WYNDHAMe-

GATEWAYPROJECT

MITCHELLBIZON

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CONTENT DESIGNJOURNAL

01 ARCHITECTURE AS MATERIAL DISCOURSE Innovative materials and how they interact with internal spaces.

03 MATERIAL INNOVATION IN COMUTATIONAL ARCHITECTUREHow Computational designs interact with the consumer through their selection of materials.

07 MATERIALLITY IN SCRIPTING CULTURES The implementation of technology integrated materials to create a visual and interactive spacial experience.

09 COMPUTATIONAL MATRIX EXPERIMENTS Using Grasshopper as a tool for experiementation in the articulation of the skin.

11 EXPRESSION OF INTEREST How the Gateway project will fulfi ll the needs of Wyndham City.

13 NED KAHN ARTICULATED CLOUD Analyzing the kinetic facade of the Articulated Cloud Project, and how it may be applied to the Gateway.

14 RE-ENGINEERING THE ARTICULATED CLOUD Re-building a workable model of the Articulated Cloud’s facade, in order to create a scripted basis for the skin of the design.

15 STRUCTURAL RESOLUTION Finding an equilibirum between constructability and design intent

17 PROGRESSIVE & LOCALIZED IMPACT Through the choice of surface weathering materials, a design can respond directly to the conditions of the site over time.

19 DIRECTIVE LIGHT AND SHADOW Light and shadows that refl ect the dynamic nature of the site and give the impression of kineticism.

21 KINETIC AND INTERACTIVE ARCHITECTURE Giving the user the chance to directly infl uence the form of the architecture through movement.

24 MID SEMESTER SUBMISSION REFLECTION

25 ACKNOWLEDGEMENTS

This building has added not only to the Architectural discourse but also the scientifi c and engineering, winning awards for not only its feats in aesthetic design but also the engineering that resolves molecular science into ar-chitectural structure. It has won the 2004 Venice Biennale Award for the most accomplished work in the Atmosphere section, Popular Science Magazine’s Best of what’s new 2006 in engineering and in 2010 won the International Association for Bridge and Structural Engineering’s Out-standing Structure Award.

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One of the key features of architectural discourse throughout history has been materiality; structurally, aesthetically and the way in which materials can aid the building become more sustainable in terms of harvesting resources, power or water. It is my belief that these kinds of materials will be a major driving force for innovation in the architecture of the future.

One material that I fi nd particularly spectacular is ethyl-ene tetrafl uoroethylene or EFTE. EFTE has in fact been around since the 1970’s but has only just began to sur-face for the versatile material it is within the architectural profession. Due to its thermal insulating properties,high transparency,high durability light weight compared to glass, EFTE is becoming a very suitable alternative to glass in many designs.

EFTE is being used in two different ways in architecture, fi rstly as a single layer that is stretched between wire cables or a light aluminium or steel frame. In this way it becomes a very malleable and highly transparent ar-chitectural fabric skin capable of stretching and bending in a way that designers are able to create very fl uid and organic forms.

The single layer designs are more commonly used on a smaller scale; shelters, greenhouses and other similar projects. The second is as a double or triple layer which can be infl ated between a steel or aluminium frame to create pillow, or balloon type forms. Not only is the ap-plication of this sort of skin structurally stable but it can also aid thermal insulation of a building.

Probably the most renound project using this type of technology is the Beijing National Aquatics Cente, more commonly known as the Water Cube designed by Austra-lian based design company PTW Architects in collabora-tion with several engineering fi rms. This building is the largest in the world to be clad using EFTE. Its bubble clad exterior not only sets it apart from other modern designs aesthetically but functionally as well. The cladding allows more light and heat penetration than glass and as a re-sult the energy costs of the building are reduced by 30%.

Architecturey as Material Discourse

WATERCUBE

“ The project demonstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenol-ogy can create an airy and misty atmosphere for a personal expe-rience of water leisure” — Quote from the Jury report of the Offi cial Awards 9th International Architecture Exhibition – METAMORPH,

Venice Biennale

During a heavy storm in 2010, hail managed to puncture the EFTE in the roof of the station, however this did display another advantage the material has over glass, If the hail had destroyed a glass ceiling glass shards would have fallen and possibly severely injured numerous commuters using the station.

