final journal air12s2 michelle lee

ARCHITECTURE DESIGN STUDIO AIRThe University of MelbourneLee Qianning Michelle | 590224

Infobox Vienna Central StationSource: http://www.karamba3d.com/infobox-competition/

CONTENTS

6 ARCHITECTURE AS A DISCOURSE7 Previous Studio Works11 Experience with Digital Architecture12 Alila Villas Uluwatu14 Row House

16 COMPUTING IN ARCHITECTURE18 National Musuem of the American Indian22 Milwaukee Art Mtusuem

24 PARAMETRIC ARCHITECTURE26 The Guangzhou Opera House28 Kartal-Pendik Masterplan30 One North Masterplan

32 PARAMETRIC DESIGN EXPERIENCE34 Case Studies •DynamicPerformanceofNature

CUT CASE STUDY 36 BKK- Pavilion for the New Architecture38 Reverse Engineering40 Attractors & Perception41 Aims & Objective42 Matrix Exploration

EXPRESSION OF INTEREST44 Precedent Studies for EOI46 Morphogenesis •DevelopedTechnique48 Morphogenesis •EvolutionofDesign50 Model Making Process51 Final Model52 EOI Presentation Feedback •FurtherDevelopment

12

27

CUT CASE STUDY 36 BKK- Pavilion for the New Architecture38 Reverse Engineering40 Attractors & Perception41 Aims & Objective42 Matrix Exploration

EXPRESSION OF INTEREST44 Precedent Studies for EOI46 Morphogenesis •DevelopedTechnique48 Morphogenesis •EvolutionofDesign50 Model Making Process51 Final Model52 EOI Presentation Feedback •FurtherDevelopment

51

THE GATEWAY PROJECT54 Morphogenesis Part Three •EvolutionofDesign56 WyndhamCity57 Site Chosen58 Concept&Technique60 Further Studies for Final Design •CraigieburnBypass62 Morphogenesis Part Four •EvolutionofDesign64 ScreenplayBench66 Morphogenesis Part Five •EvolutionofDesign68 Prototypemodel(StudyModel)69 Process with Parametric •ParametricDiagram70 Application of Design •EssenceNo.1 •EssenseNo.2 •EssenseNo.3

72 Australian Livestock Fence •ExecutiononSite74 Construction of Final Model76 Material and Construction Details 78 Parametric Experience79 Final Presentation Feedback •FurtherDevelopment

78

51

ARCHITECTURE DESIGN STUDIO AIR | 4


‘Architecture should speak of its time and place, but yearn for timelessness.’

-Frank Gehry

Lou Ruvo Center for Brain Health by Frank Gehry Source: http://www.flickr.com/photos/29820142@N08/4586001600/

IgrewupinSingaporeandisalwaysveryfascinatedandexcitedaboutdesignsandfacadesofhousesespeciallyshophousessinceIwasyoung.MypassionindesignofhousesthengrewandplayingwithlegobecamemyfavouritepasttimeasIcanbuildwhateverdesignsIwantedinmy‘house’.IcametoTheUniversityofMelbournestraightto3rdyearasIgraduatedfromSingaporePolytechnicwithaDiplomainArchitecturewhichwasgivenextracreditpointsandadvancestanding.Afewmonthsbeforestartinguniversity,Iworkedinalocalarchitecturefirmfor

ARCHITECTURE AS A DISCOURSE


Heeren Shophouse, Malacca Malaysia http://www.scdaarchitects.com/web/index.html

threemonthsonauniversityproject located in Singapore and I also had an attachment toanarchitecturecompanyduringmystudiesinSingaporePolytechnic.However,Iprefertodo residential landed projects as a smaller group of architects are involved and the project takes a shorter period of time to complete unlike commerical projects which requireslargeamountofplanning.

PREVIOUS STUDIO WORK

“Allowing nature to evolve into an interactive space.”

Duringmy1styearinSingaporePolytechnic,wearetoproposedanEcoHouseforafamilyof4.Thedesignconcept was to allow nature to evolve into an interactive space.Astheownerwantedthehousetobeeco-friendly,nature is seeped into the space and less enclosures is used. The spaces between the outdoor and indoor spaces are interconnected and an outdoor deck is built bigger for interactivepurposes.Acourtyardandopenterraceisplaced in the middle of the house to allow the spaces to be interactive among its users.

Toallownaturetoseepin,protrudingelementsarebuiltand there is a use of large transparent sliding glass doors andwindowpanels.Trees,bushesandwaterfeaturesarealso placed around the house to block off unwanted views andsoundswhichgivestheownerasenseofprivacy.

Weighingopennessandenclosure,theuseoflesswallsandcolumns allow air ventilation throughout the house. The house is also cross ventilated to allow the air to cool the interior spaces.


From top to bottom: Rendering of eco house using 3Dmax,Physical model of the eco house


Planter boxes are located directly outside every units to allow users to be closer to nature. In addition, green walls and planter boxes with creepers are located at the shelthered terraces allowing users to relax and view nature.

Inmy2ndyear,wedesignedaSOHO(SmallOfficeHomeOffice)foranartistwhorequiresalargeandcondusivespacetopainthiswork.Hewouldusuallyspendmostofhistimeinhisartiststudioand needs smoothing music for him to do his work. The design intentistoexperiencetranquilitywithinlivingspaces.Thusthestrategiesweretoallowtheviewstobefacinggreenery.AlsowhenIthoughtofexperiencingtranquilitywithinlivingspaces,Ithoughtofhavingaquietandcondusiveenvironmentandlastlyaspaciouswork area and at the same time having a clear segegration between workandlivingspaces.Theartiststudioisdesignedwherebyitissegregatedawayfromthelivinganddiningarea,allowingaquietand condusive environment for the artist to paint his work. I also createdtheviewsofthedifferentunitstobedifferent,thestudioapartment is facing the Alexandra park connector while the units with two bedrooms and the penthouse is facing the landscape design. Thus the windows of the living room are designed bigger to maximize the views of the user.

From top to bottom: Rendering of bedroom using V-Ray for Sketchup,back view of physical model facing the park connector, Front view of physical model facing the main road

Double volume spaces are designed to allow maximum

interaction between the dancers and the public.

“The juxtapositioning of spaces and having connections between the public and the dancers.”


Movingontothe3rdyearfinalyearproject,weproposedadancecentreforT.H.EDanceCompany.Thesiteislocatedwithin the Central Business District of Singapore and walking distancefromnumeroushistoricalsites,monumentsandinstitutions.Theaimofthecompanyistocreateabuildingthatreflectsitsuniquefunctionasadancecentre,tofocusontheexperience and expression of movement in space and to create a spacethatinspirelearningandcreativity.Thustheconceptwasto explore the movement of a dancer which I came out strategies such the juxtapositioning of spaces and having connections between the public and the dancers.

Thefeaturespaceofthedancecentreistheresourcecentrelocatedonthe4thand5thstorey.Itiscladdedwithcurtainwall.Partofthe5thstoreyfloorusesglassstructuralfloor.Thisallowslighttopassthrutothe4thstoreyandtheusersfrom5thstoreyisabletoseetheusersonthe4thstorey.Usersfromthe4thand5thstoreyareabletohavingconnectionwitheachother.The4thstoreyoftheresourcecentreismainlyforthepublicwhilethe5thstoreyismainlyforthedancers.

Anotherfeaturespaceisthedancestudioslocatedonthe2ndstorey.Whenusersareattheliftlobby,theyareabletotakeapeekintothedancestudios.Thedancestudiosarenaturallyventilatedasglassblocksareused.These glass blocks allow air flow throughout the studios cooling the spaces.

From top to bottom: Rendering of dance centre using Revit,

Rendering of resource centre

Source: http://www.archithings.net/digital-design-miniproject-by-faculty-of-architecture-and-design-at-aalborg-university

EXPERIENCE WITH DIGITAL ARCHITECTURE

Digitalarchitectureisthe‘in’thinginthiscenturywheremanyarchitectsusetogenerateand share their ideas. One of the Architects that usesdigitalarchitectureisFrankGehry.Handbuilt models are built to capture the design intent.Afterthesemodelsarerefined,GehryPartners uses Catia software to create three-dimensional computer models.

Inpriortodigitalarchitecture,Ihaveused3dsoftwaressuchas3dStudioMax,GoogleSketchup,Vray(aplug-inforSketchup),AutocadandRevitArchitecturetogenerateformsformyproject massings. I also used these programes to do renderings of exterior and interior views for myprojects.

IpreferusingRevittorenderanddrawoutmyplansaswhenIdrawoutmywallsinplans,the three dimensional view of the wall is automaticallyshown.Inaddition,theelementsused in Revit are able to be edited with different physicalpropertiessuchasthematerials,dimensions and internal or external locations.

IhavenexactlyusedRhinocerosandGrasshopperformypreviousprojectsthatswhyIamprettyexcited to start this semester to learn more about these programmes.


