Design Journal (Actual Final) - Leigh Hawkswood (387983)

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SEMESTER1/2012 | LEIGH HAWKSWOOD | TUTOR: DAVID LISTER

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CONTENTS1.1: A CASE FOR INNOVATION

1.3: EOI CONCLUSION

1.1.1: Architecture as Discourse1.1.2: Computing in Architecture1.1.3: Parametric Modelling

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PART ONE: EXPRESSION OF INTEREST

1.1.4: Conclusion

1.2: CUT RESEARCH PROJECT1.2.1 Develop/Fabricate1.2.2: Conclusion

PART TWO: PROJECT PROPOSAL

PART THREE: LEARNING OBJECTIVES + OUTCOME: FINAL

2.1: PROJECT INTERPRETATION

2.2: DESIGN PROCESS

2.3: PROJECT PRESENTATION

2.3: PROJECT PROPOSAL CONCLUSION


1.4: LEARNING OBJECTIVES + OUTCOME

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WYNDHAM GATEWAY PROJECTDESIGN BRIEF.

The Western Gateway installation should provide an entry statement and arrival experience, andbecome a new identifier for the municipality. The installation should create a focal point of iconic scaleand presence and encourage a sense of pride within the local community. The Western Gateway should propose new, inspiring and brave ideas, to generate a new discourse.

The key considerations and issues to be resolved and addressed in the development of the designinclude: - Prominent location of the site at the entry to metropolitan Melbourne; - Back dropped by a large scale service centre; - Consideration of how the installation integrates with and/or sits in the immediate and surrounding landscape; - Iconic feature; - Appropriately scaled; - Dialogue between sculpture and landscape to compose the Gateway; - Original and engaging in form; - Object‐centred individual sculpture or a more experiential approach; - Literal or abstract; - Adherence to the regulations imposed by VicRoads in relation to siting, view lines, setbacks, materials, colours etc; - Daytime and night time viewing; and - Safety, ease of maintenance, materials and longevity.

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PART 1:

EXPRESSION OF INTEREST

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1.1: CASE FOR INNOVATIONThis section contains three separate yet interrelated subtopics; explaining a new concept of architecture, as well as demonstrating the creative potential of computational architecture and parametric modeling. This content will offer a fundamental understanding of computational design and it's significance through an exploration of various design precedents.. The conclusion to this section will review the content and explain the relationship between these precedents and the Wyndham project brief.

1.1.1: Architecture as a Discourse

This section describes one (1) personal and two (2) state of the art projects that are (could be) advancing architectural discourse and the techniques that have been employed to achieve this. These techniques will be examined in relation to the Western Gateway Project design brief.

1.1.2: Computing in Architecture

This section describes two examples of contemporary computational design techniques and the way that these unique innovations have been used in specific projects. These techniques will be analysed with reference to the Wyndham Gateway Project, and suggestions made as to how similar techniques could be utilised.

1.1.3: Parametric Modeling

This section describes a project that expresses contemporary scripting cultures and explores the design philosophy of the author.

I.1.4: Conclusion

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Personal Work Architecture Design Studio Earth 2011

UNEARTHING

1.1.1: Architecture as a Discourse

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In 2011 I completed a propos-al for the design of an in-formation centre on Herring Island in South Yarra for the subject ADS: Earth. The building was to be inspired by the concept of earth as well as the environment, both natural and created,.An important part of this project was to consider the context, or discourse, sur-rounding the site and devel-op a design that responded and grew from this.

My inspiration came from the patterns of light cre-ated when looking through the forest canopy that sits upon the site. In another sense the building was an organism growing from the

site, referencing the skel-etal structure of the fauna that may inhabit Herring Is-land.The actual form of the building came through ex-perimenting with different materials, and I appreciated the way balsa wood could interlock creating a natural concave surface. The importance of referring to architectural precedents became apparent through this project.

The work of Santiago Cal-latrava played a significant role in my design, with his buildings pushing the bound-aries of what can be consid-ered architecture.

The Western Gateway de-sign brief calls for a pro-posal that will reference the context of the site, Wyndham, and generate a new discourse in design. The Unearthing project demon-strates how referring to the context that surrounds a site allows a design to develop that is a reflection of the history of the site. Precedent research works synonymously with this study in allowing success-ful ideas and techniques to filter through to produce a design that is appropriate, yet effective in generating a new discourse of design for that site.

