grid (Normal Grid), Maths Function6) Explicit Grid (Hexagonal Grid), Maths Function7) Explicit Grid (Normal Grid), Rotation8) Explicit Grid (Hexagonal Grid), Rotation

Rest of Group Matrixes (jasmine)

Set 131) Pattern Overlap, Maths Function, Extrusion2) Pattern Overlap, Maths Function, Rotation3) Pattern Overlap, Multiple Maths Function, Extrusion4) Pattern Overlap, Using Sets, Rotation5) Pattern and Overlap, using sets, extrusion6) Pattern Overlap, Attractor Points, Shader

Matrix definition

cUT defiNiTiON

Pattern Overlap, Maths function, extrusion

We decided on using this definition as a potiential starting point because of the different layers. Having a different layers for the facade of the installation would create interesting shadows that is formed when light enters the facade at different angles.

Pattern Overlap, Maths function, Rotation

We liked this definition mainly because of the layers and also because of the slight curve on the x axis caused by the sine function. We found the layering was interesting as it gives the impression of being fluid and like the snowflake tower, gives the impression of speed and movement. This could be the form for the installation.

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MATRiX: cUT

explicit Grid, Attractor Points

We decided on this as the definiton looks fluid and as it were showing movement. The facade is important for exploring the use of lighting and shadows. Positioning it on the installation would create interesting shadows which would result in interesting shadows that the motorist would experience

explicit Grid, Attractor Points

We decided on this as the definiton because we were considering using an image sampler to potientially help with the facade design. This is becase an image sampler can shape a chosen image significant to the city. For instance, the image in the facade is that of a koala bear. This is a way of showcasing the Werribee open zoo in Wyndham city.

Approach

cUT defiNiTiON

When I was attempting the matrixes. I was not confident at using grasshopper and I definitely did not have any insight into the outcome.

According to Kalay, it is important that designers learn how to effectively communicate with the com-puters in order to achieve a good design outcome.20 It was important to do the matrixes as it not only allowed us to explore the different options that we had by trying out different permutations and combi-nations but also familiarize ourselves with grasshopper. Familiarizing ourselves with the software also helps us with coming out with a suitable design solution because we know the benefits and limitations of the software.21 According to Burry, our group’s scripting culture is that of a ‘voyage of discovery’.22 This is because it opens up a whole new way to explore design.

While I was experimenting with different definitions, I realised that in some instances, different combina-tions can actually generate the same result. For example, we realized that using a curve attractor and an image sampler as an associative technique can both generate circles of different dimentions. Other important factors that I took away from doing the matrices is that I can control the output of the matri-ces. For example, by manipulating the output, I can choose the definition to be that of rectangles instead of circles or even have it rotated or extruded.

Upon completion of the matrices, as a group, we decided that we prefered the outputs with interesting geometrical shapes. Whilst attempting to visualize it on the site, we realized we needed to have a facade that can generate interesting shadows in the sunlight. Furthermore, layering the facade not only creates more exciting shadows but also represents the diversity of Wyndam city. Also in order to create different types of shadows, it was important that we experimented and utilized a vast array of materials to deter-mine the material most suitable for the project.

20 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (MIT Press, 2004). 4.21 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (MIT Press, 2004). 11.22 Mark Burry, Scripting Cultures: Architectural Design and Programming (Wiley & Sons, 2011). 32.

29

MATRiX: cUT

ReVeRSe eNGiNeeRiNG fAcAdedior in Ginza, Tokyo

Defintions Used: perforation / image mapping / layering

The Design intend behind the Dior Building in Ginza is to imprint the trademark Dior handbag skin onto the building.

As a result, the Dior building has a double layered facade. Perforations are made onto the outer alumni-num facade whilst the holes made in the inner layer are actually printed on. This method plays with

perseption by making the depth between the two facades appear depper than it actually is.

However, this phenomenon can only be seen if the person is standing directly infront of the building.

Personally, I chose to do this building over the other alternatives because it is the only building on the list that I have actually been to. However, although I must have walked past it dozens of times, I never

actually realised that there were preforations in the building, let alone the ability of the facade play with depth perception.

I believe that the function of the design is to mark its spot on the street. Ginza is one of the most

conjested and upscale shopping districts in Tokyo and numerous famous fashion houses line the

street.