Reference:Jigsaw242012,Nottinghamviewed1August2012,<http://www.jigsawcad.com/articles/an-industry-view-the-true-benefits-of-revit-architecture>

AlilaVillaUluwatusitsonaecologicallysustainabledevelopmentlocatedinthesoutherncliffsofIndonesia,Bali.Thedesignofthishotelandvillais a fusion of vernacular architecture with a modernist design and Balinese architecture.

Thebuildingsareinspiredbythelocalfarmerterraces.ThusratherthenusingtypicalsteeppitchedBalinesepavilionswhichwouldhaveblocktheparanomicviews,loosepiledlimestonebouldersandaterracedlowpitchedroofareused.The material of the roof is natural insulating and it blends with the natural landscape.

Individual villas are tiered and oriented at different angles to allow maximum


WOHA, ALILA VILLAS ULUWATU, ULUWATU, BALI, INDONESIA, 2009

Above: View of the private pool in the villaSource:http://housevariety.blogspot.com.au/2011/10/alila-villas-uluwatu-by-woha.html#.UEUqxpbvr0M

“The design of this hotel and villa is a fusion of vernacular architecture with a modernist design and uses Balinese architecture.”


Above: View of the infinity poolSource:http://housevariety.blogspot.com.au/2011/10/alila-villas-uluwatu-by-woha.html#.UEUqxpbvr0M

views of the sea and the horizon. The villa rooms are designed more like a inhabited garden rather than an interior room like anyothervillas.ThismakestayinginAlilaVillasinterestingasitwould make us feel closer to nature. The room allows extensive sunlight to enter which would reduce the use of artificial lighting. Everyvillahasapooloverlookingtheseawhichmakesus‘wakeuptonature’everysinglemorning.

Thematerialsusedaroundthevillaaremostlynaturalorsourcedlocallysuchasstonewalls,timber,bambooandevencoconut.Thismakesthebuildingenvironmentalfriendly. Above: View of the interior of the villa

Source:http://housevariety.blogspot.com.au/2011/10/alila-villas-uluwatu-by-woha.html#.UEUqxpbvr0M

Reference:Archdaily2010,viewed1August2012,<http://www.archdaily.com/59740/alila-villas-uluwatu-woha/>

‘In its simple but rich spatial composition, in its expression of enclosure, and in the way light gives character to daily-life spaces, this house encapsulates an image of my architecture.’ -Tadao Ando

TADAO ANDO, ROW HOUSE (AZUMA HOUSE), OSAKA, 1975

Above: Interior view of the Row HouseSource: http://livegso.blogspot.com.au/2010/10/light-artist-tadao-ando.html

Source: http://www.ananasamiami.com/2011/01/row-house-azuma-house-by-tadao-ando.html

From clockwise direction (left to bottom): Exterior Facade of the house, Courtyard which brings in natural daylight, External staircase in the house from the courtyard

Ando’sworkissensitivetowardstherelationshipbetweennature,climateandalsosubjectstosocialandcultural influeneces.

Thehousesitsonasimple,narrowrectangularsiteandisdivided in two spaces. Ando designed the house to be in contactwithlight,air,rainandothernaturalelementstoconnectbacktotheJapaneselife-style.Thelivingareasin the house surround an inner atrium which is exposed to wind and light to allow the user to interact with the environment.Thecourtyardseparatesthelivingroomfromthekitchen,diningandbathroom.Aninternalprivate street is designed within its enclosure to give usersasenseofitimacyandprivacywhichseparatesthechildren’sroomfromthemasterbedroom.

I like how Tadao Ando design his houses to be closer to theenvironment.ThisallowstheuseoflessenergyandelectricityanditmakesmefeelrelaxandatpeacewhenI am closer to nature. The selection of materials such as concrete allows the house to look natural and blend in the environment as a whole.


Reference:GreatBuildings2012,Artifice,USAviewed1August2012,<http://www.greatbuildings.com/buildings/Azuma_House.html>

Source: http://premiumurbandesign.blogspot.com.au/

COMPUTING IN ARCHITECTURE

I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.” -Maya Lin


The21stcenturydigitalagehasbroughtcomputerstoawholenewlevel.Wecansaythatusingthecomputersareinevitable.ManyArchitectsintheindustryhasbeenusingcomputersasatooltocommunicatetheirdesignconceptsand ideas to their clients.

Inarchitecturaldesign,itusesbothsidesofourbrain-theanalyticalandthecreative.

Computersnevergettireormakeanysillyarithmetricalmistakes,italsohelpsusincollatingalltheinfomation,storingitintoitsmemoryandhasdifferenttypesofprogrammeswhichhelpsusincompletingourtasksefficiently.Asourhumanmemorydonothavetheabilitytostoreeverysinglememorieswehave,thecomputersarereallygoodinthisarea.Forexample,itcouldstoreourworkandevenwhatwedoontheprogrammesthatweuseinthecomputers.

Source: http://fineartamerica.com/featured/home-architecture-plans-soultana-koleska.htmlhttp://www.southcoastarchitecture.com/services/

Communicationplaysanimportantroleinsharinginformationbetweenhumans,especiallyincommunicatingwithdesigners,architectsandtheirclients.Computersareabletorepresentideasgraphicallyandnumerically.Forexample,itallowsarchitectstoworkon2-demensionaland3-demensionalprogrammessuchascomputer-aideddesigntodrawoutplansor3-demensionalmodels.ImagestoshowideasareeasilyfoundontheinternetorarchitectscouldeasilyuseprogrammessuchasAdobePhotoshoptocommunicatetheirideas.Inaddition,audioscanalsobeusedtocommunicateideas.Forexample,asong,audiomessageoravideowillallowtheclient,designer or an architect to understand or learn about situation better or would even give them inspirations for their designwork,

Ascomputersadvance,moreprogrammesareinventedandithelpdesignerstocommunicatewithoneanother.Computershelptopreservethedrawingsascomparedtothehanddrawndrawings.Bolder,moreorganicandinnovativedesignsweredesignedbyarchitectswiththeuseofdigitalarchitecture.Theformsofthebuildingsareslightlymorecomplexandhascurvilinearforms.SomeoftheexamplesarefromFrankGehry’sWaltDisneyinLosAngeles,California,NationalMuesuemofAmericanIndianandMilwaukeeArtMuseum.

However,computersandCADsoftwareshasitsdownsidetoitastheymaybeexpensivetopurchasethesesoftwaresanddesignersorarchitectsrequireextensivetrainningtobeproficientincomputerdesignwhichthentheprocesscouldbetimeconsuming.Alsodespitealltherenderingoptionsthatthesoftwaresprovide,manywillstillperfertomakeaphysicalmodelinsteadofthecomputerrenderedmodeltoaabletovisualisethespacesbetterandmoreefficiently.


Reference:YehudaE.Kalay,Architecture’sNewMedia:Principles,Theories,andMethodsofComputer-AidedDesign(Cambridge,Mass:MITPress,2004),pp1-10

JONES & JONES ARCHITECTS AND LANDSCAPE

ARCHITECTS LTD, NATIONAL MUSEUM OF THE AMERICAN INDIAN, WASHINGTON, D.C, 2004

Exterior view of the National Musuem of the American IndianSource:http://inzumi.com/en/travel/point-of-interest/d_id/New-York-City/c_id/Sightseeing/p_

id/National-Museum-of-the-American-Indian

The fast paced world including digital technology and computer-aided design haveradically transformed the design and efficiencyof Architectural drawings and planning.

The National Musuem of the American Indian in Washington,D.C.designedbyJones&JonesArchitectsand Landscape Architects Ltd. and SmithGroup.The form of the Musuem is organic and innovative,far different from the designs of classical and old traditional museums. One unique feature of thisbuilding is the organic flow of the facade is brought into the interior of the building where the walls are mostly curved with almost or no sharp corners.

Source: http://www.flickr.com/photos/75905404@N00/669287692/ sizes/l/in/photostream/ http://siarchives.si.edu/blog/challenge-preserving-digital- architectural-drawings

MiniCAD is used in designing the National Museum of the American Indian. The programe is much easier for designers and architects as there are many basic drawing tasks and itthinks in a graphical manner rather than in engineering terms. In addition,MiniCAD’smethod of sketching ismoreintuitive and user friendly as comparedto other CAD softwares or programmes.

The programe was implemented into one of the major projects at the exbition gallery in the National Museum of theAmerican History, ‘Audubon & theSmithsonian’.Minicadhelpedthedesignerin designing the project efficiently asmany of the symbols and elements thatthe designer had created could be reuse in theexhibit.Notonly ithelped to savetime and effort, MiniCAD allowed theCAD model to do ‘flyovers’ of the 3Dmodels, where visitors and designersare able to see the exhibit case-by-case.

Furthermore, MiniCAD not only savestimes in modeling in 2-dimensional and 3-dimensional, it also helps to savetime in coordinating efforts as well. The data stored can be read by AutoCAD.

