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This journal has been created to reflect and document my personal journey and design process for the 2013 (S1) StudioAIR Gateway project.

It contains some of my private thoughts, frustrations and emotions that I have encountered throughout this course and project.

Enjoy!

STUDIO 1(2)TUTORS: DAVE&MIKEYUN YUN LING

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INTRODUCTIONYun Yun Ling (512032) Studio 1(2)

My name is Yun Yun and I am currently in my third year of the Bachelor of Environments (Architecture) degree. I

am 20 years old and originally from Kuching, Malaysia.

To be honest, digital design in architecture has never been a favourite of mine. I prefer the simplicity and clarity of a design rather than the complex patterns digital technology seems to produce. However, I am open to new ideas and can’t wait to see what this subject has in store.

My first encounter with digital design theory and tools was through the BodySpace project in the subject, Virtual Environments, which I took during my first year. We were required to use Rhino and the panelling tools plug- in as a tool to produce 3d models of our design. The final model was then sent to the fabrication lab to produce our wearable model.

Since then, I have utilized Rhino in all of my design studio subjects. However, I have only used it in the early stages of my design work when I run out of ideas and when I want to send my site plans to the fabrication lab. I still find it quite a challenge to transfer my ideas to

the computer. Besides Rhino, I use AutoCAD for drafting.

My dad is also an engineer and furniture maker. I enjoy watching him work in his workshop with all his complicated machines. Growing up, I have been exposed to more complicated digital fabrications with the use of CNC routers, laser cutters and have experience how technology moves at such a fast rate first hand. He used to manufacture computer chips and parts for other companies. This helped me understand the complexity and preciseness digital technology can achieve.

BodySpace design from Virtual Environments

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TABLE OFCONTENTS

EOI I: CASE FOR INNOVATION

EOI II: DESIGN APPROACH

GATEWAY PROJECT PROPOSAL

06 Architecture as a discourse

12 ComputationalArchitecture

18 Parametric Modelling

24 Conclusion

25 Learning Outcomes

30 Design focus

38 Case study 1.0

42 Case study 2.0

50 TechniqueDevelopment

62 TechniquePrototypes

66 TechniqueProposal

67 Learning objectivesand outcomes

74 Design Concept

92 Tectonic Elements

94 Final Model

109Further Developments110

Learning objectivesand outcomes

06

28

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There has been a growing trend in the field of architecture where the aim

of the architect is to build an ‘’iconic ‘’ building. A building that will supposedly

benefit tourism and bring fame to the city it is located in. However, do these

sort of buildings have the right intentions or is this trend getting out of control? Iconic architecture is at risk of looking

self centred and alienated from the city’s fabric as it tries to stand out and

prove a point. Sometimes, we think that designing an ‘’iconic’’ building is tough and only architects with great skills are

capable of designing such buildings. However, it is actually the opposite as these buildings usually only deal with

one issue, which is, ‘’how to make the building stand out of the crowd of other structures?’’ On the other hand, other issues like space, lighting, urban

coherence and etc will be secondary and usually neglected.

More than just 4 walls and a roof

One way we could bring back the goodness of architecture is by going back to basics and to think of the end users of the buildings. Ultimately, bringing back the connection to humans.

We have an intricate and special relationship with architecture. Buildings around us are usually the brainchild of a mastermind designer who controls the form and overall look of the building. However, it is true that the impact the built environment has on us is often unpredictable and indescribable. Simply put, architecture is capable of influencing our experiences, feelings and memories. What I find interesting is that architecture can be some sort of permanent box that is capable of keeping many memories and feelings inside of it.

I am interested in how architecture is able to affect us in ways we do not understand. I do not possess the answers to this question but I will be using two built work examples to explain how architectural experiences are able to affect our emotions and life.

.

Architecture is able to control much of what we think and do without us even knowing it. This chapter will attempt to explain this phenomenon using some real life examples of how architecture has resulted in many memorable moments.

