ARCHITECTURE DESIGN STUDIO 3

Progress Journal

Tim Nguyen

tutors: David Lister, Marcus Fajl

AIR

1.UNDERSTANDINGP A R A M E T R I C S- ARCHITECTURE AS DISCOURSE- COMPUTATION IN ARCHITECTURE- PARAMETRIC MODELLING

SON-O-HOUSENOX“A house where sound lives.” This structure provides an architectural environment whilst being an interactive sound installation, allowing individual participation in the composition of the sounds being played within the musical structure. It appears as an arabesque ar-ray of intertwining curves generated into a three dimensional structure. It was based on a set of rules revolving around combing and curling, resulting in this complex design which includes interlacing vaults which lean on or cut into each other. A range of sensors within the structure detect the movements of visitors, and allow continuous generation of new sound patterns based on the readings of the 23 sensors. The intent of the sound within the structure is to influence and interfere with the perception and movement of visitors, and provokes visitors to re-interpret their understanding and relationship with their immediate environment. The movement of visitors from one place to another, measured by these sensors, re-sults in data maps being created, mapping the activity across the structure. The greater the movement in one location, the faster the sounds are able to transform in that area. The sys-tem has been designed to be able to attract or repel visitors from certain points dependant on the data fed into the system.

The 20 speakers within the structure can be used to facili-tate two differing approaches. They can produce sound which can be heard individually from each speaker, or create 'sound fields' which comprise of 4 speakers. The sound interfer-ences can be static or dynamic dependant on the movement which the sensors detect and can be synthesised in real time. Visitors leave their traces in the structure as a result of their interaction with the sound. Computational design chang-es the way people can understand their environment and changes the relationship visitors have with their environment

The Son-O-House certainly advances architectural dis-course in that it is a design which is not purely about the form or about order, but is about creating an experience through sound. The true design of the Son-O-House is in the sound that is created based on the movement of the people. When we consider architecture, it is generally about form. The Son-O-House proves that form is not the only as-pect of architecture, but further elements can be just as es-sential to creating a successful design. The idea of experi-ence is applicable to the Western Gateway project, which asks for ongoing interest and reflection about the installation.

The National Aquatic Centre, known also as the 'Water Cube', was constructed for use at the 2008 Summer Olympic Games and afterwards as a multi-purpose leisure and elite swimming centre.

The design was based around a common natural three-dimensional pattern, that being the way in which soap bubbles form and interconnect in order to fill a space in the most efficient manner.

Despite the structure of the building appearing organic and seemingly ran-dom, the geometries which are used in the design are highly repetitive and eas-ily built. The structure of the building is based on a geometric cell which is made up of twelve pentagons and two hexagons which are three-dimensionally repeat-able. Furthermore, the structure is ideal for the seismic conditions present in Beijing.

Ethylene Tetra Fluoro Ethylene (ETFE) foil cushions are used to form the cladding. There are three layers to the foil cushions, allowing thermal and acoustic insulation. The pres-sure within each of these bubbles requires maintenance with active pressure monitor-ing. The bubbles, fitted with LED lights, are able to glow during the evening and night. The cushions are able to resist wind forces, with outside wind loads are transmitted through to the internal layer by the internal air pressure, making use of the ETFE's strength in tension.

The ‘Water Cube’ is a design which encourages architectural discourse through its use of new material, unique design process and adaptation to the designated site. The use of ETFE sets the National Aquatic Center apart from other designs - it is a new material which has not been implemented throughout several buildings. The ‘Water Cube’ is indeed a groundbreaking development with the application of this material. This design also furthers the argument for parametric and computational design. Without digitisation, this design would not be possible. Forces throughout the structure need to be measured, and this is possible through digital means. The concept of soap bubbles for the facade is itself undesignable without computa-tional aid. This design can therefore be seen to make an argument for computational design.

The city of Wyndham asks for a eye-catching installation which enriches the municipality, en-hances the physical environment and encourages reflection beyong the first sight of the design. The ‘Water Cube’, through its complex ideas and execution, certainly provides enrichment to its municipality in Beijing, and can certainly be a precedent for a design for the Western Gateway.

BEIJING NATIONAL AQUATICS CENTREPTW ARCHITECTS “It appears random and play-

ful like a natural system, yet is mathematically very rigorous and repetitious.”

- Andrew Frost, Director, PTW Architects

STUDLEY PARK B O A T H O U S E

T I M N G U Y E N

This design for the Studley Park Boathouse was a design influenced by the works of architect Mario Botta, but not designed in his style. This design took some of Botta’s favoured design concepts - that of sunlighting, of the materialism and of geometry, before implement-ing them into a new concept which was suitable for the chosen site.