Scientifi c and engineering innovation is providing designers with new and exciting materials that can be manipulated in order to create more sustainable build-ings and opportunities to conduct experiential qualities through systematic artistic expression. EFTE is just one of these materials,

The Eden Project designed by Nicholas Grimshaw and Anthony Hunt in Cornwall, United Kingdom, the world’s largest greenhouse uses a steel frame and EFTE balloons to create artifi cial biomes, using the thermal insulating properties and high transparency to grow plants from all over the world. Such a structure would be far more expensive to construct from glass, and it would

be diffi cult to achieve a similar form.

I can observe this application of double layered EFTE on my way home from university everyday as my train passes through Southern Cross Station. Being an open structure the EFTE offers little in terms of thermal insula-tion however it does provide considerable natural light

which would reduce power costs.

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Southern Cross

SOUTHERNCROSS

The Eden Project

These kinds of innovative materials are what I am interested in incorporating into the Gate-way project. Materials that have a direct infl uence on the interior space as well as the look of the facade. Although the internal environmental conditions are not a great concern with this particular project, the broader concept of materiallity that interacts with the space and the

consumer could be very effective.

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Materialtiy is being experimented with along with computa-tional and parametric design in order to manipulate spaces. In some instances these technologies manipulate atmospherical conditions, lighting, sound reverberation and others, climactic conditions and ventilation.

Many theatres and halls are using parametric design tech-niques in combination with specifi c material choices and surface treatments to create atmospheric lighting effects and also as accoustic fi lters.

Materialy Gate-Innovation intComputationalArchitecture

The Mantle

THEMANTLE

Sydney based design fi rm DRAW, utilized parametric design technologies to win the University of Technology Sydney’s (UTS) Great Hall Upgrade competition. The interior roof design, ‘The Mantle’, is a metallic skin that integrates ventilation, lighting and accoustic attenuation of the space. In this case the metallic surface of the space is mainly aesthetic, utilizing light refraction to effect the mood of the space. The surface will also create different spatial atmosphere depending on whether it is refracting natural or artifi cial light.

Designs such as this can be used in interior spaces and also exterior. The atmospherical conditioning properties can be ap-plied to halls and theatres like at UTS, or to exterior pavillions. In this way the application of this kind of design technology is quite versitile and when produced for much larger projects and as building skins create exciting aesthetic possibilities, bringing rationized structure to organic forms.

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Computational design technologies and innovative mate-rials are also being used to manipulate climactic condi-tions in buildings and are revolutionizing the way that we perceive buildings. Buildings are often spoken meta-phorically as organisms, however this metaphor seems to have become a goal for some architects, making the building a thinking organism by aiming to give build-ings artifi cial intelligence. Designers are experimenting with facade systems and the integration of microscopic sensors, motes, that allow the facade to react to humidity, carbon dioxide levels and air temperature by transmitting electrical signals through the buildings control system and manipulating structural elements.

Such technologies are being mainly in smaller scale ex-perimental projects, critics are sceptical that such tech-nology is not advanced enough to transmit the necessary signals through heavy structural elements.

New York based designer company The Living, produced a project known as Living Glass. The project is a modular space utilizing a clear cast silicone membrane with slits lined with wires that contract with electrical current causing the gill system, allowing the ‘building to breath’ adding to this idea of buildings as organisms. This sort of information transferral technology could revolutionize the way that architects control ventilation in buildings.

Siemens has created sensor technology that could be embeded in glass to read mean radiant temperature and heat fl ux. By applying a voltage to a coating in the glass the glass will lighten or darken depending on solar gain measured in real time. These sorts of facade embeded technologies are also paving the way for aesthetic design innovation. The Cloud project conceptualized for the Lon-don olympics, uses LED integration into infl ated spheres which will broadcast timetables, weather forecasts, transport patterns and real time footage. These technolo-gies take aesthetic possibilities as well as the ability of the facade to shelter and mediate exterior and interior conditions to a whole new level.