Also, the Cultural Resources Centre(CRC)isalsodesignedbyComputer-aidedDesign (CAD) programe. The designof CRC represents a Native approach to architecture and its landscape shows a flow with the building. The roof of the building are curve with an organic shape and the radial walls compliments with the spiral formswhicharecommonlyfoundinnature.

Plans, sections and elevations are caddedout to show its precision so that the engineers were able to read from the plans efficiently. With the aid of CADprograme, the design of the organicfacade was able to come to realization. Less work was needed to hand drawn and computers were able to calculate the length and degree of the roofs and facades.

From clockwise direction (far left to above): A typical 2D CAD drawing which portays an aerial view of the plan for the NMAI, Main Entrance of the NMAI, Framework of the spiral-shaped roof at the main entrance, Cultural Resource Centre, Interior of the Cultural Resource CentreSource: http://nmai.si.edu/explore/collections/crc/

ARCHITECTURE DESIGN STUDIO AIR | 21Reference:NationalMuseumoftheAmericanIndian2012,SmithsonianInstitution,Washingtonviewed7August2012,<http://nmai.si.edu/explore/collections/crc/>

TheMilwaukeeArtMuseum(MAM)alsoknownastheQuadracciPavilionislocatedonLakeMichiganinMilwaukee,WisconsinanddesignedbySpanisharchitectSantiagoCalatrava.It’smostinterestingfeatureofthebuildingisitsmovable sunscreen - the Burke Brise-Soleil with a 217-foot which could be raised and lowered to provide shade to the interior of the musuem.

Calatrava’sbuildingsareknowntobeinnovative,cuttingedgeandhasaflowyandcurvedform.Heoftenusesmaterialslikesteel,concrete,glassandalsocomputer modeling for his compositions and forms which make his structure possible.

SANTIAGO CALATRAVA, MILWAUKEE ART MUSEUM, MILWAUKEE, WISCONSIN, 2001

Source:http://mam.org/info/details/quadracci.php ARCHITECTURE DESIGN STUDIO AIR | 22

On this: Movable sunscreen- the Burke Brise Soleil

Top: Overall view of the Milwaukee Art MuseumSource: http://www.jjr-us.com/index.aspx?id=1092&section=34

He added Quadracci Pavilion to the Milwaukee Art Museum in 2001. The Quadracci Pavilion served as the grand entrance to the expanded museum. The structure of the roof has seventeen built A-frames. Calatrava and his team used computers to design the A-shaped rafters were custom-fabricated. The A-frame shapes were determined digitallyfromacomputerizedmodel.Theseframesthemovablewingsof the Brise Brise-Soleil which allow natural lighting into the building duringdayandartificialilluminationatnight.

Toseeifthestructureworks,itwasmodeledoutusingCADprogramasatrussinthefiniteelementanalysis. Top: Interior view of the Quadracci Pavilion

Source: http://www.jjr-us.com/index.aspx?id=1092&section=34


“This is a monumental project, encompassing an exceptional architectural and engineering masterpiece”.

-Russell BowmanDirector Milwaukee Art Museum

Reference:Solaripediat2011,Viewed7August2012,<http://www.solaripedia.com/13/375/5128/milwaukee_art_museum_lake.html>

Parametric architecture is the new technology in this 21st century. In parametric design many of theforms which seems unrealistic in the past are now able to put to past using parametric softwares.

Parametricism means all architecture elements and complex are parametrically malleable. There is a shiftbetween the use of elements. Parametrics has evolve from CAD and has exceeded the expectation of just being a drafting tool. It has introduced a level of both control and possibilities to create new forms. Instead of using rigid geometrical figures, the new primitives of parametricism are animate geometrical entities- splines, nurbs andsubdivs.Theuseofparametricmodellinghave inspiredanewcollectivemovementwithmanyradicalandnewambitionsandvalues.Therearealsofundamentalgeometricalbuildingblocksfordynamicalsystemswhichcouldbemadeviascripts.Scriptingcanbeusedtodifferentiateandcorrelateallelementsandsubsystemsofadesign.

The style of parametricism is rooted in digital animation techniques. Advances of the deconstructivismhave been form through the use of parametricism. Parametricism have returned to a form of pragmatic modernism and also a form of eclecticism by mixing and matching different elements together.


PARAMETRIC ARCHITECTURE

“As a style, parametricism is marked by its aims, ambitions, methodological principles, and evaluative criteria, as well as by its characteristic formal repertoire.”

-Patrik Schumacher

Above: Parametric Design Studies on Novel Interiorities for Existing Structural Systems / 0RN8Source: http://www.evolo.us/architecture/parametric-design-studies-on-novel-interiorities-for-existing-

structural-systems-0rn8/


Above: An example of Grasshopper ScriptingSource: http://www.alexhogrefe.com/louver-orientation-grasshopper/2009/6/7/

multi-object-orientation-grasshopper-script-2.html

Howevereverytoolweusehasadownsidetoit.Parametricismtoo,hasanumberofdisadvantages.Parametricsoftware such as Bentley’sGenerativeComponentswhich is based on theirMircostationCAD software is verycomplex and it requires extensive training and amount of time to master. The softwares and also relativelyexpensive. Thus it is difficult to introduce to individuals, schools and even smaller architectural practices.

OtheralternativesareusingGrasshopper,aplug-inforRhinobutitdoesnotslovetheproblemoftheissuesofcomplexityofthesoftware.Grasshopperusersmustwritescripts(usingVisualBasic,C++orRhinoScript)togeneratethegeometrywhichmayputdesignersandarchitectsoffastheymayfeellearningtocodeisaboringandtediousprocess.

Above: Parametric Design Studies on Novel Interiorities for Existing Structural Systems / 0RN8Source: http://www.evolo.us/architecture/parametric-design-studies-on-novel-interiorities-for-existing-structural-

systems-0rn8/

Reference:PatrikSchumacher,2008,‘ANewGlobalStyleforArchitectureandUrbanDesign’,ADArchitecturalDesign-DigitalCities,Vol79,No4,July/August2009

ZAHA HADID ARCHITECTS, GUANGZHOU OPERA HOUSE, CHINA, GUANGZHOU, 2010

Top to Above: Exterior overall view of the Opera house, Interior of 1,800 seat grand theatre

Source: http://www.zaha-hadid.com/architecture/guangzhou-opera-house/

‘The two buildings are embedded in an artificial landscape impregnated with progam and spaces.’

-Patrik Schumacher

TheGuangzhouOperaHousebyZahaHadidisdesigned in collaboration with Patrik Schumacher. TheoutercrystallinewasformedinRhinowhiletheinner,morecomplexandfluidsurfacesinsidetheauditoriuminMaya.Theseorganicformsarecreatedthroughlogaruthms,splines,blobs,NURBSandparticlesorganizedbyscriptsofthedynamicsystemsof parametric design.

The opera house structure is a volume within a volumewheretheauditoriumandflytowerisa concrete box with terraces cantilevering into theauditoriumandlobby.Thegeometryoftheauditorium represents a different mathematical specieswhichusesthesoftwareMayatodevelopasNURBsurfaces.InworkingwithMaya,thearchitectssentdigitalfilestothefactorywherethe


Source:http://mokader.com/architecture/guangzhou-opera-house-by-zaha-hadid-architects/

Source: http://www.zaha-hadid.com/architecture/guangzhou-opera-house/

From clockwise direction (above to right): Sweeping staircase in the main volume, view of the column free foyer, Structural system view of the interior


datawillbetranslatedandmilledintomolds.Theuseofmaterialssuchasglassfiber-reinforcedgypsumcouldbecast.Thusthebuildingswerenotconceivedplanimetricallybutratherweremodeleddynamicallyin3D.

The lobbies of the opera house are voluminous and column free and the cantilevered staircases and terraces cantilever from the threater volumn provide a grand architectural promenade which guides visitors throughout thevoloume.Inthegrandentrancehall,thewindowsarecomposedofmanytriangularpiecesofglasswhichallowssunlightinbydayandtheneighbourhood’sneon-litskyscapersandtowersbynight.

“From the perspective of lighting, the architectural complexity of Guangzhou Opera House does not lie in its structure, but in its space form and architectural shape

which is different to our familiar conventional style,”

-Rongxing Yan, Beijing Light & View’s Chief Engineer

Reference:MichaelTing,AlexanderPrice,MichaelSmith,EricaHenrysson,2011,DesigningwithGrasshopper,MtJosephGiovannini2011,Guangzhou Opera House, ARCHITECT The Magazine of the AmericanInstitureofArchitects,Washington,viewed15August2012,<http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx>

ZAHA HADID ARCHIECTS, KARTAL-PENDIK MASTERPLAN, ISTANBUL, TURKEY, 2006

The Kartal- Pendik Masterplan is a winning competitionproposalforthenewcitycentreinInstanbul. The plan is to redevelop the abandoned siteintoanewsub-centreofInstanbul,withacentralbusinessdistrict,high-endresidentialdevelopmentand cultural facilities.