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The Rolex Learning Centre, designed by SANAA, is a multi-use building which in-cludes various learning spaces for stu-dents and the general public, a library with 500,000 books and an international cultural hub for EPFL. The centre is a one storey structure which constitutes an undulating form, dividing the interior spaces into various segments, while al-lowing a continuous flow of movement.

The construction process was man-aged by Designtoproduction, a design and manufacturing consultancy company that specialises in the digital fabrica-tion of particularly complex designs.The process of planning and manufac-ture represents the cutting edge in

computational design. The curved slab was modelled digitally using parametric CAD techniques. This 3D model was used to produce detailed plans for the 1,500 formwork tables that would be used in the construction of the slab. The digital model was also used to gather the information needed for the digital fabrication of the form-work by specialised machines.

This digital model was then transposed into physical reality through innovative construction and fabrication methods. The formwork was combined with tra-ditional scaffolding and construction methods to create the colossal struc-ture.

The ability for these designers to par-ticipate in the entire design process, from conception through planning to the final construction stages is one of the key advantages of this form of de-sign, and is at the cutting edge ofdesign technology. Such design processes can be used on a smaller scale to satisfy the Wyn-dham Gateway design brief. Working with parametric design techniques com-bined with digital fabrication allows a fluid and efficient design process. Us-ing such methods satsifies of creating a new discourse in the field of design, as this technology is at the forefront of cutting-edge design.

ROLEX LEARNING CENTREState of the Art Project

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“In my opinion, this project reflects our aspiration to move further beyond the framework of plane structure. The building presents itself as an unusual single-volume space in which the presence of

lots of patios seems to cause each space and each corner to connect with one another while keeping some distance from one another at the same time.” - Ryue Nishizawa, GA Architect 18, November

2005.

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UNIVERSITY OF APPLIED ARTSState of the Art Project

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Architect Wolfgang Tschapeller has won a competition to

overhaul the University of Applied Arts Vienna.This incredible project features a glass facade which appears to grow off the existing university block, and allows staircases and eleva-tors to hang off of the facade of the old building.This project would clearly require an enormous amount of innova-tion and ingenuity in achieving the physical structure. The building will feature inflatable balloons which are inflated to signify special oc-casions.

It is clear just by observing the renders and plans of the build-ing that it is ground breaking in its technological and architectural stature. This project would be key in chang-ing the discourse of architecture, due to its highly experimental and controversial nature.The building has been designed us-ing 3D modeling techniques and the fabrication tools needed to com-plete the design would use the in-formation given by the parametric information.

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“Digital modeling software offers a rich repertoire of trans-formations a designer could use to further explore formal

potentialities of an already conceived geometry.” (Kolarevic, 2003)

1.1.2: Computing in Architecture

MORPHOGENESISComputer modeling allows the param-eters and mathematical algorithms that decide the form of a digital model to be manipulated in unlimited ways, creating infinite possibilities for the architect. Simple forms can be deformed easily us-ing this type of software, leading to new and unique formal variations. The advan-tage over physical modelling is obviously the ease with which digital models can be manipulated, as well as the potential to return to previous states in the manipu-lation process.

Using animation software in the design process adds a temporal dimension to the process, where forms can be manipulated throughout a time frame and recorded. Its static state can then be captured at any moment throughout this process, creat-ing a unique form which could potentially exist in the real world.

An interesting example of this technique comes from the architects Kolotan and Mac Donald who use digital modeling to morph different objects together to create a unique, organic form. In the Ost/Kuttner apartment project in Manhattan (far-right image), they digitally combined furniture with the interior of the build-ing itself and used advanced fabrication techniques to create a hybrid interior which flowed throughout the apartment and produced organic geometries. This technique could be applied to the Western Gateway design project to cre-ate an artwork which is a manipulation or combination of more organic forms, warped or altered to create a new ex-pression of an already existing object. Such techniques can challenge peoples pre-conceived ideas about how forms should be, allowing discourse in these innovative areas to progress our under-standing of architecture and design.

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Another unique innovation in the realm of digital design is in the creation of a digital model through the scanning of a physical object. This translation from the physical to digital is often referred to as reverse engineering (Kolaveric, 2003). The scanning pro-cess will lead to a series of digital points in space (point cloud), which can then be used to model NURBS curves or lofted surfaces (as used in Grass-hopper and Rhinoceros). This digital model can then be manipulated digital-ly to divert from the original physical representation.