CLOUDPROJECT

Interactive Designs

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Through observation of other computational projects, what appeals most to my design sensibility is an interac-tion between materials and the user. The gateway project provides a very unique design problem in that the path of movement through the space is very limited and a very short window of opportunity is given to make an impres-sion. The challenge I am setting for my design is that I want the space to interact with the consumer through its use of materials.

Originally I looked at how materials could mediate exter-nal conditions and hence effect the environmental condi-tions of the internal. This is still something that interests me however the restraint on this is that the mediation will be purely visual as the consumer will be experienc-

ing the space through another space.

The main design precendent selected to influence the design is the Cloud project for the London Olympics. Similarly to the goal of the Gateway design, it uses technologically innovative materials to create a visual interaction with the consumer.

“The challenge I am setting for the design is that I want the space to interact with the con-sumer through its use of materi-als.”

The Cloud Project

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The main aims of the Cloud project is to address the short term desires for information and stimulation of those viewing and experiencing the project as well as stimulating the long term conciousness of our impact on the future.

The Cloud project, utilizes innovative and high tech materials to represent London as not only a city with his-tory but as a city with a cutting edge future it displays the engineering and design feats of London designers and of to ultimately represent the nation.

In this way, the next step for the gateway project is to move from thinking about just its physical presence to thinking about what this design means for the city of Wyndham and for the wider Melbourne community. The Gateway should refl ect Wyndham and by extension, Melbourne, as a growing, cultured and innovative place to live and to visit.

CLOUDPROJECTPROJECT

InteractiveG-Materials inArchitecture

The Cloud Project

ICD/ ITKE RESEARCH PAVILION 2011The ICD/ ITKE research pavilion is the result of a com-bined interest from the Institute for Computational Design (ICD) and institute for building structures and structural design (ITKE) at the University of Stuttgart, in biomimetics and robotic fabrication. The design explores the skeletal plates of a sea urchin through the use of computer based design and simulation programs.

By analysing the biological morphology of a particular kind of sea urchin, the Sand Dollar, the design team found a way to transfer normal and shear forces through joints, whilst eliminating the effects of bending moments. The group found that the skeletal plates of the Sand Dol-lar is comprised of varying polygonal shapes that when linked together have a high load bearing capacity. This type of plate biomimicry, has increased the performance potential for designs using different geometries. The ex-tent of the lightweight, plywood structure is testimate to the effectiveness of the plate connection and the potential for application of this structure in larger projects.

Scripting programs were used to design and to manufacture the components of this design. Using novel computer-based design and simulation programs the team was able to reproduce the biomimetic principles of the Sand Dollar.

From this computer generated model, Rhinoscript was used to export the design to Computer Aided Manufac-turing (CAM) data that could be formatted in a way that allowed them to control the robot that would in the end fabricate their design.

In many ways this process is very similar to the one that must be undergone in order to produce our designs for the Gateway project. From our scripted Grasshopper fi les, appropriate formatting must be done in order for them to be laser cut and later fabricated. Firstly on a smaller scale in order to produce scale models but then if the design were to be realised, the same process would be followed but on a larger scale.

SCRIPTINGCULTURES07

Materiallityte-in ScriptingCultures

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These experiementations were conducted on the basis of trying to create a grid and warping it. For the design in mind at this stage we are looking at creating a skin from a distorted grid of components that vary in size. To achieve this, the experimentations we found were most relevant were the ones conducted using grid inputs and associations that would distort the grid.

We experimented with using mathematical functions to create a kind of predetermined distortion that changes uniformly across the surface, turning or rotating, as well as using an image sampler association as a way of experimenting with defi ning the distortion from any kind of rationalization of experiements we may want to incorporate, the image sampler provides a more, manual way of changing the distortion rather than changing too many complex parameters.

Computational MatrixojectExperiments

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Another parameter we were considering was the light filtering effects of the apertures on the consumer. One way we thought about achieving this was by creating light channels into the space. To experiment with creating these kinds of channels we looked at extruding the distorted grid that we had previ-ously created. By only extruding towards the interior of the space, sunlight would be easier to capture from the exterior skin and direct into the space. However, we were beginning to feel that this is diverging from our core interests regarding the gateway design and will end up diluting a strong design intent.