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EMP, Seattle

An example of a building that (I feel) does not connect to its users is the EMP in Seattle which was designed by Frank Gehry. Many locals have pointed out that the structure resembles crushed tin cans. With that, it has already failed to connect to the users and passersby, aesthetically. The building fails to aid the exhibits and instead creates a bad environment for people to be in with its huge proportion and lack of lighting. (Do not take this as insult to Gehry)

Image sourced from: http://lh6.ggpht.com/_dlkAw43cLC0/SS1GnY4vwbI/AAAAAAAABEg/rW1KSqC0QNM/s800/Experience-Music-Project-Seattle-WA-USA-2.jp

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“How accidental our existences are, really, and how full of influence by circumstance.”- Louis Kahn

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Salk Institute of Biological Studiesby Louis Kahn

There has been much collaboration between

the studies of architecture and human behavior. Many attempts have been made to scientifically prove the relationship of how our spaces affect our behaviors. One story that has captured my attention is Jonas Salk, the founder of the polio vaccine. Jonas Salk claimed that he would not have been able to solve the puzzle of polio if he did not leave his basement lab in America to clear his head in a monastery in Assisi. It was Assisi’s colonnaded walks and peaceful architecture that provided the right conditions he needed to figure out the mysteries of polio1.

Because of this, Salk understood the importance of having a conducive space and how it is able to affect one’s mentality and behaviors. He hired Kahn to design the Salk institute, which would provide a calming and conducive environment for its researchers.

Located in La Jolla, California, at the edge of a cliff, the institute boasts magnificent views and architecture. A strong linear axis is formed with the two mirroring buildings. At the end of this axis is the Pacific Ocean. I think that it is

great that there is this huge space for all the stressed out scientists to take a break. The serenity that is provided by the backdrop of the ocean also allows the inhabitants to unwind and reflect more. The simple material palette of concrete and timber has also allowed it to appear timeless and low maintenance. This is similar to what the Gateway Design brief is asking for (source). What I like about this building is that it was designed with the people who will be using it in mind. So often, we get caught up in the aesthetics or form of it that we forget the users. In the case of the Salk Institute, I think that the beauty of this building is that it has proven to be conducive to human existence, enhancing their lives at the same time

1 Emily Anthes, How Room Designs Affect Your Work and Mood, Scientific American Mind, April 22 2009

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Church of Lightby Tadao Ando

I remember coming to know about this

church during one of the studio sessions in Virtual Environments. My first impression of the church was that it was just a simple concrete box with slits on it. I could not understand what all the fuss was about. I had to eat my words as I visited the church a couple of months later.

It was awe-inspiringly beautiful. Visiting the church was definitely my top architectural experience. The ornamented cathedrals in Europe were no match for this humble church in terms of experience. I sat there like a hypnotized child, just slowly taking in all the beauty of it. The main worship area was dark except for the light coming from the slits shaped like a cross. This provided a sense of serenity and for a moment all my worries seemed to disappear. Ando is definitely a mastermind with the play of light. The church did not need any ornaments or religious signs on it as it was already perfect.. The sharp contrast of light and darkness coupled with the raw concrete were all it needed. This is a great example of minimalist

architecture.

It did feel like the place was built just for me. It was there that I decided to continue on with my architectural studies. I realized first hand how an architectural experience is able to affect my thoughts, decision and emotions. I may not be an important figure like Jonas Salk but if a space can affect me to this extent, I am sure that it is able to affect other people too.

The use of light and the beautiful usage of positive and negative space have been really strong in this church. Seeing how it can be used to evoke feelings, it would be helpful if it was incorporated into the gateway design project.

“In all my works, light is an important controlling factor. I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city’s environment require the wall to be without openings, the interior must be especially full and satisfying.

–Tadao Ando

”

Image sourced from: http://www.archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando/

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COMPUTATIONALARCHITECTURE

Replacement or extension ofhuman creativity?.

