ADS3AlexAnDrA Gower 201443

DESIGN

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DISCOURSEA

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DESIGN

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sPart One

Discourse as Design:-Wyndham City Council brainstorm-Herzog and DeMeuron; Ornament-Callum Morton; Art interpreting architecture-Scripting Culture and emotion-R&Sie(n), dunamism and emotion-computerisation, mass customisation

Part Two

Design Devices-Brainstorm- Zoo: Camoflague- Rose: Fractal seqence- Scripting: Butterfly effect- break form: colour

Part Three

Parametric Design- Solution Development- Matrix- Case Study: Cut

Society is changing. The continuing growth of the popula-tion on the limited surface of the world and the reduction of distance within the world through fast methods of travel and instant communication has resulted in a shift in soci-ety’s relation to space. Space is becoming a valuable co-modity. Advances in design tools and construction tech-niques has also altered how and what space is defined.

Architecture is also changing. The introduction of para-metric modeling allows designers to respond factually to site factors and removes many assumptions to allow a new freedom in design. Parametric design therefore enables the designer a fresh appraisal of their project, site and con-text and the ability to respond to the issues in a directly cause and effect manner.

As a suburb in flux, Wynham is moving through these is-sues of space and it’s new meaning in 2012. In many ways this rapid change of a community can be periless. Com-munity identiy can either be revitalised and strengthened when guided in the right direction or completely broken down by the disturbance. It is therefore important for Wyndham to create an icon that engages with contem-porary notion of space exploration and encourages dis-course. As only through discourse can a positive direction be discovered.

Great Australian Dream of the detatched house = Urban sprawl Fastest growing municipality in Australia by %

Per week: 60 babies born and 120 new rubbish bins requested

Rose Garden, fibonacci sequence

Former orchard farming area, mostly family run. Only pockets now remaining

Site for filming one of the car chases from Mad Max, great Australian cultural icon with comments of the sustainabil-ity of our preoccupation with

cars, petrol and speed.

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The Country Suburb

Werribee Mansion: -Historyic landmark-former nationwide recognised art competition, suspended due to financial difficulties

Werribee Races; former cultural event appreciated by general population, suspended due to track reorien-tated as quarentine for Melbourne Cup horses.

Melbourne’s outer west suburb

Werribee open range zoo, African animals with strong fur patterning

Yarra river referred to the spine of the country by local indigenous population

Herzog and de Meuron - Ornament

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Ornament has consistently been a point of contention in architecture. Semper pro-posed that it SOMETHING ABOUT SEM-PER< RUSKIN PERHAPS. The Art Nouveau and Art deco styles illustrated with orna-ment, the new dynamism and energy of the modern period. These previous explora-tions in ornament predominantly focus ed upon ornament as an applied fixture, very separate from the mass of the building. As a result, ornament was rejected by the In-ternational style as a extraneous trapping of past styles and not to be included in a new rational architecture based on the economy of industry.

Architecture materializes an extensive range of elements, some pragmatic but also many arbitrary, interrelated but often contradictory idealizations. These concep-tions, while not entirely related to function, are what differentiates humanity from the animal kingdom and are a vital inclusion in our built form. It is due to these competing factions that successfully balanced archi-tecture, is by nature complex and cannot be comprised of a singular element. Nor can

elements exist in isolation, as highlighted by the Interna-tional style, as units such as ornament consequently loose all significance without context. It is only when individual units are in dialogue as a whole that the distinction be-tween them dissolves and each alters the conception of the next to create an entirely new architectural expression. Herzog and DeMeuron reframe ornament, form and struc-ture to investigate how ornament in this manner shifts the conception of space to something transitory.

The two dominant walls of the Ricola-Europe SA, Produc-tion and Storage building are constructed with translucent poly carbonate panels which have been printed with a re-petitive plant motif. Although weight bearing, the effect of the patterned panels is more like a curtain or robe. Light filtered through the patterning transforms the appearance of the internal space during the day, as the volume seems to shift and recede. At night, the facade material domi-nates, closing and sealing the volume within the confines of the form and becoming more akin to the concrete cap-ping ends.