Once the desired transformation has been completed in the digital realm, it can conceivably be transformed back into physical form through digital fab-rication. Digital fabrication connects the architect directly to the process

of materialisation and construction, where they would previously have been separated from the production of the building. As Kolaveric (2003) explains the con-sequence of these innovations is that architects are ...becoming much more directly involved in the fabrication processes, as they create the infor-mation that is translated by fabri-cators directly into the control data that drives the digital fabrication equipment.The most notable architect to use these two methods is Frank Gehry (see image of Walt Disney Concert Hall below). Gehry often begins his design process with a physical model. Once he has developed the form into a larger scale, the model is scanned and rep-licated in a digital environment. From here, through the use computational

modelling techniques, the practical is-sues of the building can be resolved, which then leads to the fabrication of materials, and finally to the con-struction of the building.

The city of Wyndham requires a de-sign that is exciting and innovative, and will help to capture the spirit of the community in a three-dimensional structure. These precedents show the poten-tial for computational design to cre-ate unique, dynamic structures that represent an idea and translate that idea into a physical representation. By considering this project as arising from discourse, one may render built form from the contemplation and dis-cussion of the purpose and meaning behind the project.

REVERSE ENGINEERING

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1.1.3: Parametric Modelling

Achim Menges, in his article Material Re-sourcefulness: Activating Material Infor-mation in Computational Design, explores how modern design techniques allow ma-terial information to be used within com-putational design processes, generating an architecture which utilizes the in-nate properties of materials as opposed to treating all material as a homog-enous and passive property of design.

Menges argues that traditional design techniques treat materials as simply a means to an end, and instead of un-derstanding and working with the unique attributes of various materials, the designer has instead created forms from the material, instead of allow-ing the material to influence the form.

This mode of design is described in refer-ence to one of the most fundamental ma-terials used in architectural design: wood.The anisotropic nature of wood, or its relative tensile strength along the grain compared to across the grain, can be un-derstood digitally. This information can then be used in the design process, al-lowing the cellular structure of the wood to influence its use in a larger context.This process is demonstrated in a proj-ect by students at the University of Stuttgard. By performing experiments on the structural characteristics of wood, the students were able to inte-grate this information into the design process. The result was the develop-ment of a system which dealt with uti-lizing the woods natural characteristics by integrating it into the design process, as well as the manufacture and assem-bly of a prototype structure (see image).

Menges presents other innovations in this facet of design, including the process of digitally scanning wood in order to map the interior structure of individual piec-

es. This information is then used to best utilise the woods individual properties.

The ideas presented in this article present a radical new way in view-ing the relationship between built form and the utilized materials. Traditional forms of design and ar-chitecture tend to impose certain forms on materials without consid-ering how the materials could impart unique qualities on the design to cre-ate more organic and intuitive designs.

On the other hand, computational de-sign can appear soulless and artifi-cial. Digital models which are fabri-cated digitally using polymers can seem alien and lacking in any formal qualities.

By understanding different materi-als and their inherent properties, particularly natural materials, de-signers can create a sympathetic rela-tionship with the material and the pro-posed design, allowing for forms which would essentially be more organic.

While the project Menges has de-scribed suggest that this area is in-credibly modern and lacking in prece-dents, it seems to be a promising area which may produce a radical shift in the way we perceive the built environment.

SCRIPTING CULTURES

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1.1.3: Parametric Modelling

“It is innate to the representational nature of CAD that materiality is conceptualized as a mere passive property assigned to geo-

metrically defined elements, and that material information is understood as facilitative rather

than generative.” (Achim Menges, 2012)

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1.1.3: CONCLUSION

In 'A Case for Innovation' I have explored some of the innovative techniques and digital design pro-cesses that are at the crux of contemporary design discourse.

'Architecture as a discourse' ex-plored several projects that could be changing the discourse sur-rounding architecture and design. The design techniques used in the state of the art projects utilize fully the potential of computa-tional design.

'Computing in Architecture' de-scribed several computational design techniques and gave ex-amples of projects that have utilised these techniques. All of these techniques could potentially be used in the Wyndham Gateway Project to satisfy the brief and produce an installation that would inspire the municipality of Wynd-ham.

'Parametric Modeling' explored some very recent work in the field of scripting and explained how the scripting culture is a grassroots effort where individuals from var-ious faculties are working togeth-er to progress the field of para-metric design.

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This section describes the work completed by my group (consisting of Stephanie Dodd, Blair Scott and Elizabeth Caltabiano and myself) in our exploration of the myriad possibilities available through parametric design. The research project consisted of experimentation with associative modelling in Grasshopper, where a matrix of combinations was developed. Precedents were researched in the next phase, and the knowledge gained in the production of a matrix of combinations was used to reproduce (reverse-engineer) several of the effects seen in these precedents. The next step was to experiment with fabrication and physical modelling. Engaging with these different phases of design gave us a foundational understanding of the processes that will be used in the production of a design proposal for the Wyndham Gateway Project.