Computers have now been extensively used in the design process. T-squares

and rulers have now been replaced by CAD software that are preferred due to its easy usability and efficiency. This chapter will attempt to list the benefits of using computers in the architecture design process by analyzing various readings regarding the discourse and also through some precedents.

Computational tools are able to achieve unique geometries and curvilinear forms that are unattainable through just using pencil and paper. In the reading “Architecture in the New Age”, it was said that architecture was behind the product and industrial design in terms of technology and the use of curves2. This is true, but with the help of computers, architecture is slowly taking pace and embracing the new technology in its design. Computational tools also allow construction of complex forms that used to be difficult and expensive. These buildings are now buildable and within reasonable budgets through the use of these technologies.

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Computational tools also introduce a closer link from the design to the construction process. According to Kolarevic, describing and constructing a design would now be more direct and more complex because all the details can be exchanged and used with more efficiency. Basically, “the design information is the construction information”3. Because of these technologies, the transition of design to fabrication is starting to be more seamless. With the help of software such as REVIT that utilizes building information modelling (BIM), architects are starting to regain the role of being a master builder. They start to possess more control not only in the design but the structural too. More importantly, architecture is not only about the four walls and roof. We need to understand that it is a form made up of many technical systems that include the acoustics, thermal, structural and etc. Through computers, designers are able to include the building’s performance as part of their design strategy.

Computers also introduce new design methods such as the generative design method4. Designers can come out with more and more designs because it has become easier to do so. The designer can choose the best to develop out of all the options they have. In the reading ,“Architecture New Media”, there has been much studies on these ‘search processes’5. I think that designers are more willing to be more adventurous in their designs because they do not have as much to lose anymore. Through computational tools, we could just hit the ‘delete’ button, create more layers, backup files and etc instead of having to redo everything manually without digital technology. Because of this, the ‘search processes’ mentioned by Kalay can be done without wasting time or significantly harming the design. An example of how computational tools have helped me so far is the NURBS model used in Rhino. The ability to control curves through control points made it so much easier for me to manipulate and create different variations of form. It eliminates the need to delete everything and start over as I could just insert more control points or remove them

to make more changes. Computers also play a huge role in the fabrication of a design. They are very much needed, as the design gets more complex due to the increasing use of digital technologies. The use of CNC technology takes away the labor of having to fabricate everything manually. It also has a higher precision than what the skills of men can offer. I have also found it really helpful during my studies as an architecture student. I could design a model and send it to the Fablab to get it cut. All I had to do was assemble it. This was also particularly helpful when I wanted to fabricate prototypes. I could list a million reasons why computational tools have been helpful in the architecture world but that would be too much to handle. In conclusion, it really is exciting to see architecture progressing into the digital age. However, as we try to catch up with technology by using all the different software that is available, we also need to be careful that we do not overdo it. I believe computers are useful tools but should never be exploited to the extent that it replaces the role of the designer as the controller.

The next few pages will discuss unique projects that have utilized computational tools to create interesting results. They also happen to be one of the pioneers of using the computer in their particular discourse within architecture.

Image sourced from: http://qwertytutorials.com/misc/picture_jokes_p3.php

2- Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p63- Kolarevic, Architecture in the Digital Age, p74- Kolarevic, Architecture in the Digital Age, p135- Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p19

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Port Authority Bus Terminal Competitionby Greg Lynn

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It was mentioned in the Kolarevic reading that Greg Lynn utilizes animation software in his designs6.

One such design is the Port Authority Bus Terminal in New York. Lynn asserts that architecture form is not stationary and transforms dynamically through interactions with external, gradient forces. “Greg Lynn was one of the first architects to utilize animation software not as a medium of representation but of form generation”7. Particle emission was used to simulate external forces like wind, gravity, obstructions and also the movement of people and vehicles. With all the conditions mapped out, he was then able to find optimum positions to place the structural members, canopy and lighting scheme of the bus terminal. The effective use of this particle system to represent these “attraction fields” or various movements8 enabled Lynn to design a structure that had the people and place in mind.