Australia’s current insistence upon separated space such as the detached family home with specific room designa-tion and private but often underutilized backyard space and consequent unmitigated sprawl is no longer sustain-able. This new conception of space as transitory and flex-ible is an important consideration for the future society of Australia and in particular Wyndham as our fastest grow-ing suburb.

Notes1. Ching, Jarzombek, Prakash, A global history of Architecture, New Jersy; Wiley and sons, 20112. Jean-Francois Chevrier, Ornament, Structure, Space. A conversation with Jacques Herzog, Basel, Winter 20063. Herzog deMeuron, Ricola Europe Storage Building, www.herzogdemeuron.com/index/projects/complete-works/076-100/094-ricola-europe-production-and-storage-building.html4. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012

He defined Featurism as

not simply a decorative technique, it starts in concepts and extends upwards through the parts of the numerous trimmings. It may be defined as the subordination of the essential whole and the accentuation of selected sepa-rate features. Boyd, Australian Ugliness, pp. 22-23.

Callum Morton - Art interpreting Architecture

Design as DiscourseDesign has always involved discourse. Sub-jective elements such as aesthetics traditionally compose a large portion of architectural com-position. Innovation depends upon discourse for stimulus and refinement. Discourse as the final desired product of design however is a new phenomenon. To present ideas and stimu-late discussion as ultimate purpose is a con-ceptual and luxurious notion. Poignant only to the first world, this form of architecture is concerned with the moral elevation of a society not their physical situation.

Discourse as design is contrary to the object prized architecture. It is common for archi-tecture to be described purely as an aesthetic object, without critical reference to function, site or context Although aesthetic objects do engage in the general discourse of architecture, they refer to ideas only familiar to those initi-ated and often use jargon to further alienate general society from reflection or input. How-ever as stated by Williams, when discourse is the aspired to product, it purposefully seeks participation from all members of society. This egalitarian approach is a core objective of Wyndham for this project.

One method of materializing discoursed based design is replacing the focus upon the creation of an object with the creation of an emotional response. More subjective than aesthetics, this primal response cannot be validated by nor re-quires previous knowledge or specific language in order to participate. The psychological effect of architecture has been acknowledged since the C19th with the overwhelming affect of the new building typology of the soaring skyscrap-er in the 1880‘s and the more recent; depres-sion encouraged by the sameness of suburbia as has been stated as prevalent in Wyndham. The purposefully provocation of an emotional

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response, while popular in cathedrals of the gothic period and contemporary art is under-utilized in current architecture.

The art of Callum Morton works to highlight our relationship to and interaction with the built environment. Public and private space are explored, with a focus upon how ‘we en-counter, perceive or experience personal or communal space often unconsciously.’ Val-halla was Australia’s inclusion in the Venice Biennial and is 1/3 scale model of the Morton family home which Morton’s architect father aspired to provide. In its representation for the biennial, the building is not idealized as an object of perfect Australian Modernist ar-chitecture. Instead the badges of habitation and time are celebrated as Morton presents both personal and general stories of child-hood, family and the society of the time, highlighting the positive as well as the not so. Morton hoped that viewers would respond, either sympathetically or critically, to the no-tions of life presented in this physical form and in this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’ The design serves as a prompt for an emotional response and as a consequence, encourage discussion.

Emotional response orientated design is therefore an appropriate device to encourage egalitarian discourse for the betterment of the Wyndham community.

NotesWilliams, ‘Architecture and Visual Culture,’ in Rampley, Explor-ing Visual Culture, 2005Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012 3. (Morton, ‘Babylonia,’ in ACCA Education kit, Melbourne; ACCA,

2005)

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Parametric design offers architecture, as a profession, the op-portunity to reconsider the role of computers in design. Pre-dominantly, computers have simply been approached as alter-native drawing implement to the pen and not to be involved in the conception stage at the risk of thwarting inspiration.