1.2.1. CUT Research Project: Develop/Fabricate

I.2.1.1. Matrix of Combinations

I.2.1.2. Reverse-Engineered Case-Study

I.2.1.3. Fabrication

1.2.2. Research Project Conclusion

1.2: CUT RESEARCH PROJECT

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This matrix of combinations represents a series of experimentations and manipula-tions using CUT definitions. By combining inputs, associations and outputs, a variety of forms and patterns can be generated, and then by manipulating the constraints in Grasshopper and Rhinoceros, these shapes can be altered to suit a particular design intent.The purpose of these experimentations was to explore the various possibilities and limitations of these definitions, and how these could be potentially used to meet the criteria set forward in the Gate-way Project Design Brief.These experiments allowed for the most

successful combinations of grasshopper definitions to be discovered and utilised, as well as those that gave unsatisfactory results.

The most interesting and dynamic designs utilized a Grasshopper-produced pattern upon a warped three-dimensional surface (manipulated in Rhinoceros). The above images show how simply altering a few of the parameters in Grasshopper has a bold and often unpredictable effect on the form in Rhinoceros. Kalay (2004) explains that there are four key components involved in the design process:

Problem analysis Solution synthesis Evaluation Communication

The matrix of combinations is involved in our synthesis of solutions to the design problem (brief). Here we explored and evaluated different possibilities and found that there were only a few which could be actualised in the design and fabrication process. These particular definitions, such as image sampling and overlays, feature in our case studies and progress towards a design idea.

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group matrix

attractor point +extrusion

boolean+extrusion

curve attractor/extrusion

surface grids +extrusion

curve attractor+rotation

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The various design examples given in the CUT research project utilize parametric design techniques to create buildings and sculptures that express design inten-tions. The digital design techniques for many of these buildings and facades appears identical to those used in our experimentations.

The de Young Museum (pictured below) by Herzog & de Meuron Architekten, Switzerland, in collaboration with Fong and Chan Architects, San Francisco, utilises perforations to simulate the effect of light filter-ing through a forest canopy, complementing the sur-rounding parkland. The facade is made from copper that has oxidized over time, creating a facade that integrates with the surrounding landscape. Here, the architects have used parametric modelling in combination with the selected material to create a de-sign which is perfectly appropriate for this particular setting, and would presumably meet the clients brief.

In a similar fashion the Andre de Gouveia residence, by Vincent Parreira of AAVP Architecture, and Antonio

Virga Architecte, uses parametric modelling to create a perforated surface which acts both as a cultural symbol as well as acting as a skin to control the envi-ronmental factors affecting the building. The pattern created by these perforations alludes to the characteristics of the ancient Portuguese palace and residence, allowing for a modern interpretation of a defined cultural symbol. The facade acts as a transparent veil, controlling light intake to the build-ing, as well as creating distinct visual effects both inside and out.

The design for the Gateway Design project should utilize the possibilities available through paramet-ric design to draw on cultural symbolism to create a fresh identity for the City of Wyndham. By responding critically by the design brief, we will be able to create an installation that meets the clients requirements, while providing an innovative and unique feature that will put Wyndham at the forefront of design.

Reverse-engineered Case Studies

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The Dior building in Ginza, Tokyo uses similar design and fabrication tech-niques to create a perforated facade that serves to represent the cul-tural icon of the brand. The building, designed by the Office of Kumiko Inui, uses the pattern seen on Diors icon-ic Lady Dior handbag, and applies it on a large scale to act both as the symbol and advertisement of a brand, as well as the facade of a building.The facade is comprised of a dou-ble skin, the outer layer being perforated 10mm thick aluminium sheeting. The inner layer is print-ed with the same pattern but at a smaller scale, contrasting with the outer perforations, creat-ing a foggy, ghost-like appearance.

I reverse-engineered this facade using the image-sampler definition. The pattern was drawn in Adobe Il-lustrator (lower left image) and ref-erenced in grasshopper (middle left image), creating the pattern on a surface within the Rhinoceros plat-form. This pattern, which consists of tiny circles at regular intervals that respond to the input image by having altered radii, was export-ed as a vector image (top-middle).

The simplicity of this technique shows the capacity for parametric modelling to create distinct, intricate designs in a small amount of time, which other-wise would take extraordinary effort.