What I find interesting about this project is that people have garnered more interest in the technique rather than the final design. It could be the fact that the inclusion of animation in his design was relatively

new during that time. It got me wondering if computers actually divert the attention of people from the design to the technique and if that is necessarily a good thing.

His technique shows us a different way in which we can utilize all the information from a site analysis into a design through the use of computational methods. It also brings to light how rapidly the digital world grows. We are fortunate to have many programmes that are able to simulate these transformations and conditions today. One being the Kangaroo plug-in, which could be used in unison with RHINO and GRASSHOPPER. These sophisticated programmes and plug-ins can be used in the gateway design project to create unique designs.

Image sourced from: http://cgg-journal.com/2005-3/04/index.files/12-Port-Authority-Gateway.jpg

6- Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p207- Kolarevic, Architecture in the Digital Age, p198- Kolarevic, Architecture in the Digital Age, p20

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Material-oriented computational design in architecture

The computer does have some limits. People often argue that the

virtual world and the real world cannot be merged as there are so many factors in the real world that cannot be easily programmed into the computer. One such factor is the way certain materials react to environmental and external conditions.

“Any material construct can be considered as resulting from a system of internal and external pressures and constraints. Its physical form is determined by these pressures. However, in architecture, digital design processes are rarely able to reflect these intricate relations. Whereas in the physical world material form is always inseparably connected to external force’’9

This research pavilion is important as it signifies a new technique where the computational generation of form is influenced by the substantial behavior and material feature it possess. This is an incredible feat as material manipulation can be accurately calculated in the virtual world before construction commences. This saves much time and materials which are usually used on countless experimentation processes.

ICD/TKE Research Pavilion 2010, Stuttgartby Stuttgart University

9- Achim Menges, ICD/ITKE Research Pavilion 2010, (Stuttgart University, 2010) <http://www.achimmenges.net/?p=4443> [accessed 21 March 2013]

Images sourced from: http://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-4.jpg

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PARAMETRIC MODELLING Stable variable.

Singularity multiplicity.

As I was researching more about parametric design, I realized that

some of my favorite architecture styles such as the Baroque and Gothic actually possess parametric systems10. Gothic buildings had always used mathematical and complex sequences that derived from a few key dimensions in its construction11. Parametric design has been labelled as

a style12 and most people, including me, have problems not with its approach but with the way most parametric designs look (futuristic, blobs etc). After researching more into it, I realized that it really is unfair for me to be so prejudiced towards parametric designs.

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As previously mentioned in the previous chapter, computational tools provide more choices for the designer. This is really visible in parametric modelling than in any other computational methods. This is because parametric designs are not conformed by their shape but the parameters that control it. The designer can always set different values to these parameters to inflict different changes to it (source!!). However, do not let this fool you in thinking that parametric tools are able to replace the designer. One has to really understand all these links and relationship between the different parameters in order to design efficiently. A clear and distinct design strategy needs to be settled before attempting to use parametric tools in design. In my opinion, I think it is great that these tools are able to model complex forms but it does require more logic than usual. It is said that “parametric design calls for the rejection of fixed solutions and for an exploration of infinitely variable potentialities”13. It got me thinking, is it still considered your design if you happen to stumble upon it by chance? Maybe by tweaking the parameters by accident? It is very easy for the designer to get carried away with the various choices they have. The role of the designer is in trouble if they are unable to justify their design decisions. This could be something to reflect more about.

Parametric tools are also very useful in the preliminary stages of a design. This is exemplified in the International Terminal at Waterloo Station by Nicholas Grimshaw and Partners. The designers had to deal with a very tight and difficult site. By importing the track layout information and the site’s geometry into the parameters, the architects were then able to design a structure without the need to worry that it would go out of boundary or affect the tracks14. Once again, it gives the architect more control over a particular project. The designer no longer needs to manually calculate the proportions or size it is needed to fit the site and etc. This saves a lot of time. Time that can be used in other aspects of the design process.