The project ties together the infrastructural and urban context of the surrounding site. The use of lateral line stitch together the major road connections of the site. Then these connections integrates and connects with the main longutudinal axis which creates a soft gridthatformstheunderlyingframeworkforthewhole project. The net can be bundled to form areas ofhigherprogrammaticintensityaswellastohaveaverticalbuild-upofthecityfabric.

Above: Rendered aerial view of the city centre

Above: 3D Rendered view of the city centreSource: http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/#


Above: Rendered sea view of the city centre

Above: 3D Rendered view of the city centreSource:http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/#

Thefabricisthenarticulatedbyanurbanscript that helps to generate different typologiesofbuildingsthatrespondtothedifferent demands of each district. This is done using a parametric software. Then the calligraphic script creates different forms and open conditions which can be transform from the buildings. The soft grid incorporates possibilitiesofgrowth.ThemasterplanbyZahaHadidincollaberationwithPatrikSchumacherisadynamicsystemthatgenerates an adaptable framework for urban form.


Reference:Arcspace2007,viewed15August2012,<http://www.arcspace.com/architects/hadid/kartal_pendik/kp.html>

Above: Rendered Massing blocks Masterplan of One NorthSource: http://www.urbanarchnow.com/2012/03/bldg-list-singapore.html

Above: Rendered Masterplan of One NorthSource:http://www.zaha-hadid.com/masterplans/one-north-masterplan/#

ZAHA HADID ARCHITECTS, ONE NORTH MASTERPLAN, SINGAPORE, 2003

ZahaHadid’sOne-NorthMasterplanisanext-generation urban model for a new mixed development site in Singapore. The plan of One-NorthMasterplanistoaccomodateto50,000newresidentsand70,000workerswhichwillincorporateauniquelydesignedtransporationinfrastructure.

Zahahadidresearchedintothemanipulationof groundforms and experimentation with the spatialquality.Theapproachforthemasterplanstresses the connecting lines between the fabric andphysicalprogrammeofthedevelopment.Theuse of parametric software was put to good use in planning and coming out with renders for the master plan.

ARCHITECTURE DESIGN STUDIO AIR | 30Reference:Arcspace2001,viewed15August2012,<http://www.arcspace.com/architects/hadid/One_North_Masterplan/>

“Parametricism aims to organise and articulate the increasing diversity and complexity of social institutions and life processes...”

- Patrik Schumacher, Let The Style Wars Begin- The Architects’ Journal (May 2010)



Top: Parametric model of housing unitSource: http://www.evolo.us/architecture/eco-sustainable-housing-parametric-design/

PARAMETRIC DESIGN EXPERIENCE

Tome,thereisnoprecisedefinationtoparametricdesignasitcanincludemanyothertypesofdesignsintoit,suchascomputating,computeraidedandevendigitaldesigns.Parametricisaverybroadtermanditusescomputertodesign instead of regular pen and paper.

Inrhinoandgrasshopper,weareabletousealgorithmsandformulastoworkoutandfigureoutourdesigns.Theseuseoftechniqueshelpdesignersandarchitectstovisualizeandmaximisetheirideas.

Howeverwhileintheprocessofusingrhinoandgrasshopper,Ifounditdifficulttoadapttothesoftwareasgrasshopper is rather different from other programmes.Rhinoandgrasshopperhastaughtmenewinsightsaboutparametricdesignswhichcouldbedonesoeasilybyjustplayingaroundwiththefunctions.Withoneelement,manydifferentvariablesarecreatedwiththeuseofdifferentfunctionsinGrasshopper.Inaddition,theuseofattractorpointallowsthedesignerorarchitecttosimplyvisualizetheobjectinadifferentpointofviewandstylebyjustchangingthelocationoftheattractorpoint.

OneofaparametricdesignisbyFedericoRossi in a housing competition during 2007. The design is generated through using variables whichisgroupedintoasystemandthusgenerating different variations of outcomes.

The housing unit of the project uses a rhomboid framework which are constrained within two strips which form the above parametric model. The model is able to have differentoutcomebyjustchangingthelength,width and thickness of each elements.

Thus,Ifeelthatthoughtheprocessoflearningrhinoandgrasshoppermaybetoughinthestarting,onceIknowhowtousetheprograme,itcansavemealotoftimeandhassle.Mydesignscouldbemoreboldandoutofthebox.


Top: Variation of different types of modulesSource: http://www.evolo.us/architecture/eco-sustainable-housing-parametric-design/

Reference:Evolo,2012,UnitedStatesviewed21August2012,<http://www.evolo.us/architecture/eco-sustainable-housing-parametric-design/>

ThisinteractivemediainstallationisdesignedbyYongJuLeeandBrianBrush,partnersofNewYork/Portland-based design collaboration EB office. The installation acts as a transitional space between the exhibit spaces in the museum and it helps to communicate globalenvironmentalinformationthroughadynamicandinteractiveinterface.Theinstallationusespanels,staticmaterials and the colour spectrum given out from the installation to allow its viewers to see a flow of spectral waves.Whenthevisitorstothemusuemvisittheinstallation,everydifferentangleoftheinstallationwilllookdifferentlyandalsotheinstallationchangesitscolourthroughitstemperaturesanditswindspeed.Visitorsareabletointeractwithinstallationbyusingtwittertosendmessagestochangethecoloursofthepanels.

EB OFFICE, DYNAMIC PERFORMANCE OF NATURE, SALT LAKE CITY, 2011

Source:http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_office


From Clockwise direction (Left to above): Installation located in Salt Lake City’s Leonardo Museum of Art, Science and Technology, Colours of panels which reacts to the global weather, the use of Parametric software for the geometry

Source: http://www.hz-journal.org/n17/brush.html

Source:http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_office

Theinstallationusestheparametricsoftware,Grasshoppertocomeoutwiththescripting.Grasshopperallowedthedesignprocesstoshiftfrommanualmanipulationofgeometry,toallowthedesignofmathematicalrelationships between geometric entitles.

Whatwedrawfromthisprojectisthedynamicflowofviewsandtherhythmthatitgivestheusers.


Reference:Bustler,2011,Viewed21August2012,<http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_office>2012,DynamicPerformanceofNature:AugmentingEnvironmentalPerceptionThroughSocial

Above: Overall view of the Pavilion for the New ArchitectureSource:http://www.sial.rmit.edu.au/Projects/Pavilions_for_ New_Architecture.php

BBK ARCHITECTS, PAVILLION FOR NEW ARCHITECTURE, MONASH UNIVERSITY MUSEUM OF ART, 2005

The bkk installation creates a visual illusion for the user aswhentheuserstandontheoutsideoftheinstallation,it looks rather solid. However when the user is inside and theheadisplacedspecificallyonthepointoforiginortheattractorpoint,theboundaryofthicklinesseemstodisappearintothinlines,blurringtheboundarybetweenthe internal and external space and creating a sense of infinite projection.

Whatwedrawfromthisprojectisthequalitiesofcontrastwegetfromtheplayofattractorsandthedirectionalqualitiesitgiveswhichinferredfromthe“infinite projection”.

ThePavilliontypewasfirstchosenasastartingpointbecauseofitstypicallyexperimentalnatureandtheabsenceofprogrammaticrequirements.Itwasthendesignedbyadigitalsoftwarebeforemakingitsphysicalconstruction.

TheformofthePavillionwasinspiredbygeometricandstructuralformsofmainlytwobuildings;BuckminsterFuller’sMontrealExpoGeodesicDomeandToyoIto’sOrthogonalSerpentinePavilion.Bothstructureofthebuildingsusessteelframeswhichhasa‘transparent’skinoverthestructure.Thepavilionforthenewarchitecture gives the impression of a sphere caught within a cube.

Inordertobuildthisstructure,firstly,ageodesicsphereiscreatedthenusingacentrepoint,itisthentrimmedagainstaninnerandoutercube.Anumberofvariationscouldbecreatedusingparametricsoftwarebyjustchanging the position of the centre point or the size of the intersecting cubes.


Top left, right: Toyo Ito’s Orthogonal Serpentine Pavilion, Buckminister Fuller’s Montreal Expo Geodesic DomeSource:http://www.toyo-ito.co.jp/WWW/Project_Descript/2000-/2000-p_08/4-800.jpg

http://www.flickr.com/photos/christiangates/4708789561/

Above: View from the interior of the pavilionSource:http://www.sial.rmit.edu.au/Projects/Pavilions_for_New_

Architecture.php

Reference:RMITUniversity2006,Australiaviewed28August2012,<http://www.sial.rmit.edu.au/Projects/Pavilions_for_New_Architecture.php>


REVERSE ENGINEERING

TocreatethePavillionforNewArchitecturebyBKKArchitects,firstaboxiscreatedingrasshopper,thenpopulation3Disusedtopopulatetheregionwithpoints,randomly.Voronoiisthenusedtocreatedifferentshapes with the points created using population 3D.