This image sampling technique could potentially be used in the Gate-way design project to represent, as in this example, a cultural sym-bol relating to the site, serving as an icon of the place, as well as an attractive feature of the city.

Reverse-engineered Case Studies REVERSE ENGINEERING

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Airpsace Tokyo is a mixed-used residential and commercial building designed by Hajime Masubuchi of Studio M. The facade of this building is another example of how para-metric modelling can be used to create a de-sign which serves multiple functions, acting as a cultural reference to the pre-existing site while serving the practical purpose of limiting views and light between the inte-rior and exterior of the building. The vor-onoi screen, whose structure is similar to the cellular structure within plants, refers to the previous land use of the site, which included areas of very dense vegetation.

By recreating this pattern using paramet-ric modelling, two A4 sized sheets of vor-onoi patterning were created and cut out with cardboard. By playing with lighting and composition, these patterns created a variety of different visual effects. Light shining through the sheets created dynamic patterns. The visual restrictions that can be seen through these patterns would have a variety of practical uses on a larger scale. In the Airspace Tokyo project, the facade responds to the privacy needs of the building. The facade near bathrooms is denser, for example, integrating this prac-tical need with the design of the building.

This technique could be used in the Wyn-dham Gateway project to create an inter-esting visual experience for cars travelling along the freeway. This screen could be integrated into a three-dimensional form which could draw reference to the cul-tural and historical aspects of Wyndham.

REVERSE ENGINEERING + FABRICATION

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FABRICATION

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Experimentation was performed on sev-eral physical models. One model, which used a pattern of perforated circles and an at-tractor curve to spell out W was somewhat of a failure. The Rhinoceros surface was slightly curved, and fabricating this slight curve proved difficult, as the paper natu-rally wanted to warp back to a flat shape. In the photos seen here, we experimented with a simpler model - two sheets of thick card with different sized perforations, painted black.Using a lamp we explored the different visual ex-periences that could be demonstrated through manipulation of the model/light composition. Yehuda Kalay (2004) explains that design is a logical and evalua-tive response to a particular need. The act of designing requires logical steps that are considered with respect to the origi-nal design intent. In the case of the Wyndham project, the need is clear - to create a design which reflects the citys cultural and histori-cal background, as well as its rapid expansion and new identification as an established city. The purpose of the physical exploration was to understand which types of materi-als, lighting, patterns, and forms would pro-duce an attractive visual experience that could be utilised in the Gateway project.The most interesting images, like those shown here, display a sense of atmosphere and in-trigue. We want the act of passing through the Wyndham Gateway to give be a dynamic one, where motorists have a strong senso-ry experience that engages them and draws their curiosity to the intent of the design. From our experimentations par-ticular design features stood out as being particularly engaging. The use of an interesting, textured ma-terial that will weather and gradual-ly integrate into the landscape will help to create an organic design that works with, not against the current landscape. Using multiple layers, each with a different pattern of perforations allows for a sense of atmosphere within and around the de-sign. These layers will be warped and ma-nipulated into a form that reflects something bold - a symbol for the city of Wyndham. Combining these features with the use of at-mospheric lighting, we are confident in cre-ating a design that will meet and surpass the expectations set in the Wyndham brief.

“Design, accordingly, is a purposeful activity, aimed at achieving some well defined

goals.”yehuda kalay 2004

FABRICATION

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1.2.2: RESEARCH PROJECT CONCLUSION

The CUT Research project allowed us as a group to grasp an under-standing of the basics of paramet-ric modelling. The matrix of combinations was a way to explore freely the differ-ent definitions presented and the way that altering the parameters of the different components af-fected the outcome.The Reverse-engineered case studies gave us an opportunity to understand how these different parametric techniques could be ap-plied in real-life design situations. The fabrication process concluded the research project and allowed us to see the physical result of our digital explorations. Altering these models physically and tak-ing photographs gave us an under-standing of how the digital can be transposed into the physical. Completing this project gave us the tools needed to begin the process of formulating a digital design for the Wyndham Gateway and fabri-cating and constructing this physi-cally.

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From these case studies and personal explorations it is obvious that

parametric modelling techniques are able to produce designs which can cater to the needs of myriad design requirements. The Wyndham City council has listed a variety of distinct criteria in the brief. In particular they want a design that is exciting and eye catching, that inspires and enriches the municipality.