Furthermore, the Japanese in general are very particular about their image and most of them do

carry very expensive designer handbags.23

Hence, I believe that they chose the facade not only based solely on the aesthetic nature but

rather that the play on perception and lighting would illuminate the building from far and have it stand out from far. Furthermore, the facade looks

expensive and sophisticated. This image could potientially attract customers and draw them away

from other fashion houses

23 The statements on culture are not strictly factual but mostly based on my personal observations about Tokyo. I have spent the last two summers there since my family is currently based there.

30

MATRiX: cUT/fABRicATe

dior in Ginza, Tokyo

ReVeRSe eNGiNeeRiNG fAcAde

Actual Ginza Dior Facade as seen from across the road

Grasshopper Definition (As seen from the back)

Grasshopper Definition (As seen from the front)

Grasshopper Definition (Perspective 1 Double Layered Facade)

Grasshopper Definition (Perspective 2 Double Layered Facade)


As a group, we decided not to fabricate the Ginza Facade. However, we were still interest-ing in finding out the effect of light and mate-rials on creating shadows so I made boxes out of card,Results:1) By shinnning light through the white card box with holes in the surface, like the ginza like the ginza building, it is well lighted and can be seen from far at night2)White card cast very solid shadows3) White card box wrapped in Alunimiun foil - reflects rather than channels light

Therefore, for the Gateway project, it is bet-ter to use dark opaque materials to cast very definite shadows

fabrication


In contemporary architecture, materials and their inherent properties are often funda-mental points of departure for discovering and exploring new spatial possibilities and for designing different per-ceptions and experiences of architecture.

Material effects are not only visual effects; they are expe-riential effects. According to Juhani Pallasmaa, “Authentic architectural experiences derive from real or ideated bodily confrontations rather than visually observed enti-ties

The construction of the res-taurant was developed by the concept of the striated wood-slatted system. It allows the sight of the mechani-cal, plumbing and lighting systems to be conceal from the public’s eyes. Designed similarly to the structure of a canopy, the design approach, used in this project,allows the facade to appear seamless. This design concept - creating a seamless idea, is explored through our matrix and the the design that we are pre-paring for fabrication.

BANq Restaurant, Boston

33


We decided to fabricate this because we thought it looked th emost interesting among all of the case studies. We liked how the enture building seemed to be peeling off and how fluid the restaurant looked.

During fabrcation, we also designed a special holder so none of the layers are actually glued together and can be removed anytime. We thought that it was interesting concept that can be applied to the gate-way project so that the structure can be easily moved if needed. It could also potientially be a possible design idea.

Another concept that we came up was that the layers itself were very diverse, hence it could represent the diversity of Wyndham city. Hence, for our gateway project, we want a structure that is layered along-side the highway.

done by melissa

Airspace, Tokyo


However, unlike the shadows formed using wood-en structure or the boxcard, it seems lighter, more fluid and less harsh.

The form too is interesting. From afar, the glass appears cracked. However, upon further investiga-tion, one would realise that it is actually a series of delicate patterns.

This form can potientially be used for the gateway project as it eye catching and creates interesting patterns.

Airspace Tokyo is strongly displays the design ap-proach of mixing voronoi, layering and lighting. Built of laser-cut aluminum and plastic composite , the facade produces an unique outlook as light travels through the detailed openings , drawing attentions of the passerby as they walked by. In relation to the Gateway project, this building explores one of the design requirements of our design - to be eye-catching and unique. Hence, as a group, we decided to fabricate it using a clear material.

From the fabrication process, we realised that the voronoi patterning cut into a transparent surface can form intesting shadows. The results were a little unexpected. This is because we did not expect to see such clear shadows.

35


done by jasmine

competitive Advantage

cONcLUSiON

eOi cONcLUSiON

Louis Sullivan once said that ‘the Roman Temple’ can no more exist in Chicago USA than the Roman Civilization can exist there.

Similarly, although old techniques and methods do work, they are slowly being phased out for better and more advanced technology. This is because architecture embodies the ideologies of the age. Once a particular ideology is no longer accepted, it no longer becomes relatable.

In this era, it is the advancement of technology. With the computer and the internet, we now have the ability to calculate and compute almost any type of data to its logical conclusion. Now, one now can ef-fectively construct and fabricate a building for construction entirely on the computer.