However,wefoundoutusingpopulation3disthewrongtechnique.Thus,wetriedusingpopulation2Dinsteadas we wanted to extrude thru the surface instead of the cube.

Above: Grasshopper scripting of using population 3d and Voronoi

We then connected voronoi to population 3D and came out with the 3D image on the left.

Next the cube is scaled bigger to allow the planes to loft each other. As we had an attractor point,theplanesalllofttowardsthe attractor point.

Another problem we encounter was that we could not offset the lines to give the form thickness. We also couldnt pair up the geometries.

This was the form we got afterextruding the planes.


Above: Grasshopper scripting of using population 2d and Voronoi

Ourgroup’sideaistousetoattractorsandperceptionasourstartingresearchtocreateapleasingvisualimpactbyusingapolychromaticmodularsystemwiththeuseofdifferentcoloursandaplayofsolidandtransparencyofmaterials.

ATTRACTORS & PERCEPTION


Above: A photo of a polychromatic art paintingSource:http://fineartamerica.com/featured/polychromatic-charles-yates.html

AIMS AND OBJECTIVES

Themainobjectivesaretocreatevisualimpact,havinganottoocomplexmodelandthescaleofthestructureiswithin the field of the driver.

Byallowingthethestructuretohaveavisualimpact,avarietyofperspectivesiscreatedwherethereisacolourcontrastinitandalsocapturetheattentionofthedriversdrivingfrombothsidesofthehighway.Asthestructureisincomplex,driverswouldbeabletoappreciateitinashorttimingwhiledrivingpastit.Also,byplacingthestructurehorrizontallyalongtheroad,itismorevisiblewithinthefieldofviewofthedriver.


Above: Photo of Wyndham highway

TECHNIQUE1 2 3

4.1 4.2 5

VARIATION1

2

3

4

1

2

3

4

MATRIX EXPLORATION


TECHNIQUE1 2 3

4.1 4.2 5


ANALYSISThedifferenttypesofmatricesareaplayofusingdifferentmodules,thickness,denisty,imagesamplerandsizeofthemodules.

The use of an image sampler gave us the different depth of different modules which related back to the image we put in. However,wefoundthattheimagegivenoutwasofnouseandturnedoutlookingmessyandcomplicated.

Wethentriedplayinguseofpanelswhichwefounditmoredirectionalandlesscomplicatedandbyhavingitbreakingdowntosmallermodulesallowedmoreflexibilitytoplaywith more options and different variations. Panalisation also allowedustoplaywithrhythmsandtheflowofthemodulesand forms.

We then decided to choose panalization with the use of attractor points which would attract the attention of the driver at different points.

PRECEDENT STUDIES FOR EOI

FOREIGN OFFICE ARCHITECTS, SPANISH PAVILION, JAPAN, 2005

Above: Overall patterns of the HexagonsSource: http://www.architecture.com/Awards/RIBAInternationalAwards/2005/Spanish-Pavilion.aspx

Above: Non repeated tilin composing six elements of distinct colour and shape

Source: http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion.pdf

ThespanishPaviliondesignedbyForeignOfficeArchitectswastogiveanexpressiontothehybridizationofJewish-ChristianculturesandtheIslamicinfluenceontheIberianPeninsula,bothsoevidentinthehistoryofSpanisharchitecture.Thedifferenttypeofarchitectureelementsofthethiscultureofsynthesiswerechosenanditwasthetypesofspatialorganization,structural elements and the eneveloping and decorative elements.

The lattice created for the pavilion is an appropriate cladding solution for theexistingpavilionboxanditconsistedofsixdifferenttiles,basedinahexagonalgrid,codedwithacolour.Thepavilionproducesapolychromaticsystemwherebythehexegonalpiecesneverrepeatitself,thusproducingavaryingpatternofgeometryandcolour.Thesixcolourofthetileschosenarethevariationsofredandyellowofthenationalflag,reflectingthecoloursofwine,roses,andthebloodofthebullfights,sunandsand-coloursuniversallyassociatedwithspain.

Above: The play of solid and voids used in the facade of the pavilionSource:http://designmuseum.org/__entry/4876?style=design_image_popup


Thebuildingnotonlyplayswiththedifferentcolourschemebutalsotheselectionofsolidandvoidsofthefacadeforvariousreasons.Theventilationandlightingofspaceplaysahugeroleinthepavilionwherebyitconcernsthelightingeffectandqualitiesgivenwhichimpactbothemotionandimpressionoftheuser.

Whatwedrawfromthisprojectistheuseofpolychromaticmodularsystemwhichgivessomerhythmtothepavilion.Thecorrectselectionofsolidandvoidsalsohelpsthepaviliontolookaestheticallypleasingandalsohelpthebuildinginmanytechnicalfunctions.

Reference:Digiitalarchfab2007,viewed7September2012,<http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion.pdf>

Source: http://artpause.com/abstract/100637-mondrian-inspired-3d.html

MORPHOGENESIS PART ONEDEVELOPED TECHNIQUE


MODULES

ATTRACTORS COLOUR


EXPLORATION OF TECHNIQUESWechosepanalizationwiththeuseofdifferentamountofattractorpoints.Fromthesematrices,wecanseetheevolutionofourdesign,startingfromthepanelswhichwethenbreakdownintomodules.Afterwhich,weaddedthetechniquethatisrelatedtoourareaofinterest-attractor and perception. The use ofattractorpointshelpedtoorienatatethepanelinacertaindirection.Wealsotestedoutofusinglayersofmodules.

Selectionoftheamountoflayersandpointsisasubjectivebutcriticalanalysisisbeingcarriedoutthroughgroup discussion to strike a balance of effectiveness of the objective and level of distraction. This is how we decide on using 6 attractors and 3 levels. We felt that using 6 attractors would be ideal to allow the driver to haveavarietyofviewswhereasbyusing2or4attractorswouldbetoolittletoattracttheattentionofthedriver. The use of 3 levels would be almost perpect to allow the view of the driver to see as he/she drives pass as one level of the module would be 2 metres in height.

Next we move on to make it attractive through colours/addition of materials. This selection goes through two levelofstudy,whichgivestheproject2levelsofrhythmsfordriverswhodrivepass.Firstwasthestudyofsolidandvoidsbyusingtheplayofopacityandtransparencyofthematerial,nextwasthecolourselectionandarrangement.Theselectedarrangementandcoloursarechoseninrelationtothepolychromaticeffectthatissimilartoourprecedentstudywherebythereisorderandsysteminachaoticarrangement.

Above: Plan view of the model

PLAY OF SOLIDS AND VOIDS WITHOUT THE USE OF COLOURS

TESTING OUT OF DIFFERENT COLOUR COMPOSITIONS

Left: Final 3D view of the model in Illustrator

MORPHOGENESIS PART TWOEVOLUTION OF DESIGN


FINAL COMPOSITIONS USING THE CHOSEN LAYOUT OF SOLID AND VOIDS

Left: Elevation of the final structure drawn out using CAD Software

Wefirststudiedtheuseofsolidsandvoidsbycoming out different variations without using anycolourtoseetheresultsofit.Byplayingaround with the solid the voids we came out with linear patterns which we found it rather boring and mundane which doesnt give a visual impacttothedrivers.Wethenplayaroundandcame out with different interesting patterns. The selected pattern was based on the amount of solids and voids in each area and the solid and voids are spread which does not look complexormessy.Thechosencompositionalsogiveasenseofrhythmanditisamodularsystemof5.

Atthesametime,wealsotriedplayingwith colours to get the variations of colour compositions and patterns.

However,wewentbacktoourchosencomposition with just the solid and voids as wewantedtofocusonthequalityitgivesus.Thenbyusingourchoosencomposition,weusedcolourstoanalyseandexploreevenfurther. The selected arrangement and colours arechoseninrelationtothepolychromaticeffectthatissimilartoourprecedentstudywherebythereisorderandsysteminachaoticarrangement.

otherwasverylittleanditwillnotgluewellandfalloffeasilywhengluedtoeachother.Wealsohadanotherproblemasthepanelswouldbetooheavyandcouldnotbegluedtoourbase.

We then came out with a solution to cut out little triangles as the base for the different levels of each modules. Asforthebase,wedecidedtouseperspexandcutoutslitstoslotinforeachpanels.Bydoingthat,eachpanelswouldbesecuredandweneednotworryonhowthemodelisgoingtostand.

Formaterialwise,wechosetouseperspexthattheFabLabofferedasitgivesustheopacityofdifferentcoloursandtransparencyofthematerialswhichwouldsaveustimebyhavingtopainteachmodulesifwewereusingothermaterials.Oneofthethoughtwasthattheperspexmightbetooheavyandcouldnotbegluedusingsuperglue.However,itturnedoutfineandtheeachmodulewasratherlightduetothesizewecutout.Thususingsuper glue to glue the pieces together turned out good.


Aftermanythoughtsanddiscussions,wefinal settled on our form of the structure and scale and size of our modules. We then decided to laser cut our model which we found would be the most efficient and fastestwayforustobuildthemodel.