The process of studying the concepts and ideas of another is a common fea-ture throughout history. Taking ideas and understanding how a previous style or design was successful can be a positive influence on design process.

Progression or improvement is often based on the analysis of the past. The past or existing are the benchmarks for which improvement must be made on. Discussing and developing ideas based on previous designs is a pathway for progression, and it certainly furthers the architectural dis-course in discovering and advancing ideas of form, function and conception.

Then again, it may not be the opinion of the professional or a direct evolution from a existing idea that determines progression. The untrained have the purest and most uninfluenced view - a completely new design might also be the key.

THE CASE FOR PARAMETRICSAND COMPUTA-TIONAL DESIGN

Greg Lynn’s Blob Pavilion uses a strange shaped brick as its main form. The blobs are designed to be able to easily connect togeth-er. The ‘bricks’ of the pavilion can be mass produced, as they are the same shape, and they are cut using robotic means, using data straight from the design program.

There is no precise definition for para-metric design. It is, however, about set-ting parameters, about having rules set to create a system. It must be remem-bered that parametric design is another tool for designers, just like any other.

Parametric design can be influenced by any formula given to it, be they complex al-gorithms applied to complex shapes or sur-faces, or simple repetition. It can be used to generate form from a small base or it could be used to avoid tasks such as individually de-signing floors or rooms at the same scale by hand or by regular computational techniques.

This new design technique provides a new way to ‘generate’ forms, to modify compo-nents of a structure to find precise solutions. It allows greater efficiency. Parametric design allows for more seamless transition from computer to fabrication. It also allows faster generation of forms, quicker means of experimentation with various forms, con-nections and fabrication techniques.Through experimentation with various forms and using the methods of Kalay, a suitable form for the Western Gateway Project could be discovered. This suitable form can then be combined with fabrication techniques which will then allow construction to take place.

The growth of digital modelling and com-putational software has opened new terri-tories for formal exploration in architecture.

Generative processes can develop new shapes and forms based on various ideas and con-cepts such as topological space, dynamic sys-tems, parametric design and genetic algorithms.

The new forms being created or ‘generated’ by these modelling programs influence not only the design process, but also the construction pro-cess. Digital technology has allowed convergence of the representation and production processes, it has changed the nature of design and construc-tion - digital technology allows the design infor-mation to become the construction information.

Most material products in the world today are created and produced through processes (involving design, analysis, representation, fabrication and assembly) which are solely dependent on digital technologies. Cars, aircraft and naval vehicles are generally digitally conceived and produced through digital processes. The building industry, however, is yet to join this process.

Complex designs, which are commonplace with digi-tal modelling, often require the architect to become more involved with the building process - allowing greater control of the building process. Digital pro-grams need to be developed to allow the fabrication of more complex elements. The ‘ultimate goal’, ac-cording to Kolarevic, is to be able to develop a digital model encoded with all qualitative and quantitative dimensional information for design analysis, fabri-cation and construction. This model should contain all the information required to have it constructed.

The ability to digitally generate and use that infor-mation for manufacturing redefines the relation-ship between conception and production. With increase in the performance of digital technology, there is not only just an increase in methods of digi-tal fabrication, but the entire process from design to construction becomes more efficient as well.

Models can be capable of consistent, con-tinual and dynamic transformation, replac-ing the static nature of non-digital processes.

The design of highly curvilinear surfaces, a prominent feature in contemporary structures, raised the ques-tion of how they were to be designed. Certain spatial and tectonic complexities had to be overcome. Con-temporary computational techniques allow data to be formulated in order to make fabrication a reality. Whether a form can be made or not is still up to which instruments of practice can be used to take advan-tage of the ever improving digital mode of production.

The innovation of digital architecture is not just in the form-finding, or the design concept. It is also about the design and construction process, and de-veloping the computational ability to create a pro-cess which will allow ‘complete’ digital fabrication.

THE GROWTH OF DIGITAL MODELLINGDESIGNING THE C O N S T R U C -TION PROCESS

F R A N K G E H R Y

In the constant digitisation of the architectural and design world, there are leaders and innovators. Frank Gehry was an innova-tor, one of those to integrate the design and construction pro-cesses together through the use of computer based modeling.