We decided that it would be more effective to simply concentrate on the flickering light created by the turning panels we are proposing for the design. This way we put our total attention on refining our core ideas and present-ing them in a way that does justice to the consideration taken.

Expression of Interest

The Western Gateway Project is an opportu-nity to present an image of Wyndham City as an innovative and developing municipality. The Western Gateway will pick up where the ‘Seeds of Change’ Gateway left off by using parametric design to create an iconic and cutting edge design that demands attention be paid to Wyndham as a hub of rapid urban development.

The Gateway will not only be a literal Gateway into Wyndham but also an introduction into the future urban developments occurring within the city. In particular, inspiration will be drawn from the $440 million Wyndham Marina project planned for completion in 2015. This marina project will attract boat-ing enthusiasts, as well as those seeking an exciting waterfront lifestyle. Even though the gateway will be exposed to all those driving along the Princess Freeway, its connection to the boating harbour will attract more of at-tention from those engaging with the boating culture, and those interested in the residential developments. By capitalizing on this new expansion, the gateway will be an emblem-atic representation of this forthcoming tourist attraction. The design will serve as an icon of modernity, a sample of cutting edge design that can be expected from the state of the art marina facilities.

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Wyndham City Gateway Project

In applying concepts relating to materiality, structural resolution, kinetic interaction and light it will drive an innovative and experien-tial design solution that Wyndham desires. Our design goal is to create an architectural response that is unique in that the user can interact with it on a somewhat personal level, causing a manipulation of formal composition in different ways depending on the vehicle/users characteristics. This highly experiential design will react and display effects caused by the fluctuation in the frequency of cars, and their variation in size.

MaterialityThe gateway design has the potential to be-come a completely integrated part of the site through the choice of material. By choosing a material that responds to the environmental conditions of the site and to those interacting with the space, the surface of the Gateway can be altered in a way that is totally unique to its particular context. It also gives the users the ability to have a lasting effect on the archi-tecture and change the way it will be experi-enced by others in the future, who in turn will have their own direct influence on the design.

Structural resolutionStructural resolution of the design refers to purifying structure down to its core require-ments in an effective and efficient manner. Through the development of form, its com-plexity can be optimized to a level that best suits cost and constructability considerations. In applying this to the Wyndham Gateway project, structural resolution will be imple-mented to purify the form to a level that sees the original design intent retained, whilst improving and simplifying form down to it necessities. This design element will also enable the integration of the Motion/Kinetic element, which requires specific conditions in order for it to work and is seen as the core connector that brings all other elements into the one amalgamated form and structure.

LightThe element of light poses as a significant factor in the way it interacts with structural forms. The spotlight of the sun will enhance the aesthetics of the structure through the reflection of it onto the surface and the appeal in distortion and manipulation when direc-tion becomes involved. With the addition of perforations and apertures, this will allow for maximum exposure through the layer, and therefore reflecting intriguing shadows for greater aesthetic appeal.

KineticsKinetics refers to a particular degree of mo-tion within the design of the building, and can be affected by changing environmental, social or time-related conditions. This idea of a dynamic, ever changing piece of art, is perfect for the Wyndham Gateway as it relates strongly to this city’s rapidly changing and evolving urban and cultural fabric. The aim of incorporating these aspects of interactiv

ity allows for a dynamic design that can be different each time the user connects with the structure.

The culmination of these elements will equate to a Gateway that is truly representative of Wyndham. The design will be an interactive, architectural sculpture that provides an op-portunity for personal engagement. Through the use of light and kinetics, the experiential qualities of the design will be heightened, engaging the audience in a profound manner. Enabled through parametric design, this gate-way for the City of Wyndham will promote the growth and development of this municipal-ity, presenting it as a focal point for broader Melbourne to embrace.

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Case Study

The Articulated Cloud by Ned Kahn was the project chosen as inspiration for the Gateway design. The form of this buildings facade system is determined by the pat-terns of the movement in the air around individual plastic flappers, that pivot around stainless steel rod pins.

The Gateway design we are proposing utilizes this kind of kinetic facade system. By manipulating the size and placement of various panels on the structure, the move-ment of the facade can be controlled within reason. The resultant force determined by the size of the vehicle passing through the space as well as the speed they are travelling, will pull the panels, causing them to turn and hence determining the form of the facade. In this way, each vehicle will interact with this structure in a unique way, its form ever changing.