However our group came up with problems as we could not find a solution as to how we place our modules on top of each other asthemodule’ssurfaceareabetweeneach

MODEL MAKING PROCESS

Use of triangles as the base for

different levels of each modules

From clockwise direction (top left to bottom): Laser cut perspex ready to build our model, Different colours of modules we used, Final outcome of our model

The final model shows a sense of

rhythmandtheuseofpolychromatic

modularsystem.Themodelwas

builthorizontallyalongthehighway

insteadofverticallysothatitcanbe

seen within the view of the driver. As

thestructureisnotcomplex,itwill

not distract the driver while driving.

The different attractor points of

the modules attracts the drivers at

different points.


FINAL MODEL

From top to bottom: Final outcome of our model, Close up shot of each modules

EOI PRESENTATION FEEDBACKFURTHER DEVELOPMENT

TheExpressionofInterestpresentationbroughtmemanynew insights from learning from the other groups and how theypresentedtheirideasandarguments.

ThecritqueoverallwasbetterthanwhatIhaveexpectedaswereceivedmanygoodcommentsaswellasideasforourgroup’simprovement.

Whatwehadpresentedwithourtechniquesweregoinginthecorrectdirection.Thepanellikeourideaoftheplayofopacityandtransparencyinthemodel.Themanyfeedbacksgiven from the panels helped us to move on from what we have now.

The panel feels that we have so much more to explore andgainwithourmodelbyusingparametrictoolthatwe should push ourselves even more. We should work on thebuildabiltyofthemodelasofnow,themodelisnotbeing able to be build on site. One idea is to have a proper corestackingofthemodulessothatitcanbebuildeasily.Anotherideaistohaveaweavingandwrapingtechniquewhere one panel does not stand alone but its all interlink into one model. Next we should relate our model back to thewyndhamsitecontexttoexplorethesiteandallowthefreewayarttobemoreadaptabletothesite.

Forthemodules,itshouldbesmallerandmoredenseasofpresent,driverswhodrivepassourfreewayartcouldnotnoticethereareactuallyattractorsinit.Thefeedbackgivenwas to look at works of ARM Architecture which some of thebuildingshassimiliarqualitiestoours.

Top to bottom: Site of the Wyndham highway



“All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.” -G. K. Chesterton

Source: http://www.flickr.com/search/?q=long+exposure%2C+traffic&f=hp#page=4

THE GATEWAY PROJECTMORPHOGENESIS PART THREEEVOLUTION OF DESIGN

Fromthemid-semesterdesign,themodel

is being manipulated and redesigned to the

comments from the mid-semester panel.

Layersanddirectionsofeachmodularsystem

is being changed and edited to bring a different

sense to how we want our model to be.

The curve used is standardised which is made

up of two arcs. This is to allow the design to

haveamoremodularsystem.

The orientation of the different modules were

taken into consideration as from the previous

design as it looked too far apart and random. It

also did not give a focal point as there were too

little modules use which made it not obvious

for the user.

The use of parametric tool has made it easier

with the manipilation of the design.



“The proposed site for the Western Gateway offers a high exposure location to those entering the urban precinct of the municipality, as well as to those travelling along the freeway.”

-Western Gateway Design Project

Source: http://www.wyndham.vic.gov.au/

WYNDHAM CITY

BRIEF

ThebriefoftheWesternGatewayDesignProjectistocreateaGatewayintoWyndhamforcityboundtrafficonthePrincesFreeway.Theprojectistodesignanexciting,eyecatchinginstallationatWyndham’sWesternGatewayanditwillbeviewedbymotoristtravellingathighspeedprovidingthemthefirstindicationofarrivalintometropolitanMelbourne.Thepurposeofthefreewayartinstallationistodevelopaproposalthatinspiresandenrichesthemunicipality.

SITE DESCRIPTION

WyndhamCityislocatedaroundthesuburbsofWerribee,HoppersCrossing,PointCook,WyndhamVale,TruganinaandTarneit.Ithasbeforeacityofmorethan430,000people.ThesiteislocatedontheroadreservesadjacenttothePrincesFreeway,attheinterchangewiththePrincesHighway(GeelongRoad).SiteAis located at the 90 metre wide road reserve with the sound-bound and north-bound traffic along the Princes Freeway.SiteBformthepartofthegatewaytreatmentandisthevergebetweennorth-boundtrafficalongthePrincesFreewayandthefreewayoff-rampontothePrincesHighway.SiteCislocatedtothewestofthefreewayoff-rampontothePrincesHighway.

Above: Aerial view of the Princes highway which includes Site A, B and C


SITE CHOSEN

LOCATION PLAN(NOT TO SCALE)

NORTH BOUND

SOUTH BOUND

From top to bottom: Photo of site from North bound, Photo of site from South Bound

SITE ASite A was chosen as it is the main focal point for the

project. The installation is placed at the start of site A.

Thus motorist driving from both North and South Bound

onPrincesHighwayisabletoappreciatetheinstallation.

Another reason for choosing site A is also due to the its

horizontallinearityofourinstallation.


CONCEPTTo replicate a visual image that represents the character of the site

TECHNIQUEThe techniques used are to create movement by having a variation in density of lines and heights.

Source: http://www.flickr.com/photos/blacksplat/6303465100/lightbox/

FURTHER STUDIES FOR FINAL DESIGN

TONKIN ZULAIKA GREER ARCHITECTS, CRAIGIEBURN BYPASS

Wethenlookatexamplesofhighwayartinstallationwhichwassimilartowhatwewerelookingat.The

CraigieburnBypassisahighwayinstallationwhichcontinuestheextensionofMelbourne’svibrantdesignculture

intothecity’speripherywasdesignedtobeexperiencedbymotoristatafreewayspeedof110kmperhour.It

createsalinearsculpturalexperienceformotoristdrivingalongthehighway.Therearethreeseriesofsculptural

soundwalls,apedestrianbridgeandasetofdesignparameters.Thebypassallowsdrivingalongthegentlyrising

andcurlingbypasswhichiscreatedwithanextendedtiltingarcofCortensteel.Thepeakofthecurveand

gradientofthistframesthefirstviewofthecentralcityonthehorizon.

Thebluebladescomplementtherustingorangeandasthedriverpassesthelongcurve,thesebladesfollowsthe

unfolding‘S’ofthebend.However,itcoilsbackagainastheybegintofallawayfromtheroaduntilitpeelsaway.

Above: The blue blades of the bypass follows the unfolding sweep of the road which then falls away as they peel away at the ring road

Source: http://www.tzg.com.au/projects/craigieburn-bypass


Reference:LeonVanSchaik,2005,CraigieburnBypass,Architecture Australia,July/August,https://www.architecturemedia.com/aa/aaissue.php?issueid=200507&article=12&typeon=2

“A second series of walls by Taylor Cullity Lethlean, are translucent and transparent, preserving light and views from residential areas.” -Tonkin Zulaika Greer Architects

Thepanelsarebothvisiblethroughoutthedayandnightasithasacontinousperspexscreenwhichhelpstobe

seenatnight.Thesewallsaretranslucentandtransparent,perervinglightandviewsfromresidentialareas.The

screenisetchedinapatterntofiftypercentofitssurfacearea,withanarrayofLEDlightsandareoverlaidwith

coloured precast concrete blades. These panels acts as a sound insulation for the neighbouring neighbourhood

lessenthenoisepollutionofcarsfromthehighway.

Fromthisprecedent,ithelpsusunderstandingtheuseofhighwayinstallationandhowitisdifferenttoother

installationastheusersareonlyallowtoappreciateitforashortperiodoftime.Theuseofinstallationforday

and night brought us into discussion of how we wanted our users to view during the night. The use of colours in

thebypasswassimilartoourmid-semesterdesign.Sitecontextisimportanttotheinstallationasitcanbeusedto

influence the neighbouring sites. The use of walls in the installation gives a visual impact to the drivers and at the

same time helps to frame views.


Above: The screen with LED lights at nightSource: http://www.tzg.com.au/projects/craigieburn-bypass

Themid-semesterdesignwasthenexploredbyhavingsmall

modules which could be stacked on top of each other allowing

each module to be more fluid and organic. This helped to create

amoredynamicformascomparedtothepreviousdesignof

having each vertical module pastedt onto a transparent triangular

basewithdifferentangleofrotation.Byhavingsmallermodules,

ithelpedinslovingthepreviousproblemofbuildability.The

stacking and twisting of modules is similar to a helix design.

Above: Helix designhttp://www.clipartof.com/portfolio/kjpargeter/illustration/three-twisting-double-helix-dna-strands-spanning-horizontally-over-a-white-background-24631.html


MORPHOGENESIS PART FOUREVOLUTION OF DESIGN


Byallowingtheinstallationtohavemoredepth,ahollowhelixframewasdesigned.Thisgaveadepthandallowed

amultiplelayeringeffecttotheinstallation.Thevariationofheightandsizesofeachmoduleweretakeninto

consideration and were placed on a curve. Then modules were then coloured in different colours. The placing of

eachmoduleonacurveanditscolourgiveavisualimpacttomotoristanditenchancesthelayeringeffect.