Innovation needs to come through the process, and not just from the programming. The idea of amalgamating the architect with the fabricators and holding shared responsibility is an innova-tion which has arisen from the advance of digital fabrication. In a digitally driven process of production, where design and con-struction are conjoined as one, builders and constructors can become involved at an earlier stage of the design process, while architects remain integral throughout the entire design process.

The Experience Music Project, Seattle (2000), by Frank Gehry. Designed using a “paperless” process, where the digital model was created, the wireframe model extracted and used bystructural engineers to develop framework, then digital model used to directly control production/assembly of components.

THE EXPERIENCE MUSIC P R O J E C T , S E A T T L E

FISH PAVILION,B A R C E L O N A

Gehry’s ‘Fish Sculpture’ at the entrace of Vila Olimpica in Barce-lona (1992), is one of the first examples of a digitally developed project. What was required for this design was; a program able to describe the complex geometry of the assignment, and sec-ond, a highly precise process to fabricate and assemble. This led to a process of solution finding. The answer: Computer Aided Three-dimensional Interactive Application (CATIA). This soft-ware, used for digital development and design of aeroplanes, was used to allow the three-dimensional digital design to be structur-ally analysed and be used as a source of construction information.

What this signified was a change in process, a new idea brought about from digital technologies already being used in other areas of manufacturing. One style of three-dimensional modelling has led to another, with programs such as Rhinoceros (allowing Non-Rational B-Splines) and AutoCAD providing new ways to digitally develop concepts and designs. Gehry’s use of CATIA was symbolic of the rapid rate of development in computation design techniques.

P A R A M E T R I C SAND

E X P E R I E N C E :USING DIGITAL TECHNOLOGY TO CREATE AN EXPERIENCE FOR THE WESTERN GATEWAY PROJECT

Through exploring methods of parametric exploration and discovering parametric proj-ects, the concept which stands out is the idea of creating an experience. Digital tech-nology and parametric design has great value in generation of forms, of new meth-ods of design, of faster construction or fabrication. Through exploring several forms and concepts, a potential form for a gateway could be produced which will leave those passing by to reflect on an ‘experience’ which they have just travelled through.

For the Western Gateway Project, we hope to create an experience, rather than a sculp-ture. We seek to challenge the idea of a monument as something that we simply wit-ness, turning it into an experience which will be memorable and appropriate to the site. To reach this goal, we will first explore form and digital fabrication techniques, before de-veloping the concept to enhance the prospect of experience with the gateway’s design.

T H E A T T R A C T I O N T O S C R I P T I N G

AND

PARAMETRIC DESIGN

Scripting is becoming increasingly attractive to designers, and is becoming more practi-cal as well. However, the general approach to scripting in producing effects of complexity is becoming slightly redundant with the growth of knowledge in the scripting community.

Scripting can be described as being about computer programming at vari-ous different levels. Its base attraction is its efficiency - compared with traditional means, a larger amount of outcomes can be made for the same duration of time.

While scripting likely arose from the idea of efficiency, its attraction is also in that it con-stantly provides numerous new outcomes to explore in the world of designing. New princi-ples can be explored and potentially implemented into design, generative processes can be explored, and ideas can be developed beyond the comprehension of the human brain.

Scripting allows the ability to work with large data sets, and work beyond human percep-tual ability. Scripting allows forms to be generated in multiple directions, allows both sim-plification and complexification, as well as allowing easier access to eventual fabrication.Scripting can be generated from concepts such as nature, or could be about finding new and unique forms. 'New’ scripts can be created to service new design ideas and forms. In this age where digital technology is constantly developing, more individuals are able to gener-ate their own scripts, from the simple to the advanced. However. with the growing commu-nity of scripters and scripts, it is extremely rare that a completely ‘new’ script is ever created.

The Iidabashi Subway Station truly is an expression of this statement. Its design begins with a tube extending out below the surface of the earth, intricately winding, self generating with the use of technology. Using this computer generated code to create the design, it is the first implementation of ‘Program Generated Architecture’ in the physical world.

Development in architecture has seen an in-crease in computation, and for good reason. The scripting style of Watanabe in creating the Sub-way is just one way of expression using scripting.

The ‘Induction Cities’ program is set to only generate ‘good’ plans (not an endless number of random forms to pick from). Values are set in advance to someone restrict the generations. The plans proposed are plans which are set to meet the criteria set, or be as close as possible to them.This design uses computers as a design tool not just to re-place the hand, but to enhance the mind. Computers can be used as a tool for thinking - this design sees it as an exten-sion of the human brain. Furthermore, it can be seen as an

evolving design, just like a regular city or a living creature.