If it sounds too good to be true, it most probably is then. There will be undeniably some setbacks when using parametric modelling. One being the tension between the architecture and construction fields. Builders often rely on a set of construction drawings in order to build the desired structure. However, there may be a preference and heavy reliance on the usage of a 3d model instead of 2d construction drawings. 3d models do convey much information but the technical details are still sought after. There needs to be more communication between the architects and builders for an efficient workflow.

Because it is so easy to come up with so many

different forms, it actually becomes harder to choose. Some may misuse this feature. In this 2008 interview with Greg Lynn he confesses that he used to “justify all the happy accidents produced by the computer”15.. This is a case when the designer is not in control of the design and can be easily interpreted as the computer who did all the work.

A single recursive structure with minor variations produces a wide range of designs16

10- Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) p2711- Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p2712- ‘Patrik Schumacher on Parametricism’ (Architecture Journal, 2010) <http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> [accessed 22 March 2013]13- Kolarevic, Architecture in the Digital Age, p1814- “Parametric Propagation of Form”, (Architecture Week, 2001) < http://www.architectureweek.com/2001/0919/tools_1-1.html> (accessed 19 March 2013)15- “Greg Lynn: Curve Your Enthusiasm”, (032C, Issue 15, 2008) <http://032c.com/2008/greg-lynn-curve-your-enthusiasm/> (accessed 22 March 2013)16- Woodbury, Elements of Parametric Design, p25

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The use of parametric tools in architecture has surely benefited the

design and construction process. However, I am worried that it might be abused. Parametric designs often leave users intrigued and mystified. This results in a barrier between humans and the building. Parametric structures do attract people by its free form and interesting geometries but it stops there. I feel that it is dangerously close to becoming a ‘’one hit wonder’’ where designers are trying too hard to create the next best thing which then results in irrelevancy in the design or structure through parametrics. The use of parametric design in surface treatment has resulted in many creative and unique facades.

One good example is the AU Office and Exhibition Space by Archi Union Architects Inc. The main facade for this office is made out of hollow bricks. Through the use of parametric technology, they have managed to create curved walls that echo the “contours and definition of silk undulating in the wind’’17. We normally associate concrete as a rough, rigid and dull material. However, once paired up with parametric technology, can create a beautiful expression and even appear delicate. The walls create a new experience for users as light diffuses through it and is also different than the typical office typology.

AU Office and Exhibition Space, Shanghaiby AU Architects Inc

Images sourced fromm: http://ad009cdnb.archdaily.net/wp-con-tent/uploads/2010/10/1287175895-parametric-wall.jpg

17- ‘AU Office and Exhibition Space / Archi Union Architects Inc’ (ArchDaily, 2010) <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [accessed 20 March 2013]

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AU Office and Exhibition Space, Shanghaiby AU Architects Inc

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Urban Adapter, Hong Kongby Rocker- Lange Architects

What is special about this design is the concept behind it. The designers at Rocker- Lange aim to create a piece of dynamic and changing artwork. So instead of coming up with only one single static design, this scheme suggests different solutions that meet specific criteria18.This project is based on a digital parametric model and it uses site information and programmatic data to respond to the site and its environment. This is similar to the Greg Lynn Bus Terminal project. The only difference is that ‘Urban Adapters’ utilizes parametric tools instead of animation software. The result of using these tools is that they are capable of coming up with endless amount of custom made designs for the site without having to break a sweat. This is also another good example of how a single structure with minor variations can produce multitudes of designs.

This concept provides a new solution and unique identity to the urban landscape of Hong Kong. It is also inviting and a pleasant addition to the city. This could be really helpful in the gateway project as Wyndham searches for its own special identity.