However,thisdesignwasnotfeasibleasithadaproblemonbuildabilityandeachmodulewasplacedindividually

which had no connection between each other. The idea of twisting was still strong and we researched on different

precedent projects to allow our idea to work.

OYLER WU COLLABORATIVE, SCREENPLAY BENCH


“We like to fully explore a material and seeing what it can offer before moving away from it.” -Wu

Above: Dense application of rope creates a dense like effectSource:http://www.suckerpunchdaily.com/2012/08/07/screenplay/

TheScreenplayBenchprojectiscreatedfor the Dwell on design 2012 festival in Los Angeles,California.Theconceptforthisprojectmainlyexplorestheuseofmaterialswhichplayswithvisualperceptionbyweavingaroundthelightweight steel frames to create an optical illusion. The steel framework with the rope forms a thickened undulating screen made up of dense line work.

The screen wall is made up is seen as a series of patternswhichisrecognizedbytheviewerandthere is a fourth dimension as the viewer walks

‘As the viewer moves around the wall, its three-dimensional qualities reveal a more complex system of deep sectional cavities, twisting surfaces, and material densities.’

around the installation which reveals its complex nature,oscillatingbetweenseriesoftwistedsurfacesandbytheintriguingplayofcavitiesandmaterialdensities.Thus,thiscreatesanintentionofprovokingasenseofcuriosityasitslowlyrevealsitsformandcomplexitythroughphysicalandvisualengagementwith the installation.

“Twisted surfaces form different sections of the piece, creating a pattern.” -Oyler Wu Collaborative

Above: The use of rope giving a weaving effectSource:http://www.frameweb.com/news/screenplay-

bench-by-oyler-wu-collaborative

Above: Project serves as a furniture pieceSource:http://www.frameweb.com/news/screenplay-bench-by-oyler-wu-collaborative

Reference:SuckerpunchDaily,2012,SuckerPUNCH,California,Viewed7November2012,<http://www.suckerpunchdaily.com/2012/08/07/screenplay>FrameWeb,2012,California,Viewed7November2012,<http://www.frameweb.com/news/screenplay-bench-by-oyler-wu-collaborative>

The installation is also made into a furniture which is a seating place. Asforitsstructuraldesign,therewasaneedfordynanismandvisualcontinuity.Thishadledtotheexplorationofmethodswhichthenintroducedgeometriccomplexity.

ThestudyoftheScreenplayBenchhasfurtherpushedourdesigninvisualcontinuitywhichwaspreviouslylackingduringthemid-semester.Wedecidedtotakeonthetechniqueofweavingbyusingarigidframeasastructuralsupport.Theplayofvariationincavitiesandmaterialdensityissimilartowhatwewanttoachieveinourdesign.



MORPHOGENESIS PART FIVEEVOLUTION OF DESIGN

The evolution of the design has taken a rigid form which were then lofted to the achieve different aestheticqualities.Ahexagonshapewas used as the frame as it has different sides which allow lofting withdifferentlayersbetweenthedifferent modules.

The exploration and variation of the design starts from the top all thewaytothefinallastdesign.Thecoloursusedaremainlytoshowthedifferentlayersofloftingandweaving patterns.

Firstly,wetestedbytheexplorationofweavingtechiniqueandbyusinglinesastohowScreenplayBenchuses ropes.

Next it is being lofted together as awholetoseeitseffect.However,the model was not what we wanted to see as it does not have the dynamicflowtoit.

Then the model is being lofted to together in another variation. However,wefeltthatthismodeldidnothaveasenseofcontinuity.


The model was changed to and there was in introduction todifferentlayersbeingloftedtogether

Thedensityandcavityofthelofting then varied making it more dynamicandallowingittohaveasenseofflowandfluidity.

Itwasthentestedagainbytheadding of different heights to allow a strong flow to the installation. However,thedynamisnofitwasnot what we wanted to acheive.

Lastly,wetriedtoexploreonthethe variation of size and how we can manipulate the shape. We came up with four variations of the shape which has three different sizes;small,mediumandlargeand another shape was two small hexagon stacking on top of each other. The variation of heights createdadynamicflowwhichhaddifferent sizes of cavities due to the different shapes. The distance of the shapes placed were also put into consideration as it form differentsizesofcavities.Lastly,the shapes are placed along a curve. The lofting was then weaved using stringsbyadjustingtheamountofdensityandweretestedoutinaprototypemodel.

PROTOTYPE MODEL(STUDY MODEL)


First Layer of Strings Second Layer of Strings

Third Layer of Strings

Third Layer of Strings

Aprototypemodelismadetoshowitsspatialqualitiesbetweentheuseinnumbersoflayersofstringsandthedensityofit.Inthefirstlayerofstrings,ittendtobevastlyopenandtherearelittleornoqualitiesseeninthespace.The strings are being tied to the first module and it looks rathermessyseeingtheknots.Thus,theendofthestringare complied and being tied back to the base which has a neater finish to it. Each string is being looped around astheyweavefromonemoduletoanother.However,byloopingthestringsaroundeachother,itdidnotallowitspositiontostayinplaceanditwasdifficulttohavetensionof the strings.

Withthesecondlayerofstrings,theweavingtechniqueis slowing beginning to be seen and there is a sense of fluidityandflow.Theplacementofstringsisgiventhoughtto as how it is place which would affect the final form.

Thefinallayerofstringsgivesdepthtothewholemodelas the wrapping around the different modules gives allows different height to the model. This create a sense of movement.However,thestringsusedinthemodelweretoothickwhichaffectedthedensityused.Thus,itwasdifficult to achieve the effect we wanted.

PROCESS WITH PARAMETRICPARAMETRIC DIAGRAM

From top to above: Different views of Parametric model, Grasshopper scripting of the model

Next we moved on to the digital model using Rhino andGrasshopper.Themodeliscreatedfirstlybycreatingthe4differenthexagonalframes;small,medium,largeinsizesandthelastframehavingtwo small hexagons stacked on top of each other. The lines were then weaved through the frames and different variations of weaving were tested to allow themaximumqualitieswewanted.Thedifferencein weaving through the different profiles affected the model as a whole which would allow different cavities to be seen at different parts of the model.

Densityplayedahugepartinthemodelwherebyit

also shows how much we wanted to emphasize on each turn. A graph mapper was used to determine the placing of each holes which would then be fabricated to allow the wires to go through them. Different graph created different effect that we wanted. There were some weaving which were straight and some which are reversed to give it a moredynamicflow.

The position of each weave also affected the height of theoverallmodel.Thus,aftermanydiscussionswecameofwithourthreelayersofweavingwhichwasreadytobesentforfabrication.



APPLICATION OF DESIGNESSENCE NO. 1

Above: Movement of lines, turning left and rightSource: http://www.flickr.com/photos/tamchungman/5898248758/lightbox/

The weaving of lines showing from left to right into different frames issimilartothemotoristsdrivingonthehighwaywherebyroadshavebendsatdifferentpoints.Thisshowsasenseofmovementbytranslating it into the weaving of wires used in the model.

Above: Movement of lines, moving up and downSource:http://www.flickr.com/search/?q=long+exposure%2C+traffic&f=hp#page=5

ESSENCE NO. 2

The lines in the model are weaved

from top to bottom or vice versa

in some of the weaving. This is to

show the wrapping of lines around

theprofilestogiveitadynamic

flow. The weaving is also similar to

highwaysasithavedifferentloops

to enter different places which gives

a sense of motion and speed as it

weaves from the top down to the

bottom.


ESSENCE NO. 3

Above: Density of lines by long exposure trafficSource:http://www.flickr.com/search/?q=long+exposure%2C+traffic&f=hp#page=6

Above: Density of lines

Thedensityoflinesreflectslinesinalongexposuretraffic.

Theselinesinthemodelthusemphasizesonthedensityand

flowofthetrafficinahighway.Asthedensityofhighwaysare

usuallyhigh,theuseoflinesareshowninthemodelwhereby

theholesareplacedtogetherdensely.

“...the major traffic connection from Geelong and the south west coast to the CBD.” -Western Gateway Project

Above: Idea of a spider webSource:http://digital-photography-school.com/how-to-photograph-a-spiders-web

Above: Starting point of the model


AUSTRALIAN LIVESTOCK FENCE

Above: Photo of an Australian Livestock FenceSource: http://www.erikhenne.com

EXECUTION ON THE SITE

The Australian livestock fence

givesanidentitytothesitewhichis

similar to our final design.

The structural frames of the design

are made of wood are steel wires are

used to weave through the frames.

The nature of a spider web is being seen in the model

wherethereisanideaof‘growing’fromapointof

origin. The growing idea embraces the landscape and

nature surrounding it. Thus the installation is placed

where it embraces nature with it.