For instance, with the matrixes, I could effectively explore different ways of creating a facade, layers and even translating an image onto the facade of the building. Also if my design is complex and I wanted to see if it works, I could simply break it down on the computer and send it for fabrication. Compared to building it by hand, it both time-saving and efficient.

Given that Wyndham city is a technological hub, having an innovative parametric facade that incorporates new design technologies through the approaches and materials that we had researched on would serve as an effective marketing strategy to demonstrate how strong the industry is doing.

For the design proposal, we expanded on the idea used by the OMA research team in the precedence where the data of the surroundings were featured in the slab’s facade.

My group’s design idea is to create an experience that showcases the culture of Wyndham city. In order to do so, the installation would require drivers to pass through it. The installation would be made up of different beams that form layers. Each layer would hold panels that would create interesting shadows which would make up the bulk of the experience.

In conclusion, our proposed design would enrich Wyndham city by giving drivers something to look for-ward to and experience

37

PART 2.1GATewAy PROJecT

Background information

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BAckGROUNd iNfORMATiON

Wyndham city is a vibrant and growing city. In fact, it has expe-rienced the largest and fastest growth among the areas managed by the local Victorian local gov-ernment. It is predicted that an estimation of 245,000 number of people will be living there by 2021 (Wyndham website).

Unlike others, Wyndham city is incredibly diverse. Besides having a strong industrial and technology district, it also consists of many major retail precincts, vegetation growing areas and even a tourist destination - featuring an Open Range Zoo (Wyndham website).Art Installation

Werribee Open Zoo

39

Initially, we decided on focusing soley on the service road (for Werribee) because we wanted to focus on the people coming from the CBD into Wyndham city.

However, after we finished the first draft model, we decided to move it to the fork in the road along the Princes Freeway (Eastbound) and the service road.

This is because the installation is supposed to showcase the cultural diversity of Wyndham city and including the people headed for the CBD would entice them to visit Wyndham city in the future.

In response to the flat and open landscape, our installation would be over six meters high and can be seen by drivers on the Westbound Princes Freeway and Wests Road.

Chosen Site Location (Red Square) on Plan (1:500)

Chosen Site Location (Approach)

The Site

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The SiTe

design idea - cultural Unity

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SUDAN NEW ZEALAND BURMA CHILE INDIA RUSSIA CHINA ENGLAND

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" WITH EVERY CULTURE CONTRIBUTING SOME THING DIFFERENT"samantha loo (374119) , jiaying (387099), melissa tsang (377534)

DESIGN CONCEPT

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construction methods

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no of population in wyndhamforcast year ( ending june 30)

total (& estimated) no. of population

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GROWTH glavanized steel columns

glavanized steel panels- population growth ( width of the holes)

- filter the amount of light entering and leaving

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i. ATTACHING OF COLUMNS 2. connection of panels

construction process

CULTURAL BRIDGING

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DIFFERENT CULTURE GROUPS MERGING INTO ONE

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deSiGN ideA - cULTURAL UNiTy

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Our group decided to focus on the idea of the cul-ture in an increasing population for Wyndham city. This is because an increase in population is mainly caused by newer residents who are foreigners.This would lead to an increase in diversity and culture in the area.

The installation would demonstrate Wyndham city is a place where people of different races and background can live in unity.

We decided on a series of panels held together by beams to create layers. Each panel signifi es the merging of different cultures. The beams sysbolises the daily interactions and activities that residents partake in that helps them understand each other better.

The width of the panels show how integrated the different cultures are. The more integrated the dif-ferent cultures are, the smaller the hole.

As the hole sizes decreases and are the smallest in the middle, it means that after constant interaction with different residents, the newer residents have successfully integrated into Wyndham city.

Also, we wanted the drivers to experience Wynd-ham City’s culture fi rst hand. We did so by having them drive through the installation with the shad-ows created by the sunlight serving as the cultural experience.

design Process

wyNdhAM ciTy

Our original idea was to create an installation that would be an experience for drivers going under the highway (located between site a and c). One would experience movement via the changing patterns caused by light entering the panels. The curve of the model is taken from the curve of the freeway. The original model is long and streamlined as it is supposed to show shape

Original Model (Top View)

Original Model (Perspective)

deSiGN PROceSS

43

For the second model, firstly we decided to exemplify the effect of sunlight on our model by varying the dimensions of the internal penetrations of the panels. This change enabled us to further control the amount of light allowed into the installation. This would enhance the experience for people passing through. Secondly, we also experimented with the shape of the panel. Hence we changed it from a circle to a hexagon.