This design philosophy is unique, in that it uses genetic algo-rithm, yet still demands it to be tied to the human restrictions. It is a generative form still tied to human understanding. Ar-chitecture is more than just about finding form. It is about understanding the process and understanding the require-ments needed for a specific site. The design process that Watanabe uses addresses all these concerns, and presents a new understanding of scripting, and that it can be used as a tool to further the methods of design people can reach.Compared to other self generative processes, it is unique in that it allows greater control for the human mind. The form may be generated by computer, but the computer is being used as a tool to create a design to desired restrictions.

Scripting, while it can comprise of several levels of com-puterisation, should be controlled by the design con-cepts of the person using the technology. The Iida-bashi Subway Station had conditions which needed to be solved, and scripting used to solve those conditions.

IIDABASHI SUBWAY STATIONMAKOTO SEI WATANABE

“A seed, given water and light, extends its roots, grows leaves and comes into flower. It spreads its roots in search of soft soil and places its leaves so they recieve as much sunlight as possible.”

- Watanabe

The Iidabashi Subway Station is unlocking a potential within parametric design which is not often seen. Scripting is a design style of the future. Many are keen to disagree, stating that scripting or parametric design completely disregards the traditional means of design thinking. Of creating concepts and solving solutions. The Iidabashi Subway Station de-sign proves that scripting has the potential to answer and solve questions that are asked.

Scripting is still not a completely understood design process, however, the prog-ress being made, and the potential of it is undeniable. In the end, scripting is a tool that will be able to assist design in multiple fashions. Of course, with fur-ther practice, techniques will become more advanced, and more actions will be able to be completed. At this early stage of scripting and computational de-sign, it is unfair to criticise scripting as useless and having no place in design.

2.E X P L O R A T I O N

AND

EXPERIMENTATION- MATRIX OF ASSOCIATIONS- EXPLORATION OF PARAMETRIC DESIGNS- DESIGN EXPERIMENTATION / DEVELOPMENT OF IDEAS

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I N P U T S

E X P E R I -MENTATION:EXTRUSIONIn order to advance the concept of experience, we considered it nec-essary to explore extrusions as a means to elongate form and thereby extend any experience through form.

Extrusions go beyond the idea of per-foration in more 2d planes. They pro-vide more solid substance to analyse, so we can conceptualise on several scales rather than just the 2d.

E X P E R I -MENTATION:L A Y E R I N GIn order to advance the concept of experience, we considered it neces-sary to explore the idea of layering, as a way to produce illusion and different perceptions from different locations and angles of vision.

The idea of layering works well when considering the idea of experience, and the site. As any proposed sculp-ture on the site would be viewed from a car, with quick transition between viewpoints, the idea of layer could potentially provide a means of creat-ing illusion or experience.

In this experimentation, we use two layers of circular geometries. Through this we can understand how the view we have of a layered structure could change, particularly if those layers had openings in them.

The matrix was an opportunity to explore new definitions in a structured manner. However, in terms of our concept, that of designing an experi-ence, it did not immediately produce any definitions that would certainly en-hance that concept. As a result, exploration was performed across a range of various definitions in order to obtain a series of different ideas which we could then upon further review implement into any potential design.

It is important to do this organised exploration when considering parametric designs. It allows a programmed response to any solutions that require solv-ing, and makes room for human judgement of what is necessary in the design.

D I O R B U I L D I N GOFFICE OF KUMIKO KUI

Through the use of overlapping layers and the use of the image sam-pler, the pattern created on the Dior Building could be replecated.

The use of multiple layers and the use of light make this building a relevant precedent to our emerging concept, where we seek to create a visual experience through use of layers and light. However, compared to the Dior Building, our concept will not be about seeing the plain facade but seeing light transfer through a material.

A I R -S P A C E T O K Y OF A U L D E R S S T U D I OThe voronoi pattern of Faulders Studio’s Airspace Tokyo presents an artistic yet rational design. The organic voronoi patterning dem-onstrates the ability of scripting and parametric design to develop a pattern which reflects an organic form. The use of layering in this situation is to create a barrier to allow shade, privacy and to some extent, a barrier against sound and wind. For a form such as a voronoi, there would most certainly have been experi-mentation to explore the numerous variables that could be possible.

The idea of organic form is appealing, as it generates an experience which is diverse and appearing to not be so static. The idea of lay-ering also makes sense, not just for potential functionality, but for the increase in complexity of design, creating illusions and forms with different perspectives.