"There are several reasons why models should be part of every design process. Perhaps the most important one is the understanding to be gained by seeing form in physical space."

-Criss B. Mills, author of "Designing with Models"

CONSTRUCTION OF FINAL MODEL

Firstly,beforetheconstructionofthefinalmodel,materialityis

putintogreatconsideration.Plywoodisusedforthebase,thenthe

contourismadeofboxcardboard,thehexagonalprofilesaremade

ofplywoodandlastlywiresareusedtoweavetheframestogether.

Theuseofplywoodandsteelwiresgivesacontrasttothemodel.In

addition,itwasusedtorelatebacktotheaustralianlivestockfence.

The laser cut profiles are stained with varnish give the wood a dark

finish.Thiswouldthengowellthethewireswhentheyareweaved

together,givingitabettercontrastbetweenthetwocolours.The

contours are then glued together and the profiles are

slotted in to the contours to allow it to have better

stability.

The weaving of the wires starts from weaving through

eachlayer.Eachlayerhastwentyholes.Thewiresare

weavedthrougheachoftheholescarefully.Aseachhole

israthersmall,itwasquitedifficulttoputthewires

through. A lot of time was spent on the weaving of wires.

From clockwise direction (above to bottom right): Laser cut profiles before and after varnish stain, Box cardboard used for contours, sloting in of the profiles into the cardboard, weaving of the first layer of wires

Astheframeswerequitethinanditcameoutoftheslot,wetried

to push it back in. However the frame broke and we needed to

laser cut the profile again in order to continue our weaving. Time

was wasted as we needed to take out th wires from the other

profiles and weave them together again.

Wefinallyfinishedweavingthefirstlayerandmovedtothe

secondandthirdlayer.Theweavingofwirestookasawholeday

to complete the model.

Trees,pebbles,carsandhumanfigurewereaddedtoenhancethe

model as to relate to scale and the wrapping around nature.

From left to bottom: Broken piece of a frame, 2nd layer of weaving,finished final model

MATERIAL AND CONSTRUCTION DETAILS

DETAIL 1

DETAIL 2

DETAIL 3 & 4

DETAIL 1 CONSTRUCTION OF FRAMES

DETAIL 2SITTING OF FRAMES ON SITE

Construction details is also put into consideration

ofbuildingitinreality.Firstlyistheconstructionof

frames. The timber frames are broken down into 5

individualprofilesforeasytransportationtothesite.

The profiles are made of teak wood. Steel bolts are

used to secure each side of the profile together which

can be seen in detail 1.

Secondly,thoughtofhowtheframesaregoingtosit

on the site are put into consideration. The bottom

frame will be pre-fabricated with a base plate and it

will be secured onto a concrete slab on site which is

shown in detail 2.


Above: Details at different part of the model

100MM DIASTEEL ROD

20MM DIAGALVANISED

STEEL CABLES

PIN JOINT TOMANUFACTURER'S

DETAIL

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T



100MM THKRETAINING WALL

50MM THK CONCRETEBASE PLATE

PRO

DU

CED

BY

AN

AU

TOD

ESK

ED

UC

ATI

ON

AL

PRO

DU

CT


PRO

DU

CED

BY A

N A

UTO

DESK

EDU

CA

TION

AL PR

OD

UC

T

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCTDETAIL 3 STEEL CABLE JOINTS

DETAIL 4

Lastly,thesteelcablesarejointtogether

at a point on a structural element shown

in detail 3. These cables are hidden with

the surrounding landscape to achieve the

idea of growing from a point.

Above: Swagging unit, used to attach end fittings to a wire rope cable

Source:http://www.ingalcivil.com.au/flexfence-swaging-unit.html

Above: Safety Road BarrierSource:http://www.ingalcivil.com.au/flexfence-swaging-unit.html

PARAMETRIC EXPERIENCE


Myparametricexperiencewithgrasshopperhadbeenaninterestingyetfrustatingtime.ItwasmyfirsttimelearninggrasshopperandthereweremanynewthingsIhadtofigureout.Ihadtogothruthetutorialsandtryoutmanyexercises.Thrutheseexercisesithadhelpedmeinunderstandingthesoftwareandhowitworks.However,thetutorialsmainlyonlyteachesusthebasics.

WethenhadtoremodelthecutcasestudyofthePavilionforNewArchitecturebyBKKArchitectswhichwefacedmanydifficultiestryingtofindthecorrectcomponenttoconnecttogettheresultswewantedto.Wethentriedtoconsultthetutorsandbygoingthruonlinetutorialswhichhashelpedusgreatlyinlearningthesoftware.

Nextduringourmid-semester,wemanagedtocomeoutwithourgrasshopper defination which was what we wanted to acheive in the digital model. We came out with different sets of matrix to show ourexplorationanddevelopment.Thoughthedefinationwasquitesimple,itwasabletoimpressthepanelaswehadourphysicalmodelwhich backed us up.

We then manipulate our idea which we added and edited our definationtocomeoutwithourfinaldesign.Though,weknowwhatwewanttoachieveinthemodel,itwasfrustratingaswecouldnotcreatethedigitalmodel.However,thruthehelpofthetutorsandtutorials,wefinallymanagedtoproduceourfinaldesign.ThisparametricexperiencewasindeeedtoughbutIgettolearnmanynewthings.

From top to bottom: Top view of rendered model,perspective view of rendered model both rendered in v-ray

FINAL PRESENTATION FEEDBACKFURTHER DEVELOPMENT


From top to bottom: Intricate shadows cast when light is shined on the model, weaving of wires in the model, overall final model

Overall,thefinalpresentationwentwellandthefeedback given were constructive for the group if there was a chance to further develop our scheme.

Thepresentationoftheothergroupsgaveusmanynew ideas on how we can improve on our design and concept. The designs of other groups also gave memanynewinsightsfromlearningfromeachother.

The panel liked the idea of the blurred headlights whichrepresentsthelinesanddensityinourmodel.Thephysicalmodelwasniceasitshowstheunintentional bending of wires which the panel liked. The use of materials were a good selection as it shows a contrast between the two materials and the presentation was good.

Iftheschemecouldbeimproved,therecouldbeavariationinthedensityusedandmorelayerscouldbe introduced. The idea of the australian livestock fence was too general as it is located all around australia,notonlythesite.Themodeltendtolooklike an installation placed on a garden or nature instead.

References:

Jigsaw242012,Nottinghamviewed1August2012,<http://www.jigsawcad.com/articles/an-industry-view-the-true-benefits-of-revit-architecture>

Archdaily2010,viewed1August2012,<http://www.archdaily.com/59740/alila-villas-uluwatu-woha/>

GreatBuildings2012,Artifice,USAviewed1August2012,<http://www.greatbuildings.com/buildings/Azuma_House.html>

YehudaE.Kalay,Architecture’sNewMedia:Principles,Theories,andMethodsofComputer-AidedDesign(Cambridge,Mass:MITPress,2004),pp1-10

NationalMuseumoftheAmericanIndian2012,SmithsonianInstitution,Washingtonviewed7August2012,<http://nmai.si.edu/explore/collections/crc/>

Solaripediat2011,Viewed7August2012,<http://www.solaripedia.com/13/375/5128/milwaukee_art_museum_lake.html>

PatrikSchumacher,2008,‘ANewGlobalStyleforArchitectureandUrbanDesign’,ADArchitecturalDesign-DigitalCities,Vol79,No4,July/August2009

MichaelTing,AlexanderPrice,MichaelSmith,EricaHenrysson,2011,DesigningwithGrasshopper,MtJosephGiovannini2011,Guangzhou Opera House, ARCHITECTTheMagazineoftheAmericanInstitureofArchitects,Washington,viewed15August2012,<http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx>

Arcspace2001,viewed15August2012,<http://www.arcspace.com/architects/hadid/One_North_Masterplan/>

Arcspace2007,viewed15August2012,<http://www.arcspace.com/architects/hadid/kartal_pendik/kp.html>

Evolo,2012,UnitedStatesviewed21August2012,<http://www.evolo.us/architecture/eco-sustainable-housing-parametric-design/>

Bustler,2011,Viewed21August2012,<http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_office>

2012,DynamicPerformanceofNature:AugmentingEnvironmentalPerceptionThroughSocialMediaandArchitecturalInformatics,PJIM,TheParsonsJournalforInformationMapping,January2012,VolumeIV,Issue01

RMITUniversity2006,Australiaviewed28August2012,<http://www.sial.rmit.edu.au/Projects/Pavilions_for_New_Architecture.php>

Digiitalarchfab2007,viewed7September2012,<http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion.pdf>

“The job of every architect and every designer is to give the world more art, more new, beautiful, and fascinating things to see.” -Philip Johnson

Above: Perspective rendering rendered in V-ray for Rhino

final journal air12s2 michelle lee

Documents

contents6 architecture

bkk pavilion

malacca malaysia http

construction details

commerical projects

frank gehry source

residential landed projects

shorter period of time