After learning from the first two models, we decided on our final model. The final model is very similar to the second model in terms of its function and form. However, it is double in length. Also, we added beams to hold the different panels together.

elaboration and evolution of Grasshopper definition

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In order for the installation to fit properly onto the site, we traced the curvature ot the freeway onto rhino. The curve is then referenced in grasshopper

Arcs were drawn along the curvature of the freeway drawn above in order to create an enclosed tunnel-like space.

In grasshopper, we then used the graph map-per to control the starting point and the length of the arc. The arcs are then rotated in order as if it were being twisted.

45

eLABORATiON ANd eVOLUTiON Of GRASShOPPeR defiNiTiON

The arcs were then scaled using the Scale NU (scale non-uniform factors) component.

After that the curves were further divided and all the invalid entries and small data branches were removed (divide curve, clean and prune components). The curve was then recreated and circular frames were added along the curves.

elaboration and evolution of Grasshopper definition

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the circles were then broken down again, connected and scaled to create the hexagon shape. The result was a series of hexagonal curves.

Openings were then created and the size of the openings were determined by control points. The variation would give the installation a controlled outcome

Model Grasshopper defi nition

48wyNdhAM ciTy

MOdeL GRASShOPPeR defiNiTiON

fabrication Process Grasshopper

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Tabs were created along both sides of the panels.

Using the Boolean operation, holes were made along the corresponding curved beams which hold them in place. This makes for easy fabrication.

Grasshopper Defi nition (Fabrication Process)

Resulting Pieces (Ready for Fabrication)

fABRicATiON PROceSS GRASShOPPeR

49

Materiality

Glavanized Steel Columns

Glavanized Steel Panels

6 Meters

0 Meters

We chose galvanized steel because it has a long life expectancy and can last up to 50 years. This is the steel will not rust even if the galvanized layer (zinc) is damaged. This is because zinc is more reactive than iron (in the steel) and the zinc would corrode in place of the iron. Hence, it is also easier to maintain and provides automatic protection for damaged areas as scratches need not be touched up.

One issue with galvanized steel however is that it is too reflective and can be responsible for car accidents and poor visibility which is hazardous along an the freeway.

There are numerous ways to combat the problem and it can even be solved by omiting any quench-ing steps such as chromating from the process and leaving it to weather naturally. However since this method would be extremely time comsuming, it is not very feasible

Therefore, it would be best to simply dull the steel surface by applying acidic zinc phosphate to the surface of the newly galvanized steel. As the pieces are extremely big, the chemicals have to be sprayed onto the surface evenly. After an the correct dull-ness is reached, the process is stopped by washing away the chemicals with water.

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MATeRiALiTy

construction details

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Physical Prototype Testing Joinary (Bolted Together)

Panels acting as beams connecting the columns

cONSTRUcTiON deTAiLS

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The installation consist of steel panels and steel columns. The foundation system used would be a screw piling system. The steel panels are bolted to the pile cap which is a thick concrete mat that rest on the concrete piles that have been driven into the ground. The would provide for a stable founda-tion.

Also due to the curvature of the columns, tension cable systems which are commonly found in cable bridges will be used to support the columns

The steel panels function as beams, holding the columns together. The steel panels are bolted to the columns. Contrary to the physical proto-type, three screws would be used. We only used one screw because we were not able to fi t all three screws in.

The installation would be able to be completely assembled on site with the panels and columns being fabricated in a factory. The panels and penetrations would have to be laser cut.

Model images

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MOdeL iMAGeS

Final Model (1:50)

Prototype Model (1:50)

Pespective Views on Site

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Image 2Image 6

Location of Perspective Images On Site Plan

Image 1Image 3,4,5,

55

PeSPecTiVe ViewS ON SiTe

1

Closeup of Installation from Princes Highway West Bound (Day)

View of Installation from Princes Highway West Bound (Night)

2

Pespective Views on Site

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Going Through the Installation (Day)

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Going Through the Installation (Night)

4

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PeSPecTiVe ViewS ON SiTe

Approaching the site (Sunrise)

Going Through the Installation (Rain)

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expression Of interest

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Wyndham city is one of the fastest growing city in Victoria, and as estimated, its population will increase to a total number of 120,000 dwellings in 2031.