Ned KahnCity Articulated Cloud

In order to form a better understanding of the building facade system we attempted to re-engineer it in Rhino using Grasshopper. From the detail drawing of the facade system it became clearer as to how the components interconnect and how the facade system connects to the structure.

The wind is obviously the determining factor of the rotation of the plastic panels, so to re-engineer this, an attractor point was used to determine the rotation around evenly spaced lines that were used to represent the stainless steel rods around which the plastic panels pivot. The attractor point can be used to demonstrated localized wind pressures, and rotate the square surfaces accordingly.

The re-engineered model was tested with different ranges, initially with 90 degrees, as this is the range of the actual project, however we began to test it at different ranges, 180, 270 and 360, to observe how much impact the attractor point would have given the different ranges.

Re-engineeringthe ArticulatedCloud

Grasshopper

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Grasshopper Script File

This reconstruction model can be improved, by altering the attractor point association, to a series of vector components that will define the rotation of the panels. By using vectors to represent the size of the force applied and the height of the vehicle causing it, the spread of panels rotated can be observed. Given the impact of each particular vector, the size of the panels can be altered to better demonstrate the pulling force of each vehicle, and hence its impact on the form of the design.

BMW WeltBuildingWolf Pree

Wolf Pree has taken a design with a highly complex, double curved surface and used the concept of struc-tural resolution in a way that transforms the concept of the BMW Welt building into something rational and constructable.

To make this building constructable, a degree of com-promise was reached between aesthetic intent and structural rationalization. It is the balance between the aesthetic intent and constructability of the design that makes this building so successful.

This simplication of form, whilst being able to maintain the original design intent is a crucial part of making sure the Gateway project is a success.

One large constraint on these organic forms is the ability to maintain the rotation of individual panels across the diagrid. A certain amount of compromise and structural rationality must be applied to the form of the structure to ensure the motion of the panels is uninterrupted. In order for this to be achieved, there must be a harmoneous bal-ance between the aesthetic and the structural composi-tion of the design.

Structural Resolution

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Structural ResolutionThe sketch models above and the diagram below were made as a visual representa-tions of the theory of structural rationalization. Through each rationalization of a curve into a series of interconnected tangents, a more simplifi ed grid is created.

The perceived overall form of the design will be based on the asymptotic nature of the site and of the contextual precedent. Once again infl uenced by the movement of vehicles through the site, we were interested in the two lanes of traffi c that diverge around site A and then converge again as they approach the other side creating this asymptotic relation-ship with one another.

However, once again we are faced with the question of how far is too far? At what point does the grid become so refi ned, so simpli-fi ed, that the asymptotic form of the strcuture is lost? And more importantly, when does the diagrid become so large that the panels become unresponsive to the wind and to the pull of vehicles passing through the space.

Following on from the idea of promoting the Marina, we observed the asymptotic patterns to the wake created by boats. In this way we can potentially make a reference to the new development in a some what literal way, but not so literal that it is strikingly obvious. We want to create an architecture that is thought proking to those who interact with it.

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Progressive &Localisedo-Impact

Sydney Myer Asia CentreThe gateway project presents a unique possibility for users to interact with and directly influence the skin of the design from a vehicle rather than in person. This creates a new dimension to this kind of architecture, the design evolves from the visual to the experiential.

An effective way to achieve this is through our selection of materials. Weathering steel or Corten Steel is covered with an oxidized coating that will change its colour and texture according to wind, sun, rain and atmospheric conditions. The design will change at localised points around the structure de-pending on its exposure to these elements. Drastic colour and texture changes can occur on the same surface even within a few metres. One sculptural application of weathering steel is on the facade of the Sydney Myer Asia Centre at Melbourne University, Parkville. Large surface variations can occur when applying the slightest of overhangs.

Our design will become an integral part of the site as it re-sponds to the weather, atmosphere and to those experiencing it. As the top of the Gateway responds to its exposure to the weather, the under side will respond to the exhaust fumes, splashes of rain water and spread of dirt from vehicles pass-ing through the space.