BANQ RESTAURANT O F F I C E d A

The BANQ RESTAURANT is appealing in its use of several simple layers in or-der to create what appears to be a complex form. What may initially appear to be a complex curving roof is actu-ally a combination of a series of panels which represent the contours of a polysur-face. In breaking the surface down into simple elements, it creates a complex-ity beyond its original form.

We consider the BANQ RESTAURANT as an ideal base from which to further develop our concept. Each panel tells its own story, and with an aim to create an experience as part of our design intent, the use of several panels in this man-ner appeals as an effective way to develop this concept.

The grasshopper definition for the reverse engineered designs (next page) involves the use of a polysurface generated from an image map as the base form. From here, the surface is split and extruded to create the panels which when placed next to each other, will rec-reate the original polysur-face with added complexity.

DE YOUNG M U S E U M HERZOG & DE MEURONThe de Young Museum, through the use of image mapping, is able to create a facade of panels with preforations in a manner so as to represent the im-age. Each elevation has a seperate image map as-signed. These images were created through prefora-tions which varied in size and in depth as a result of a range of materials being used. The images have been reparametralised to work on the various panels.

HILLS PLACE A M A N D A L E V E T EA R C H I T E C T S

This structure is fabricated from curved aluminium profiles. These profiles can be generat-ed in digital programs by generating curves and having them extrude out to points. Those extrusions could then be applied for use as a surface on a structure like this. This build-ing takes advantage of the computational process, applying a digital design into fabrication.

ARTICULATED CLOUD N E D K A H N

The Articulated Cloud is the facade which envelops the Chil-dren’s Museum of Pittsburgh. The appearance of the ‘digital cloud’ changes dramatically with changes in light conditions of the day, and moves accordingly with wind. Each panel is a seperate com-ponent on the facade, presenting the idea that a holistic beauty can arrive from the duplication of several individual components. The complexity of nature is presented through this facade which is dependent on the changes in wind and light nature provides it.

A O B A - T E I RESTAURANT H I T O S H I A B E

The surfaces of this restaurant take the form of an organic membrane, with perforations in the surfaces, which are based on images of trees. The hole-pattern continues through the entire membrane, which is intended to cre-ate dialogue between the interior and exterior. As we consider various forms of fabrication and forms, it can be noted that there are several ways to view one object. The perforated thin steel surface is shown as a way to create multiple dialogues through digital fabrication.

ANDRE DE GOUVEIA RESIDENCE VINCENT PARREIRA & ANTONIO VIRGA ARCHITECTE

It can appear like a translucent wallpaper. The facade of this building allows vision of familiar figures and al-lows lighting effects to occur. The natural light causes shadows to occur in the interior of the building. The layer on the inside is influenced by the outer skin, but the outside skin is not influenced by the interior layer. There are several ways in which we can have layering.

CARABANCHEL SOCIAL HOUSING FOREIGN OFFICE ARCHITECTS

The de Young Museum, through the use of image mapping, is able to create a facade of panels with preforations in a manner so as to represent the image. Each elevation has a seperate image map assigned. These images were created through prefora-tions which varied in size and in depth as a result of a range of materials being used. The imag-es have been reparametralised

J O H N - L E W I S DEPARTMENT STORE F O R E I G N O F F I C E A R C H I T E C T S

The patterned and layered assembly works to create an architectural fabric that re-veals exterior to interior, in-terior to exterior. Mirrored components in the patterning create shifts in the facade as the sunlight changes direc-tion and strength throughout the day. Double glazed fa-cade system provides privacy whilst allowing the effects of layering to show through.

S P A N I S H P A V I L I O N FOREIGN OFFICE ARCHITECTS

Using six hexagonal geometries, the Span-ish pavilion of 2005 was created. The hexago-nal geometries were made in such a way that when placed with one other in a certain pat-tern system, generated through digital means, they will fit together to form a solid surface, Us-ing individual components does not necessar-ily mean that all the components need to be the same shape. However, to create a wall sys-tem such as this with several different geom-etries, using digital technologies assists greatly.

G A N T E N B E I N V I N E Y A R D F A C A D E GRAMAZIO, KOHLER, BEARTH & DEPLAZES

Working with digitally guided robotic assembly techniques, the Gantenbein Vineyard Facade is heavily integrated in a digital design process. With use of rotation to pres-ent the data from an image map, a facade is created with a unique texture to pres-ent the data. Through digital means, calculations can be made as to where each brick will be placed, and how many are needed. Created in sub-panels, the fa-cade is also functional; it works as a sunlight filter and a temperature buffer as well.