Images sourced from: http://www.dezeen.com/2010/01/08/urban-adapter-by-rocker-lange-architects/

18- ‘Urban Adapter by Rocker- Lange Architects’ (Dezeen, 2010) <http://www.dezeen.com/2010/01/08/urban-adapter-by-rocker-lange-architects/> [accessed 19 March 2013]

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CONCLUSIONMy hope for the proposed design in the coming future is that it will be able to convey strong messages and to provide an exhilarating and new experience to its users. We have seen how the advancing technology has helped in creating all the different and unique kinds of art and architecture. Through the use of Rhino and the Grasshopper plug-in I may, hopefully, be able to come up with a design that is able to affect its users. Be it emotionally or mentally.

I have picked a few points from all the precedents that could be used in the proposed design:

Salk Institute Biological Centre: I would hope to encapture the peacefulness this building exerts and its beautiful symmetry. Designing around its users to provide comfort and a conducive environment is also an important lesson learnt from this precedent.

Church of Light: The use of simple materials and effective use of light is all this building needs to mesmerize its users.

Port Authority Bus Competition: This

design was a pioneer in its field by utilizing animation software to map

its environmental condition. It is also

special as it is designed around its users too.

ICD/ITKE Pavilion 2010: By utilizing the properties of the material and computational tools, Stuttgart University has managed to garner a lot of interest and discussion in the field of materiality and architecture because not many designers have attempted to include a material’s properties in their designs.

AU Office and Exhibition Space: Who knew concrete could be manifested in such a way? By utilizing parametric tools, the architects have managed to create a unique feature wall that

provides an inviting space through light entering the space through the hollow blocks.

Urban Adapter: The idea of a dynamic design is really interesting and can keep users interested all the time. It

also provides the city with a unique identity that cannot be copied by others.

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LEARNINGOUTCOMESThrough this exercise, I definitely have a better understanding and appreciation for computers and parametric design. Parametric design does not mean that it has to be futuristic or blobs nor does it take over the role of a designer.

I think my short architecture student life would be so much easier if I had been exposed to these technologies. After dabbling with Grasshopper through the help of the weekly tutorials, I discovered that there are actually multiple solutions to one problem. And it seems that i have always been using the hard solution instead of the easier one. Virtual

Environments could have been much easier if i had known about Grasshopper. I remembered having to manually create tabs for my design. It was definitely a nightmare then. However, with Grasshopper, you can just input some params and, voila!, tabs that are perfect in size appear. It is definitely easier and more efficient with the help of these tools.

But it did get me wondering about the cycle of art and architecture. No doubt architecture looks forward, but there is also a trend of architecture looking backwards. Much like fashion, trends tend to revive after a

period of time. This can be illustrated in this joke that I find hilarious but true:

History of medicine.2000BC - Eat that root.1000AD - Don’t eat that root, it’s pagan! Say this prayer.1850AD - Saying a prayer is superstition! Drink that potion.1940AD - This potion contains snake poison! Take that pill.1985AD - This pill doesn’t work! Take antibiotics!2000AD - That antibiotic is synthetic! Here, eat that ROOT!

Will parametrics in architecture ever be passé? Is it just a phase or a quick way to design? I believe that parametrics will be a desired tool in an architects toolbox for the many years to come because it has proved to be so beneficial.

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Achim Menges, ICD/ITKE Research Pavilion 2010, (Stuttgart University, 2010) <http://www.achim-menges.net/?p=4443> [accessed 21 March 2013]

BIBLIOGRAPHY

Emily Anthes, How Room Designs Affect Your Work and Mood, Scientific American Mind, April 22 2009

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

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge)

‘Patrik Schumacher on Parametricism’ (Architecture Journal, 2010) <http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> [accessed 22 March 2013]

“Parametric Propagation of Form”, (Architecture Week, 2001) < http://www.architectureweek.com/2001/0919/tools_1-1.html> (accessed 19 March 2013)

“Greg Lynn: Curve Your Enthusiasm”, (032C, Issue 15, 2008) <http://032c.com/2008/greg-lynn-curve-your-enthusiasm/> (accessed 22 March 2013)

‘Urban Adapter by Rocker- Lange Architects’ (Dezeen, 2010) <http://www.dezeen.com/2010/01/08/urban-adapter-by-rocker-lange-architects/> [accessed 19 March 2013]