Unlike the surrounding cities, Wyndham has being experiencing a consistent increase of foreign mi-grants, of different races and backgrounds, who have since settled here since 2006. This had led to a new development of a new culture diversity in Wyndham, which became one of the main char-acteristic of the city.

Wyndham city is seeking to design an eye-catching and exciting gateway along the Princes Highway to promote this unique aspects of a mufti-cultural aspects of theirs. Through the years, Wyndham has been working to re-establish a new image through its aesthetics.

This re-establishment project provides Wyndham an opportunity to create a new impression of the city, for the locals as well as the visitors traveling on the Princes highway every day. Our primary goal of this project, is to mark Wyndham, itself, as a gateway through creating a design promot-ing the idea of cultural bridging.

This bridging of culture diversity will serve, tran-scendentally, as a medium to exhibit to the public - the cultural changes occur ed in the past years.

There is a considerable amount of population movement occurring on the highway each day -

traveling from one location to another along the highway. Our group distinguished this population

representation as an important information to express Wyndham’s existing status - the Constant

change in culture.

The development of a culture is an extension of two different cultures that are being bridged,

allowing people from different cultural back-grounds to explore the differences in their views

and ways of operating. Lastly,by merging our design intentions back to the context of the site,

we will be looking into the structural systems within the area to develop further on the scope of

depth of our design.

We believe that these explorations of the abstract movement and relating it to the idea of culture

of Wyndham in the various forms will serve as a representation of Wyndham’s progress towards a

diverse culture in the future.

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eXPReSSiON Of iNTeReST

PART 2.2RefLecTiON AfTeR feedBAck

Response to feedback

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During the feedback session, we were told that our model alone was relatively good. However, there was a disconnect between our idea and our final model as people would not be able to link culture to the model.

In order to prevent this from ever happening in the future, we were told to always take a step backwards and ask yourself if the general public would be able to accept the rational behind the design. In the event where it is too late and we find ourselves un-able to change the design, we should reexamine the model and try to figure out a new idea that would better represent the it.

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ReSPONSe TO feedBAck

Ammended design idea

Wyndham city is one of the fastest growing city in Victoria, and as estimated, its population will increase to a total number of 120,000 dwellings in 2031.

Wyndham city is seeking to design an eye-catching and exciting gateway along the Princes Highway. We wanted to create an installation to create an experience that would demonstrate that the population changes occurring in Wynd-ham city are happening very rapidly.

The installation would be tunnel-like as it would create a pocket of space where the motorist would be completely engrossed in the experi-ence. It would consist of a series of galvanized steel columns with steel panels that would function as beams. The panels would feature one aspect of Wyndham city, namely, the in-crease in population. Each panel will have different widths and the width of the holes is dependent on the population size. The panels are arranged in chronological order with panels with smaller holes at the bottom (less people) and panels with larger holes at the top (more people). The arrangement of the panels would represent the rapid increase in population size.

The form of the installation would follow the curvature of the freeway. The streamlined nature of the installation would represent speed and hence that change in occurring rapidly. Also, the entire installation is only 42m long. The length would mean that cars would be passing through the structure rapidly (lest there is a traffic jam) and it would add to the illusion of speed.

The installation also serves as a marketing tool. We chose a modern and industrial looking mate-

rial (galvanized steel) because we wanted to show that Wyndham city is forward looking. Wyndham

city is also one of the technological centers in Vic-toria and using a modern looking material would

help showcase that fact.

Choosing the correct location is also very im-portant to the design. We decided on the Princes

Highway (East Bound) because it has the most traffic and the goal is to have as many people as

possible experiencing it.

This is because the installation serves as a visual introduction to the people living there. Further-

more, in response to the flat and open landscape, our installation is curved and is over six meters high. It would be very prominent even to those

drivers along the opposite site of the road.

In lieu of something more literal, we decided to demonstrate the rapid changes in Wyndham city by

having a more abstract intent for the installation. This is because we believe that it is more effective

for people to experience the speed of changes in Wyndham city rather than simply seeing it literally

as it makes the structure more memorable.

Therefore we hope our design will be considered as it is would give people passing through a com-

prehensive experience of Wyndham city.