EXPERIMENTATION:L I G H T

The use of perspex was highly influential. With a translucent material, we were able to experiment with light not just on the surfaces, but light through the surfaces. This helped us to generate the idea of a ‘light show’ as an experience.

There are developments which need to be made if we are to use light in this manner. The form of the panels must make sense in the context of Wyndham, and make sense in the context of our concept of ‘designing an experience’. Thought needs to be put into how light should travel through a material, what kind of ‘light show’ could happen, and if made in a real life situation, how it would capture the ideals sought by the design brief.

EXPERIMENTATION:P E R S P E C T I V E

Perspective is extremely important when considering the site on which we are designing. People driving past the location will see the design from several angles, and see it only briefly due to the speed at which they would be travelling.

As such, a way to capture the eye of drivers-by (in a non-dangerous manner) would be necessary. Thought needs to be put into how a design should be placed to take advantage of the perspectives of the design which will be most prominently seen.

When related back to the concept of ‘experience’, certain things must be considered. Does changing perspec-tive ruin the story of the design? Would it be better to create a design which would look different from different angles and have the changing nature of it relate into one whole experience? What form would create an experience suitable to the design brief and to the site itself.

EXPERIMENTATION:M A T E R I A L SV O R O N O IS H A D O WExperimentation was done with voronoi patterns with the use of different materials. Using wax created a solid form with baubles jutting out from a solid background. We can consider the use of this sort of form with the idea of layering. To increase the effect, it the material would need to have more transparency - hence the use of perspex to create a light show through use of layering.

Voronoi patterns were also used with wood panelboards, to capture the cut-out parts, and also the frame, from which we could analyse shadows. On reflection with using voronoi patterns to create shadows, and to create illusions, we considered it to work, however, we felt to make the greatest use of light, and to create a greater experience, the idea of having flat panels was more appealing. With flat translu-cent panels, it would create the greatest effect for light possible.

Applying the voronoi patterns to translucent material such as perspex was not successful, as it took away from the quality of the open-ings, as well as the shadow. Lighting those panels did create interesting effects, however, those could be applicable to more plain facades as well.

OLD NEWFORMAL

RIGIDHISTORICAL

RURAL

DYNAMICRICHRECREATIONAL

FUTURE

CLIENT ASPIRATION:INSTALLATION

ENRICHINGINSPIRING

EYE CATCHINGLONGEVITYIMPACT

ACTS AS A PART OF AN ON-GOING DISCOURSE

THE NEW IMAGE FOR WYNDHAM

...BUT CHANGE THE TYPICAL TYPOLOGY OF A MONUMENT.

WE AIM TO CREATE A MONUMENT...

WE WILL CRE-ATE AN EXPE-RIENCE AS OUR M O N U M E N T TO WYNDHAM.

EXPLORATIONS of FORMSTHICKNESS OF MATERIAL

NUMBER OF LAYERS

CHANGING IMAGES

CONTOURS

We used the BANQ RESTAURANT as a basis for creat-

ing a form. We developed forms to help us decide on a fig-

ure which could create an experience through light and illusion.

FURTHER EXPLORATIONSTO CREATE A MORE HEIGHTENED INTENSITY OF THE EXPERIENCE

We developed the definition further to create a figure which would

greater target the concept of experience. A tunnel system would

draw vehicles and their drivers and passengers into an experience.

The experience becomes more targeted and individual in this way.

CHANGES IN TIME

NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

LIG

HT

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NSI

TY

TIME SPAN DURING NIGHT TIME

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE DEVISED TO CREATE AN INTRIGU-ING AND MORE EXCITING EXPERIENCE.

DAY TIME:IMPOSING PRESENCE OF CONTOURS

IDEA OF CONSTRICTION OF SPACE, CREATING A CLIMAX THROUGH THE DRIVEWAY AS A DIFFERENT EXPERIENCE

CREATION OF A POLYSURFACE TO INHIBIT AND OPEN SPACES

ITERATIONS AND EXPLORATIONS WITH PARAMETRIC MODELLING

I D E A :P O L L U T I O N

Pollution is a major factor in the area of Wyndham, with several factories located with-

in Wyndham and in nearby locales. The factories which pose the greatest problem

are the oil refinement factories located in Altona, nearby to the Wyndham area. The

quality of the air is substantially lowered as a result of these factories in the area.

Pollution is a huge factor in the Wyndham area. We aim to present a critique on the issues of pollution in the area.