AU Office and Exhibition Space / Archi Union Architects Inc’ (ArchDaily, 2010) <http://www.archdaily.com/82251/au-office-and-exhibition-space-archi-union-architects-inc/> [accessed 20 March 2013]

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

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PART B expression of interest ii

DESIGN APPROACH

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And if you think of Brick, for instance, and you say to Brick, ‘what do you want Brick?’ And Brick says to you ‘I like an Arch.’ and if you say to Brick ‘Look, arches are expensive, and I can use a concrete lintel over you. What do you think of that?’ ‘Brick says:’...I like an Arch.’

Louis Kahn’s conversation with a brick

“

”

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Our team’s field of interest is MATERIAL PERFORMANCE.

In the beginning, we did not set any constraints and just went crazy with ideas. As our main focus was to create a responsive piece of artwork, we researched more into responsive architecture and installations. Our research brought us to works like the musical road in California, where a tune would be played as a car drives past a section of the road. However, we were so engrossed in architecture/art that was literally able to move around, play a song or even do something cool that we forgot that responsive art/architecture could also include passive responsiveness. With that in mind, we decided to use the theme of CHANGING PERCEPTIONS as our inspiration in relation to our material performance design approach.

design

our

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design Because of this, we have decided to use timber as our material of interest. We would like to change perceptions of Wyndham and timber. Instead of just being known for its waste management or just another suburb in Melbourne, we want people to understand that Wyndham is also an advocate of the arts, with a vibrant arts and culture community. In addition, we would also like everyone to understand more about timber. We feel that timber is a really underrated material. People usually only associate it to rustic cabins or timber cladding on walls and floors. We also chose timber as we thought that it would be the most practical material in terms of scale and cost. Just knowing its properties isn’t enough in this case. Material behavior can be used to our advantage by incorporating it into parametric software which can then influence the design outcome.

SEEING THE BIG PICTUREMaterial performance is a good approach for the Wyndham City Gateway project as there has been a huge increase in designers using this approach in their designs. Designers are starting to understand the importance of knowing and researching more about a particular material before diving straight into the drawing board. By using the approach of material performance in this gateway project, we may also be able to add into this popular discourse, generating more publicity for the artwork and the city too. I used to think that Louis Kahn was crazy when he used analogies like his conversations with a brick. However, as I ponder, one can never truly design something without knowing its true properties.

focus

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PRECEDENTS

CHANGINGPERCEPTIONS

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CHANGINGPERCEPTIONS

Frei Otto and Shigeru Ban, Japan Pavilion EXPO 2000This structure is made almost entirely out of paper. This project is good as it shows the surprising properties of paper and is also environmentally friendly. Paper used at such a large scale is really amazing and unheard of at the time. Paper tubes were used to create the structural grid which held up a paper membrane19. Otto Frei is famously known for creating structures that are light but have extreme strength. We normally think of paper as a weak and fragile material but through this project, we understand that it can do a lot more with it. Besides this, the structure resembles a gridshell and its form is obtained parametrically. The combination of technology and traditional materials make this a good precedent to start off with.

Image sourced from: http://02mydafsoup-01.soup.io/since/12362421?newer=1

19- http://www.designboom.com/history/ban_expo.html

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IWAMOTOSCOTT- Voussoir Cloud

We normally don’t associate timber with compressive properties. However, IwamotoScott’s Voussoir Cloud has managed to do just that. The design is structurally sound due to the compressive force exerted by the timber vaults that depend on one another. Now who would have thought that a lightweight timber material could substitute stone or bricks by creating vaults and arches? I know it cannot entirely replace these solid materials but it is one huge step in understanding the many things timber can do. Timber is also normally seen as a flat material. Through this project, we see that timber can also be a ‘’fluffy’’ material. The way the structure seems to puff up when users walk underneath provides a wonderful spatial experience.