Parametric design places focus primarily upon the process of creation in scripting instead of the final object. When object driven, architects often limit the design focus through initial impressions and preconceived ideas even before the site analysis and research for the project has been undertaken. Alternatively, parametric design can be a design tool whose determined focus upon the process enables systematic analy-sis of the site/brief and even concepts previously considered as ridiculous. Historical applications of this design mechanism include Lewis Carrol’s use of mathematics in his fiction, ap-plying mathematics principles of symmetry and proportion to his writing in order to rationally consider the absurd. R&Sie(n) scripted a code for the FRAC Center project which continues to grow and change from past performed iterations and fur-ther add to it’s own future script. A machine controlled by the script was to adjust the location and extension of glass rods which projected into the courtyard space to form the circula-

R&Sie(n); dynamism and emotional response

tion spaces for the building. The final outcome of the courtyard space is not a static object which can be idealized by the architects but rather a space which is informed by the history of the action of the machine. Although this is impractical for a programme space such as the intended circulation space for FRAC, the idea of dynamism in both conception and manifestation is something sadly lost in archi-tecture today. The progressive script also prevents the architect from manipulating the script in order to achieve a certain preconceived notion of form. This fraudulent approach to parametric design is at risk of becoming commonplace, as designers aim for the parametric aesthetic without comprehending the motivations and possibilities of the tool.

As an ever unfinished space, almost alien in appearance as the rods protrude out to invade the private space of the occupant, R&Sie(n) believe people will respond strongly to the unique nature of the space. Whether this emotion is positive, negative, curiosity or apprehension is not important. The shock of the different and unapologetic change of conventional approach to space is intended to shatter the indif-ference with which many people view their built environment. Habits and conforming dull the senses of observation and reflection, so that subtle changes are not perceived. This is particularly prevalent in commuting driving where boredom and habit slowly reduces the alertness of the driver to external stimulus other than the road. The potential for a unique, unprecedented response to the Wyndham gate-way project as provided by latest technology in Parametric design, would reawaken many people to the project, encourage them to engage emotionally and reflect upon the concepts provoked by the piece.

Notes1. Inaba, Clouette, Unfinished Business, François Roche Interviewed, C-Lab Columbia laboratory for architectural broadcasting, 2006, http://c-lab.columbia.edu/0063.html2. R&Sie(n), Olzweg, Paris, 2006 www.new-territories.com/welostit.htm3. Fornes, Scripted by purpose, Philadelphia; Fuel Gallery, 2007. http://scriptedbypurpose.wordpress.com/participants/rsie-francois-roche/

R&Sie(n); dynamism and emotional response

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Mass CustomisationThe International Style, introduced by the Modernists, established a revolutionary way of living. Although conceived in Europe, this ap-proach quickly spread to many different and often converse condi-tions to where it originated due to globalization. The typology did not perform well when applied to regions with high temperatures such as Australia due to the uniform approach to climate and condi-tions that the open plan championed. Heat and light streamed in and spread throughout and the stimulus of change and self regulation was removed entirely by the need for active systems. Conditions were treated as black/white, yes/no, light and hvac system on/off. Grey did not exist.

A suggested alternative model is the camp fire. With a gradient of heat and light, the inhabitant is able to adjust their comfort by their proximity to the fire. Additionally external influences such as airflow, drafts experienced by the inhabitant, type/condition of wood use etc will change the experience to create a more threshold/dynamic expe-rience and offer a more flexible solution.

In order to convert this transient model into the conclusive mode of built form, a highly complex object must be created. Consideration must occur of both the unit scale and the whole, how each affects the other and is also affected by environmental factors. Computerisation allows Self organization within the built non organic world. Elements respond and adapt to external stimuli which in turn affects the con-figuration of the adjacent component and the whole until equilibrium is achieved.REF An entirely unique space is created by an entirely unique manifestation of the form. In the case of Daniel Coll I Capdev-ila’s, ‘Strip Morphologies; Design Study for Environmentally Differen-tiated Healing Environments’ a unique wall configuration creates a specialized variety of conditioned spaces in the aim of tailorisation to each hospital, ward (wall itself altered) and ultimately patient (choice of appropriate rooms). As stated by LAB; Industrialization in this case no longer equates to standardization but rather mass customisation.

Like a renaissance sculpture, the Wyndham gateway project will be viewed from a multitude of different angles, in both directions on the freeway, the service station, the freeway overpass and the side road. It will also be viewed at a variety of different speeds and heights due to this. With parametric design it will be possible to account for each of these instances and create a work that will be successful from all vantage points while still maintaining it’s character as a whole.