Using the previous ideas of light, monument, experience and having a tun-

nel form, we seek to capture the idea of air pollution in a physical form.

Capturing the idea of pollution in a physical form.

EXPERIMENTATION:3 D V O R O N O I

Air pollution is generally invisible to the naked

eye. In order to create a reprsentation of air

pollution, the 3d voronoi system can be imple-

mented to create a ‘visual pollution’. Although

we classify it as pollution, it can be beautiful,

and inplementing the ideas of light, monument

and experience, a design can be developed

which will provide a unique appeal which will

encourage reflection and serve as a critique

for the issue of pollution in Wyndham City.

Using the ideas of light, monument, experience and having

a tunnel form, we seek to capture the idea of pollution in

a physical manner in order to present a critique of the site.

3.D E S I G N P R O P O S A L

The installation must enhance the

physical environment through a visual

arts component.

The installation must have longetivity

in its appeal.

The installation must encourage further

reflection beyond a first glance.

The installation must make a signifi-

cant impact.

We propose a design which will become a

monument of Wyndham.

We propose a design which uses paramet-

ric script to create a complex structure which

will be unique to Wyndham.

We propose a design which will make use

of lights to present an image for Wyndham

during day and night.

We propose a design which will serve as a

critique for pollution in Wyndham.

We propose a design which is a critique for

monuments.

exploded final model

EXPERIMENTATION ELABORATION NARROWED APPROACH FINALIZED CANDIDATE

SITE PLAN ↑ N

IDEA 1P O L L U T I O N

In this design, air pollution is pre-

sented as a visual pollution through

the use of many complex interlocking

panels. The creation of this design

is only possible through parametric

means. During the night, a series of

interacting lights envelops the struc-

ture, creating a magical beauty - re-

memniscent of a twenty-four hour

factory at night with its lights shining

bright. Pollution forms the base of

the design, but it has been adapted

to create a beautiful and complex de-

sign which also is highly intellectual

and a critique of Wyndham’s current

situation.

“CRITIQUING POLLUTION THROUGH INNOVATIVE PARAMETRIC REPRESENTATION TO PROMOTE WYND-HAM’S EMERGENCE.”

THE IDEAS BEHIND THE DESIGN:

A large portion of Wyndham’s air pollution is caused by the oil refining

process. For this design, we create a system where it is not oil that is

being refined, but the people that pass through.

IDEA 2M O N U M E N T

This design is a critique of regular

monuments. Its base form is that

of a TRIUMPHAL ARCH, but the

meaning behind it is somewhat dif-

ferent. The Triumphal Arch is seen

as symbol for success or triumph.

This design presents an image of

visual pollution to capture the idea

of air pollution. Shaped in the shape

of a triumphal arch, it suggests that

upon passing through, a cleansing

has been achieved. Moving into the

tunnel system, pollution is entered.

Upon leaving, the pollution has

been escaped. The design suggests

that there are still elements of the

past, but that there is potential for a

‘cleansed’ future.

“A CRITIQUE OF THE REGULAR MONUMENT, THIS DE-SIGN CREATES A NEW INTERPRETATION OF THE TRI-UMPHAL ARCH.”

IDEA 3EXPERIENCE

We aim to manufacture an experience

that will be remembered and serves as

a true representation of Wyndham. The

box form serves as a way of internalis-

ing the experience of the design, creat-

ing an experience that is all the more in-

tense and spectacular, and also serves

as a critique of the monument. We aim

to create a monument that is about ex-

perience rather than purely about form.

The proposed lighting system will cre-

ate an amazing effect, with light travel-

ling throughout the translucent panels

comprising the design. The lighting can

be controlled to create ‘light shows’ -

the experience becomes even more

unique and exciting. The complexity

and large scale of the design result in

a monumental experience which will

present the ideas of pollution and mon-

ument in an experience which will be

unique to Wyndham.

ISSUE 1M A T E R I A L

THE CONSTRUCTION PROCESS:

The base material for the panels

which comprise the design will be

structural glass. Structural glass will

provide the key qualities of translu-

cency and transparency, whilst re-

maining a structurally strong mate-

rial. Contemporary glass production

methods have reduced the weak-

nesses of structural glass, render-

ing it a material which will be able

to withstand forces from weather or

from collision.

Structural glass has been used in

contemporary designs such as the

Basque Health Department Head-

quarters Gallery (designed by Coll-

Barreu Architects) and Apple’s

Shanghai store.

ISSUE 2J O I N T S

Vital for the structural stability of this

design is the strength of the joints.