Unfortunately, the main application for such a material is aesthetic and often used as cladding or scultpural elements. However it can be used for light weight structures. Being pre - oxidised, concerns were raised for the structural stability of the structure. Suppliers recommend limited exposure to water spray and salt when used as major structural elements.

The Third Wave Kiosk is a project built in Torquay in 2011 that is testing these structural weaknesses by exposing the mate-rial to these elements. The Kiosk uses weathering steel on external walls, window shutters and door frames. Although the project tests the structural limitations of the material, it is relatively new and the effects of prolonged exposure can not be observed.

As our overall structure is arranged into a diagrid of light weight elements, Corten Steel can hypothetically be used structurally in this instance. Using weathering steel for both structure and infill panels creates a more homogeneous design.

THIRD WAVE KIOSK

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Sydney MyerAsia CentrectParkville 18

DirectiveLight andtShadow

YASMARINA

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The Yas Marina Hotel, Abu Dhabi, by Asymp-tote Architecture, uses a grid shell of mono-coque steel and glass that acts as a skin, or envelope to cover what are otherwise rather average looking hotel buildings.

The building envelope is designed to be responsive to its environment. It acts almost like a camoufl age during the day by refl ect-ing the sun and sky, where as at night, the coloured LED lights that cover the structure create a spectacular light show that demand attention. These LED lights are also incorpo-rated into the skin in a way that allow video feeds to be displayed across the entire build-ing’s surface.

This building incorporates some very similar design considerations to our Gateway design for Wyndham. The Gateway follows the Yas Marina Hotel’s lead in aspiring to become a dynamic and responsive architecture inspired by speed and by the culture of its context. However the gateway will be more than an envelope, more than a veil that hides the structure. We hope to integrate both envelope and structure to create, an honest and homo-geneous architecture.

The three photos along the top of the right hand page show an experimentation with the shape of perforation and how each can be used to represent the dynamics of space as well as what light and shadow effects are created as the light source distorts the projection of the shape. For instance the polygons often become more rounded as the angle of light exposure

becomes more obscure.

Rather than produce a flashy light show like the Yas Marina Hotel, we decided to focus on the manipulation of natural lighting as a key element into our design. One of the ways in which we went about experimenting with this idea is by perforating the surface of the panels.

Panel Developmentwe looked at applying this pattern to the indi-vidual panels, introducing more natural light into the space as well as lightening the panels in the hope that less material would allow them to spin faster. However we do under-stand that introducing these perforations also minimizes the surface area, and therefore reduces the area to which wind forces can be applied, reducing the effectiveness of the panels.

Kinetic and Interactive Architecture

Kinetics in architecture form the basis of a visual interac-tion between the elements and the structure. Some of the most cutting edge designs in modern architecture are utilizing a dynamic skin that interacts and responds with its environment or with its users. One such building is the Seed Cathedral in Shanghai. British architect, Thomas Heatherwick designed the Seed Cathedral as the UK pavilion at the 2010 World Expo in China. The pavilion was compiled of 60,000 arcylic rods, each containing a unique plant seed that swayed in the wind, reminiscent of a dandelion. This kind of air based skin manipulation can be applied to the Gateway project

to create a structure that people can interact with even from their vehicles. Our Gateway design har-nesses the force of wind and the pull of passing cars to turn the panels that cover the design.

From the traditionally curved design of the an-emometre, we created a surface of connected polygons derived from lighting experiments where the diamond shape was seen to have demonstrated more of a directive component than the other shapes.

To produce a panel design that would capture signifi-cant force from wind and passing vehicles we looked for functional inspiration from anemometres used to measure wind strenght. We felt this was the most suitable template to follow however we made some aesthetic adjustments to enhance the overall look of the design.

Panel Development

Seed Cathedral

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RotatingPaneltDesign 22

We decided on the shape of a diamond for our panels for several reasons, firstly we felt that the shape of an elongated diamond was more indicative of direction and in this way was more responsive to the dynamics of the site. It also works well on a functional basis, by pinning the centre of the diamonds they are able to provide a larger surface area for the anemometre inspired, scoop like geometries at each end, which will collect a greater wind force and spin the panels around their central axis more effectively. We decided to test the theory by creating what could potentially be a 1:2 or 1:1 prototype.