Parametric modelling and digital fab-rication techniques have opened up a range of unprecedented possibili-ties that have the potential to put a project on the map on an international scale. The design features produced through these techniques allow for a

new understanding of form and art to be developed. By referring to the cultural and histor-ical background of the City of Wynd-ham, as well as the criteria described in the brief, we are confident that by using the techniques explored in this document, we can create a design which is exciting and innovative and will bring the city of Wyndham to the forefront of design.

From here onwards, our team will work towards producing a design which will turn the site (see above) from a ho-mogenous roadway into a feature which will give the city of Wyndham a distinc-tive and recognisable identity. As the municipality is expanding

rapidly, expecting nearly 10,000 new residents annual, the area needs to adapt to these inhabitants and exhibit an environment that is a comfortable and inviting place to inhabit. Our team has shown the ability to draw from a wide variety of ideas and use critical analysis and innovation in pro-ducing design ideas that are affective and innovative.With a thorough understanding of the site context and a range of precedents and digital design techniques, we are confident in our ability to sculpt the gateway to Wyndham into an iconic feature that will place the city on the international stage.

Competitive Advantage

1.3: EOI CONCLUSION

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Personal progress in relation to the learning objects outlined in the Course Outline:

1. I have gained the ability to draw key considerations from a brief doc-ument, and reflect on precedents and experimentations to realise a methodology for creating an appropriate design response.

2. Learning the fundamental principles of parametric design has allowed me to explore various definitions and the possibilities they offer.

3. I have developed an understanding of the fundamental techniques of digital three-dimensional media.

4. I have developed a basic understanding of the concept of air in design and its affect on form and weathering, however more personal research would be helpful.

5. By understanding some of the current discourse and precedents in the area of digital design I, in my group, have developed the ability to make a case for proposals. The final design will require further re-search and a better understanding of these design techniques.

6. By experimenting in Grasshopper and Rhinoceros, I have discovered the advantages and disadvantages of different design techniques, and by exploring their physical fabrications I have been able to see how they may function in a practical application.

7. Through my experiments, particularly with the matrix of definition combinations, I have gained a basic understanding of how these prin-ciples work together to create geometries in Rhinoceros.

8. Through the coming design stage our abilities will ideally be improved to the point where the result is comparable to flagship professional projects. ur current work shows progress towards reaching this goal.

1.4: LEARNING OBJECTIVES + OUTCOME

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PART 2:

PROJECT PROPOSAL

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The design project requires my group to incorporate the knowledge that we have gained through the EOI stage of this course and apply it in a unique, creative way to fulfill the re-quirements set out in the Wyndham Gateway design brief. The course outline calls for a 'fully documented and convincingly argued' design that is criti-cally positioned in contemporary architectural discourse.

The design brief calls for an installation that will enhance the physical environment through a visual arts component and has strong appeal that will promote interest in Wyndham. The design should make use of the prominent location and key view lines into the design, as well as being made to an appropriate scale. The design will be viewed at high speeds by moving traffic, so its proposed visual effect should be designed with this in mind. The design should be accessible to the wider public, and its intended meaning need not be literal, but instead suggest an aspirational intent and feeling.The design must provide an entry experience that will become synonymous with the munici-pality and muster a sense of pride within the local community. The Western Gateway should propose new, inspiring and brave ideas to generate a new discourse.

Beneath all of these more superficial requirements is the need to incorporate and express the skills we have gained in parametric and computational design. Computational modelling and fabrication is the foundation of our design and should obvious within the design narrative.

Through considering all of these key requirements and working with a creative spirit, a design should be produced that is aesthetically pleasing both in form and presentation, that satis-fies the requirements of the design brief and represents our groups ability to design using some of the computational design techniques learnt throughout the semester.


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Concepts2.2: DESIGN PROCESS

Our design concept grew from a variety of precedents and inspirations and evolved as we en-gaged with the design process. Our intent was to design an installation that was appropriate to the site and referred in a mature way to the context and history of Wyndham. We wanted a design that gave users an experience that would change and evolve as they moved past the site. We felt the design should be connected to the site in a way that was organic yet bold. From a contextual perspective, we wanted our design to reference Wyndham in a way that would promote a sense of pride in the community.

The question of how this could be achieved was answered by engaging with the work we had previously completed in the EOI stage. We were all particularly drawn to certain aspects of the work and research we had completed.

The Moiré effect (lower left image) that we had seen in several case studies seemed like a perfect option for this site as almost everyone who perceived the design will be moving past it at high speeds. Our initial exploration with this concept, which is essentially a dynamic interference pattern that is created when two patterns overlap, was in the fabrication of voronoi patterns and the simple circular perforations in the CUT research project (see lower right image).