62wyNdhAM ciTy

AMMeNded deSiGN ideA

PART 3LeARNiNG OBJecTiVeS ANd OUTcOMeS

Personal Background and Learning Objectives

LeARNiNG OBJecTiVeS ANd OUTcOMeS

PeRSONAL BAckGROUNd ANd LeARNiNG OBJecTiVeS

Until I received the email before the start of the semester, I have never even heard of grasshop-per.

So naturally, I had no skills whatsoever. Al-though I have heard of rhino before, I have never used it before. Initially, I was a rather apprehensive because firstly, the course if still pretty experimental and I was afraid that like during Virtual Environments, I would be unable to keep up with the workload because I was not learning the software as fast as I should be.

However, I decided that since it was compulsory, I would try my best and try to be as proficient as possible in grasshopper and rhino since it would help me a lot in future studios.

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Learning Progress

I basically approached the weekly task like a check list and I found that I spent a lot of time trying to find a suitable building to match the requirements. After that I basically browsed through the readings to try and link them with the weekly objectives. One problem that I found with the readings was that it was difficult to relate to. I spent a lot of time trying to under-stand what the rational behind the readings. A soon found that it was important to constantly reread the readings. A lot of the time, I found that I could only understand the article only after I read it the second or third time a while later.

Also, in the beginning of the semester we had to do weekly grasshopper definitions. Following the instructions and getting them done were easy. However, I found that once I no longer had the manual to refer to, I was lost espe-cially when it came to doing the matrixes. Also the manual used a lot of terminology that was difficult to understand. After we were given the matrix task, I spent a lot of time going through the manual and most of the time, I found it dif-ficult to understand the terminology. Contrary to what I was told, I found that being decent at maths does not really help much in the scheme of things. Most of the time I was not able to translate what I understood onto grasshopper. I ended up spending more than two weeks alone trying to understand how the matrixes worked and what to do with them.

The matrix exercise was useful because it really forced me to be somewhat familiar with grass-hopper. Also the weekly quizzes helped test my understanding. There were times when I ended up referring back to the quiz when I was stuck.

My current approach to tackling a new design would be to firstly, know what I am trying to

create. With that in mind, I would write the pos-sible steps down on paper before starting as it helps me focus on the task at hand. Sometimes they do not work the way I want them and then I would experiment with different functions or

try to find a solution on google. Although it can be extremely time consuming, I think that is

the best approach for me until I become more familiar with grasshopper.

Working in a group in a studio is a first for me. When it comes to design, sometimes it is easier

to work alone because different people would have different visions and approaches and

methodology. Personally I found that we were all on different wavelengths.

Although I took organizational behavior as a breadth subject last semester, it did not prepare

me for working together with my group. Theo-retically, I knew that the best groups consist of people who are both cooperative and assertive who are effectively collaborating to achieve the

best design possible.

However what they don’t teach you is how to apply the theories. I found that for most of the design process, we were mostly trying to find

common group and our design was basically a result of us compromising with each other rath-er than collaborating. It also probably resulted

in the idea not really matching up to the design. Thankfully, in the days leading up the the final

presentation, we managed to finish because we split the task based on our strengths.

66LeARNiNG OBJecTiVeS ANd OUTcOMeS

LeARNiNG PROGReSS

Learning Outcomes


After doing the readings in week 1, I realized that the reason why architecture design and techniques are ever changing is because of its link to the beliefs of the era. For example, in the early 20th century Le Corbusier believed in looking toward the future and modern technology to refine he’s work. Hence, he used a lot of glass, concrete and steel. Similarly, there is yet again a different way of per-ceiving things in the 21st century. With the dawn of technology and the focus on the environment, most buildings today are built using the computer and are required by law to have a certain environmental rating for it to be built. Hence, with this constrains comes new forms and architectural designs.

One thing I really took away from the readings is need to communicate effectively with the computer. This is because using grasshopper is new to me and sometimes, I find that I have to compromise my original intent and use something else that is easier to draw on the computer. Hence it was then that I realized how important it was to learn the software properly and experiment with it as the computer is a powerful and important tool for experimenting with different definitions and matrices.