We used Rhino and Grass-hopper to produce a very simple, yet effective scale model of 4 individual panels. In Grasshopper we used a line and move association to create variances in the depth of the panels to test whether a deeper or shallower scoop geometry would turn the panels more effectively. We then mounted the panels, one entirely flat, one with a 10mm depth, one with 20mm and the other with 30mm. We found that although the deeper panels caught more air, it took them longer to spin as the surface area was greater and therefore took more force to turn. We are now discussing the possibility that we could utilize the fact that these different depth panels rotate at different speeds to creat different visual effects around the design. Timelapse im-ages of this experiment are on the next page.

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Mid SemesterSubmissionReflection

It is a truly fascinating time to be learning about architec-ture, parametric design is changing the way that people interact with space and architecture and the way that architecture and space respond the environment and the broader urban context.

I have always had an interest in the modern Japanese philosphy of Symbiosis, integrating architecture into its environmental, social and cultural landscape to create an architecture that evolves with the needs of society and of its environment. I believe that parametric design is help-ing us to achieve this on a whole new level.

I have thoroughly enjoyed the opportunity to learn and experiment with Grasshopper and scripted design. Although I’ve barely scratched the surface of what the program has to offer, I marvel at the possibilities of what I may learn in the future.

One aspect of this semester that I have particularly enjoyed is detailed prototyping. This is not something I have done much of before however given the project we are working on now and the microscale at which we are working, I have began to see how important it is to refine a design, because the smallest elements are often the most crutial in having an effective design.

As part of this prototyping process, this semester has also been a first for me in that i have never prepared a computer model for lazer cutting at the FabLab before. If only i had known it were so easy I may have done it previously and added another level of complexity to my designs in previous design studios.

DESIGNING WITH COMPUTERS

COMMUNICATING VISUALLYAlthough I have often had to prepare a design journal or folio, this has been the first year I have felt I was produc-ing a piece of work that was somewhat comparable to the design journals that some architecture firms produce for their major works. I haven’t used InDesign before so this as well as Grasshopper is all new to me, but I have thoroughly enjoyed the opportunity to learn it, sometimes

being thrown off the deep end is the best way to learn, but a little guidance here and there never hurt. Through the design journal I feel like I have learned how communicate my ideas better graphically than i had before. From looking at the graphic styles of magazines, architectural journals and books, i have amalgamated the aspects I like and have created a graphic style that suits me, this way I can feel comfortable in the format that I am presenting my ideas and hopefully, my design intent and arguement for innovation is conveyed clearly.

ARGUING PERSUASIVELYI have always been able to view my own work critically, identify what works, what doesn’t work, what needs improvement and what exactly that will involve.

Analysis of other peoples work however, has never been my strong point. When presented with a project that is not my own I find it more challenging to think as critically about it. I suppose this is because my understanding of the project is so much more limited than that of my own. If one is going to analyze something critically, one needs to be presented with all the facts. For the same reason I don’t find it difficult to argue for a concept that is my own. I like to engage with whatever project I am undertaking on every level so that my under-standing is clear, if my understanding is clear then it is easy to construct an arguement to present to others.

APPLYING TECHNICALSKILLSOne particular task I found very interesting and very worthwhile was reverse engineering the case study us-ing Grasshopper. It allowed me to engage with the project on a much smaller scale and give me a more concise understanding of the design intent. I found it challenging but satisfying to look at the detail drawings of Ned Kahn’s Articulated Cloud, and begin to apply what little grasshopper knowledge I had, to emulate the facade system. I also felt it was a paritcularly good way to get people to engage with Grasshopper, rather than just learning by follow Ex-Lab tutorials. The exercise has in turn enabled me to know what I’d like to achieve in my own design, and have a systematic way to locate or discover the appropriate Grasshopper associa-tion.

As of yet our design has no structure and although the Cut section of this subject has allowed us to create a well thought out skin that is parametrically responsive, I look forward to experiementing with what parametric design can offer me in terms of form making and creating a structure that will respond to its immediate physical and cultural landscape. 24

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