An attractive feature of these models was the patterns of light that could be created and the quality of the photographs that could be taken of them.

We decided that lighting would play an important role in our design, and we would strive for a design taht could achieve dynamic patterns of light as people moved past the site. We decided upon using perforated screens across the site that would utilise said features. Its relation to Wyndham would come from the nature of the perforations and the patterns that they create.

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design developmentThe final form of our design concept came about naturally through group work and discussion, and an analysis of what we most appreciated about our past investigations. We eventually decided that perforating the screens with leaf shapes at a large, abstract scale, and filling these shapes with vertical slits would prove to be an effective design. The leaf shapes reference the successful 'Seeds of Change' installation at the Eastern Interchange of the Princess Freeway (see below). The city of Wyndham is portrayed by the council as representing a place where the city and country are integrally linked. We felt using leaf shapes would represent the combination of these two ideals - the artificial and the natural. Filling these leaf shapes with vertical slits, and the middle panel with angled slits, allowed the desired Moiré effect to be achieved (see bottom image).

The digital model of our screens was created using the geometry component in Grasshopper. A series of simple leaf shapes were created using the ge-ometry component which were combined with 2mm-wide rectangles that were spaced at regular intervals. This geometry was then baked in Rhinoceros and exported to create the below image.

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Our final design consisted of 6 panels placed within the existing hill in site A. The site would be excavated, with three panels, ranging from 3.6 to 8 me-tres high, placed either side of this excavation. The middle of the hill would remain, allowing the installation to blend seemlessly with the existing land-scape. The panels would be constructed from Corten, which would rust with time and allow the installation to essentially blend and grow into the envi-ronment, becoming an integral feature of the Western Gateway. The panels would be backlit at night, and alternating lights and their intensity could provide dynamic visual effects.

The panels would curve along with the site, following the shape of the freeway. The slits on the central panel are tilted slightly, allowing the Moiré effect to be achieved as cars pass the installation.

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fabricationSeveral models and illustrations were produced at different scales. A section detail of the panels at 1:50 was drawn in cad and rendered in illustrator, and a model of this detail was also constructed at the same scale, showing the footings, materials and construction elements that were used in our design. Our main model was created at 1:200 scale and only shows approximately one quarter of the site, as showing the whole site was unnecessary and wasteful. This was the model used for high-quality images and renders. While our digital model was intended to be fabricated digitally using a laser cutter, due to time and cost constraints we were unable to achieve this. We did, however achieve a high quality result through manual model-making tech-niques. The following images show some our fabrication process.

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1:200 model

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1:500 model

footing details

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1:200 model

422.3:

PRO

JECT

PRE

SENT

ATIO

N

W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium

Detailed Section illustrating structure

Screens rendered with Corten effect

Dimensions

DESIGN PROCESSThe design is the product of extensive experimentation, selection and refinement of ideas through generative parametric modeling techniques. Key ideas that were explored in the Expression of Interest proposal and expanded upon during the rationalisation phase include overlapping and offset patterns using image sampler associations. Computer aided design enables innovative design and fabrication techniques.

We gave consideration to the high-speed movement of the vehicles that would provide the primary viewpoint of the form and decided to incorporate a Moiré effect into the design. Our investigations into the creation of Moiré effects concluded that repetitive vertical elements create the most dynamic effect. As such, we refined our design to incorporate vertical perforations, rather than the polygonal perforations initially explored.

WYND SCREEN will never become static as it responds to a range of time scales: it is a dynamic experience that changes over the course of time it takes to drive past it; the effects of light and shadows vary over the course each day, and the structure will develop over the years as the materials weather and the plants grow.

S T R U C T U R EThe simple structure of WYND SCREEN allows for state-of-the-art offsite computer-aided fabrication and efficient onsite installation.

P L A N T SPhormium plants were chosen as they are drought tolerant, require minimal maintenance and are widely available being commonly used in public landscaping. The variegated colour of the plants complements the Corten and natural palette of the site.

P A T T E R NThe organic pattern resembling leaves refers to the integration of organic elements in the design, especially the vegetation and topography. It is also an iconic symbol of Wyndham City, reflecting the shape of the Seeds of Change sculpture, thus linking the Wyndham Gateway with this existing landmark. This encourages further contemplation of WYND SCREEN beyond first glance, as viewers are reminded of it further down the highway.