We were exposed to parametric modeling. Para-metric modeling is the process of associating and exposing explicit parameters to computational geometry. Generally, parametric buildings have the tendency to enhance the feeling of being integrated in organically into the environment rather than be forced to conform. Since architecture is generally defined by the beliefs of their time, parametric modeling is a good way of representing the idea of blending into the landscape. However, unlike scripting, parametric modeling would probably be a phase that would probably be replaced once a bet-ter form for modeling is found.

After doing reading the Wyndham city proposal, I realized that we had to design something that was memorable and focus a lot on the approach as the

‘gateway’ project was located along a highway. This is to ensure that drivers can see whilst driving along the

highway.

The cut definitions were good starting points to generate possible design ideas. From the cut defini-

tions, my group decided on using layering, lighting and voronoi patterning for the facade of our structure.

On top of that, it is important to choose the correct material for the design as different materials will age

differently and the design intent could be ruined if the wrong material is chosen

Also with parametric design, one can use data about the local region or vegetation in their design. They

can do so in may different aspects. For instance the number of possible layers in the facade can be

based on the number of trees in a particular area in Wyndham city or the number of circles in the facade can represent the average number of people passing though the city. It is also important for the structure

to be relatable and easy for the passers-by to under-stand.

After doing the final model, the main lesson that I learnt was the importance of constantly taking a step back and checking to see if the idea was still

relevant to the model. One difficulty that I often have with grasshopper is that I am unable to relate to the

design. For instance a simple facade with circular penetrations can just seem like a series of holes

with nothing more than that. Our model might ap-pear as an ugly looking porcupine-like thing made

out of metal rather than an installation that provides the motorist with an interesting experience. Hence,

sometimes it is easier to be literal and obvious which comes with using components like an image sampler

rather than a random bunch of attractor points.

LeARNiNG OUTcOMeS

67

future work


Now (finally), I can roughly create basic layers and models on grasshopper. Learning grasshopper turned out to be extremely useful. For my landscape studio

this semester, I applied what I learnt about grasshop-per for the class. I managed to create a basic frame-

work for my green wall with a voronoi facade.

Although I would not use it probably as much as AutoCAD which I am more familiar with because it is very time consuming, it is a very useful tool. I would

probably use it when trying to create interesting shaped designs and facades and hopefully, over time and with much practice I would more proficient in it.

68

fUTURe wORk

BiBLiOGRAPhy

Andrew Rosenberg, ‘Mode Gakuen Cocoon Tower by Tange Associates’, (2011).

Branko Kolarevic, Architecture in the Digital Age - Design and Manufacturing Taylor & Francis, 2003).

Chistopher Hawthorne, ‘Frank Gehry’s Cleveland Clinic Lou Ruvo Center for Brain Health in Las Vegas’, Los Angeles Times, 19 May 2010.

Cynthia Ottchen, ‘The Future of Information Modelling and the End of Theory Less Is Limited, More I s Different’, Architectural Design, 79 (2009), 22-27.

Joseph Giovannini, ‘Lou Ruvo Center for Brain Health - Las Vegas Gehry Partners’, in ArchitectA merican Institute of Architects, 2011), pp. 84-94.

LAVA (Laboratory for Visionary Architecture), ‘Mswct Snowflake Tower’ (2008) <http://www.l-a-v-a. net/projects/mswct-snowflake-tower-2/> [Accessed 22 April 2012].

Mark Burry, Scripting Cultures: Architectural Design and Programming Wiley & Sons, (2011).

Method Design, ‘Louisana State Sports Hall of Fame + Regional History Museum’ (2012) <http:// www.methoddesign.com/lsh/> [Accessed 22 April 2012].

Paul Noritaka Tange and Minami Masato, ‘Mode Gakeun Cocoon Tower’, Council on Tall Buildings and Habitat (2009), 16-19.

Tom Gorman, ‘Ruvo Center Architect’s Form Helps Direct Focus on a Cure’, Las Vegas Sun, 6 April 2010.

Trahan Architects, ‘Lousiana Sports Hall of Fame Museum’ (2012) <http://www.trahanarchitects. com/#/worksinprogress/project_three_image_7> [Accessed 22 April 2012].

William J. R. Curtis, Modern Architecture since 1900. 3rd edn (London: Phaidon Press Limited, 1996), p. 736.

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided DesignMIT Press, 2004), p. 536.

BiBLOGRAPhy

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ADS Final Journal

Documents

Transcript of ADS Final Journal