Generally designs with structural

glass will have some sort of frame-

work in order to hold the panels in

place. The Basque Health Depart-

ment Headquarters is an example

of this technique. However, as this

design aims to have the structural

glass ‘connected’ directly to its ad-

jacent panels, a different method will

be implemented. Brackets will be

used along the length of the connec-

tions between panels. Bolting will

be used to hold the panels together.

This will require drilling holes into the

structural glass, which will require a

significant offset in from the bound-

ary in order to prevent shattering of

any part of the glass.

ISSUE 3L I G H T I N G

LED lights will be placed underneath

the ground touching elements of the

design in a cabling system which al-

lows changing of light patterns, shin-

ing upwards and using the glass as

a method of refraction and reflection

to spread light throughout the sys-

tem.

These LED lights will be able to

be controlled via a control system.

There can be control over when it

lights up, and how it lights up. This

component of the structure is de-

fined by those who have access to

the control panel. Controllable lights

means that ‘light shows’ can be

made appropriate to the area based

on time.

One example of underfoot lighting

is the Scottish city underpass de-

signed by Bigg Design.

BUILDING THE MODEL:

STEP 1METAL BRACKETS

Brackets are required as the element

which will hold the panels together.

These brackets were originally flat

sheets of metal. A line was sawn

down the middle, then segments of

two different sizes were sawn off.

Using hammer and pliers, the brack-

ets were bent to the correct angles.

STEP 2CONNECTION

In a real life scale, bolts would be

used. For this scale, we used the

brackets to attach the panels togeth-

er with the help of adhesive.

STEP 3LED LIGHTING

In order to create a interactive light-

ing system, several components

were required to create an appropri-

ate circuit. The components needed

were; an LED controller, wiring, and

LED strip lights. The LED strip lights

were split into groups of three cir-

cuits, with each attached alternately

to the R, G and B outputs thereby

creating a lighting system that would

allow a chase effect.

The controller allows change in

the mode of lighting, from strobe to

chase to generic still lighting. It also

allows adjustment in brightness and

speed of the light effects.

Ditches were cut into the model base

to allow the LEDs to fit underneath

the perspex panels which would be

placed on top.

STEP 4PUT IT TOGETHER

The main tool used to connect all the

parts together was adhesive from

a glue gun. The model was placed

onto a black spray painted base,

then glued down to increase stabil-

ity.

DESIGN PROGRESSION

DESIGN CONCLUSION

This beautiful design is unique and is specific for the identity of Wyn-

dham. It is a design which will encourage reflection and afterthought,

from the perspective of a critique, or because of its complexity and

unique qualities.

The ideas of pollution, monumentalism and experience are present-

ed and critiqued in this design through parametric and conceptual

means - creating a design which will have an enduring and endear-

ing affect on the people of Wyndham.

4.F I N A LR E V I E W

Initially, the greatest benefit of ADS:Air was the development of my skills with the

programs Rhinoceros 4.0 and the parametric add-on Grasshopper. As the semester

progressed, the importance of presenting ideas and developments grew. The subject

became less about creating from parametrics, but using parametrics to enhance de-

sign and design concepts.

I found this development extremely important, as it would lead to the shaping of my

understanding of how parametrics could be implemented in a successful way in de-

sign. At the start of semester, with my colleagues, we debated the qualities of para-

metrics, and whether it was killing the idea of the concept. From studying this subject,

I can now understand that parametrics is a tool which can be used in conjuction with

conceptual thinking. It is not necessarily a development which is overriding the idea

of human thought, but a complement, and in fact provides us with a greater range of

options for design.

Although I found the subject to be confusing at times, it was an extremely beneficial

experience as it forced adaptation and advanced interpretations to flourish. The sub-

ject allowed us to develop ideas on a more intellectual level than previous subjects

had allowed.

Groupwork was a major part of the subject, and it was something that I consider to be

successful. Although occassionaly frustrating to have to work in a group, it allowed

a sense of real world activity - as future architects we must learn to work with other

people. It also allowed us to discover where our strengths lay, and will assist in our

future organisation with teammates or colleagues.

After undertaking ADS:Air, I feel that I would be prepared to engage in more paramet-

ric designing, whether in Grasshopper or another program. This subject has helped

me to understand both sides of the parametric argument, and I do not feel extreme

in either direction. Rather, I see that experimentation and understanding of various

design techniques and directions will be the key to being successful in the future.

ADS:Air has provided me with a valuable insight into the future of architecture.

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