C O N T E X TWYND SCREEN responds to the context of its site by integrating the built element with the landscape, which is also the only topographic feature in the vicinity. WYND SCREEN becomes part of the landscape but remains dynamic through its Moiré experience. The curve of the panels mimics the existing elongated curve of the site, which also enhances the structural stability of the form. The scale of the panels is appropriate to the viewpoint from a moving vehicle and responds to the existing topography of the site.

W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium



Dimensions








43W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium



Dimensions








W Y N D S C R E E N

Site Plan 1:1500

8m

6m

3.6m

280m

270m

300m

Elevation 1:1500

Site Plan 1:2000

Plants: Phormium



Dimensions








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Our design proposal for the Wyndham Western Gateway was the result of an extensive process of research and experimentation, where our prior individual and group work was combined to create a project that fulfilled all of the re-quirements of the design brief. The design is the result of our understanding of parametric design and the way that it can be used appropriately to fulfill a design requirement.

Key ideas that were explored in the Expression of Interest proposal and ex-panded upon during the rationalisation phase include overlapping and offset patterns using image sampler associations. Computer aided design enabled us to use some of the innovative design and fabrication techniques explored in our precedent research. By considering the speed at which our audience would view the installation, we decided to incorporate a Moiré effect into the design. Our investigations into the creation of Moiré effects concluded that repetitive vertical elements create the most dynamic effect. As such, we refined our design to incorpo-rate vertical perforations, rather than the polygonal perforations initially explored in the CUT research project. WYNDSCREEN will never become static as it responds to a range of time scales: it is a dynamic experience that changes over the course of time it takes to drive past it; the effects of light and shadows vary over the course each day, and the structure will develop over the years as the materials weather and the plants grow.

Our design proposal for the Wyndham Gateway Project satisfies all of the requirements of the project brief, expressing a design intent that is refined, aesthetically pleasing, and appropriate for the site.

2.4: PROJECT PROPOSAL CONCLUSION

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PART 3:

LEARNING OBJECTIVES ANDOUTCOMES

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Personal Background and Learning Objectives

When beginning this subject I was initially intimidated by the scope and breadth of the expected work. The fact that I, as well as most others really had no experience with Rhi-noceros or Grasshopper meant that the tasks seemed almost insurmountable. At the same time I was excited to be learning about such a contemporary and interesting field of design. I found the first lecture, which discussed a new way to approach an architectural career particularly inspiring.

My objectives for this course were to gain a thorough understanding of parametric and computational design. I wanted to understand these techniques so that I could use them in developing my own design style. Throughout the EOI section of this subject I found myself slightly lost due to the unfamiliar structure of the course. The problems that arose with the course structure are clear and that is something that will be dealt with with repeti-tions of the subject. After studying the course documents carefully, however, I did gain a firm understanding of what was expected of me. I feel that if the whole structure of the course had have been explained in detail initially much of this confusion would have been avoided.

The real progress for me came from participating in the group work. Our group worked particularly well together so in that sense I feel very lucky. We all contributed ideas and expressed what we did and didn't like about the content and eventually decided on a design that was effective yet simple.

The process of designing the final proposal brought all of our knowledge together and we found that although the parametric modeling aspect of the design process was less than initially expected, we still learnt quite a lot in the process.

In the end I did gain a basic understanding of parametric modelling. I feel that if i had en-gaged more with the weekly tasks I would have achieved a much greater understanding, However I don't feel that the majority of this content was necessarily used in the final design stages anyway. In a sense I did achieve my objectives. I gained a fairly broad un-derstanding of the different concepts presented. One issue is that I didn't gain a very deep understanding of the design techniques, although I feel that with more practice I will become more efficient with parametric modelling.

While I am not overly taken by parametric design over conventional forms of design, I do feel it is an important part of contemporary design and will definitely play a huge role in the future of architecture and design. The possibilities it opens up in the field of form making are enormous. In my future work as an architect and designer I would like to work with the more cutting-edge forms of design and I feel that this subject has been an effec-tive introduction to some of these design techniques.

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Reference List

Yehuda E. Kalay, Architecture's New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

Richard Williams, 'Architecture and Visual Culture', in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 16

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62

University of Stuttgart < http://icd.uni-stuttgart.de/?p=3122>

http://www.designtoproduction.ch/index.php

http://www.evolo.us/architecture/university-of-applied-arts-vienna-wolf-gang-tschapeller/

Achim Menges, Material Resourcefulness: Activating Material Information in Computational Design (pages 3443), Architectural Design, Volume 82, Issue 2

Design Journal (Actual Final) - Leigh Hawkswood (387983)

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