Notes1. Hensel and Menges, ‘Differentiation and Performance: Multiperformance architectures and modulated environments,’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Morphogenetic design, London; Architectural design, 20052. Banham, The Architecture of the Well-Tempered Environment,1Chicago, University of Chicago Press, 1973.3. Hensel, ‘Computing self organisation: environmentally sensitive growth modelling’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Morphogenetic design, London; Ar-chitectural design, 20054. LAB architecture, Federation Square Fractal Facade, www.labarchitecture.com

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Time MovementRAAFCut: Build/destroyMomentaryhistori LegacySamenessShadowWittyNovelyInspiringClaustrophobiReflectWonderUnit WholeRiver as SpineNegative SpaceCommunityCarsPetrolOrnamentSpaceFormColourMix primariesMonumentSoundThe country SuburbArt CommunityCommuterHolidayFreedomMaterialsDynamicKynetic1950PatternsFurEngulgedAnti - indifferentInvoke emmotional reactionpositive changeidentityGreat Australian DreamReframeCar enabledTransform MeaningInnovativeexperience vs objectrefract

InnovationNovelty and Positive change

Establishment in context, acceptance is vitalTransforming meaning

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Dazzle Zebra:To confuse lions in chase. Diffi-cult to estimate speed and direc-tion and discern individual ani-mal from pack

DisruptionLeopard:high contrasting, unrepititious pattern to disrupt recognisable shape outline of animal

CountershadingDeerCompensative application of graded colour. Darker on area likely to be lit by light and lighter on darker areas so as to appear flat.

Self Similar pattern:Same near as farinfi nitely iteratedreduced sizeed copy of wholeirregularity in local and glabal

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Chaos theorySensitive dependent on inital conditionstime travel: minor event = 2 significant different otucomesrecurrance

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Does the flap of a butterfly’s wings in Brazil set off a tornado in Texas? Philip Merilees 1972

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unit and whole: primaries to make secondaries

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tIn successful architecture, a singular object is cre-ated that is composed of many different elements that work together in union to create a better whole. The complexity of this seemingly singular object can therefore seem to many to be produced from a singular flash of genius and that something this harmonious could never be worked towards nor taught in elements as suggested by Kalay. This is one reason why it is common in architecture to be means - ends driven, prescribing the product without opening the mind up to possibilities. Al-though architecture cannot be as rational as Louis Sullivan’s ‘form follows function’ prescription, exploration can be structured so as to encourage discovery and flirting with uncertainty. ‘Solution Development’ as outlined by Kalay establishes the parameters of the design, not as the end goal, but instead as a limited list of components possible and then a method for working through the possibili-ties.

This method is complimentary to Parametric de-sign. The Computerisation of the design enables quick visualisation of forms and changes and as it is componant based this additivie method is pos-sible. A matrix also enables the student to visu-alise which element is working where and which parameters are related to another. In a highly com-plex and interrelated project such as Wyndham Gateway project, with various influences like van-tage points and speed this will be important.

It also enable you to be in control of the situation and avoid, happy accidents.

Unit and whole: pm allows you to populate a base model with other geometries that have been embe-ded info. heirarchy allows you to update unit and affect whole.

Notes1. Kalay, Architectures New Media, 20042. Burry, Scripting Cultures, 2011

In the case of your previous work used as a case-study, of course it is OK to replace it with better examples now that you know better examples. On the other hand, if that part was interesting, it can be preserved or find new life on the Wiki, as a superseded version. You can also include it (possibly in the shortened form) into the section about your learning progress, as evidence of where you were at the beginning of the course. You could then compare that initial effort with your improved argument and explain your progress. Or, you could decide not to focus on this and spend your effort and pages somewhere, where you interest lies. The idea here is that thinking about this and doing this work will encour-age you to appraise the content we are offering critically because you are considering your choices and trying to explain them. Which is a crucially useful ability to develop (in design or elsewhere).

personal development

This stage is something we are trying to improve on by making it well argued rather than arbitrary. Our Research Projects and case-studies will serve as argu-ments demonstrating the innovative characteristics of the chosen approach in contrast with the competition.