Image sourced from: http://www.triangulationblog.com/2011/06/voussoir-cloud.html

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Plywood was chosen in this research pavilion because of its bending behavior and the usability to allowing the structure to be self-supporting, with great control over specific angles on how plywood can be bent. It all started with the idea of researching the material and seeing where the material could take them. By physically researching and experimenting, they were able to input their physical data into parametric softwares21.

This got me thinking about the various first steps of a design process. Some people sketch out their designs, some mould or play around with a material till something interesting forms and some even use

computational/parametric tools to generate a design. Through this project, we could add ‘’researching about material properties’’ into the list of the first steps of a design process.

ICD/ITKE Research Pavilion 2010“The starting point of our deliberations was one of the properties of plywood, the potential of which has not been exploited for structural purposes up until now,” Manuel Vollrath20{ {

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The team in University of Stuttgart made a wonderful pavilion that enables one to think more and to reflect more about it. The fact that they were able to take advantage of the properties of plywood and still prioritize aesthetic value makes it even more valuable. It would really be a shame if we knew all these technical stuff but didn’t utilize it to create something beautiful. The combination of good design and function is clearly exhibited in this precedent.

I guess what really convinced me that this was a good precedent was the fact that it was able to change my views on plywood. To me, I never really understood the potential plywood had. I did not even know it was possible to bend it without breaking it.

20- http://www.detail-online.com/architecture/topics/teaching-by-doing-a-research-pavilion-in-stutt9- http://icd.uni-stuttgart.de/?p=4458

Images sourced from:http://www.digitalcrafting.dk/?cat=23

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CASE STUDY 1.0IwamotoScott’s Voussair Cloud

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MATRIX EXPLORATION

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IwamotoScott’s Voussair Cloud

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Notes:

Rows 1-6: Top viewRows 7-12: Perspective viewA- Change in unary forceB- Change in radiusC- Change in size of columnD- Change in height of columnE- Surface treatmentF- No of points G- Application of attractor points

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In this matrix, I would like to highlight 4 changes that have caught my attention.

These changes are: • The applied unary force• Surface treatment of the structure• Application of point attractors• Number of points applied

Firstly, the change of unary force on the structure creates a more inflatable top as the force exerted on it increases. I really like this effect as it gives the structure a playful and animated feel to it. It really is hard to document it just by using vector lines as the drawings do not show the fluidity of the structure that we are able to see from Grasshopper. With the help of the kangaroo plugin, the inflatable top is able to simulate movement. With the help of advance technology, I am sure this effect would be able to be incorporated in architecture which can result in a fun and playful building.

We also applied some point attractors onto the existing GH file. Through this method, we discovered that we were able to separate the columns in a random way. It also resulted in some clustered columns. This effect could create a path in between the structures. However, it does split the structure into two which could not be ideal in certain circumstances. Through this exercise, I find attractor points really useful in generating an interesting pattern. Attractor points are able to generate patterns that are dynamic and interesting by just moving the controlled points around. In real practice, there are many architectural facade designs that look like they have been controlled by attractor points .

Unary force of 195 had been applied

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We felt quite constrained as the GH file that was provided was already too complicated and we had little knowledge about it. We had a hard time trying to inflict any huge changes to the existing structure as any slight change may cause messed up lines to appear as the model tries to find its equilibrium point. However, working on this file did expose us to the other plug ins that were available. These tools really showed us how effective parametric design is. Through this exercise, we are able to see that parametric tools are not only able to aid the aesthetic look of architecture but also its structure.

Next, we were able to generate different surface geometries onto the structure with the help of the

Weaverbird plug-in. By using the plug-in, we were able to control and create complex forms on the surface of the mesh. If you notice, one of the effects even resembles

Singapore’s Esplanade Theatre with its sharp pointed fins. The Sierpinski carpet effect is also able to produce a structural lattice form. This could be useful in creating

structural skeletons.

The number of points also significantly affects the project. The increase of points increases the number of columns which also increases the structural integrity of the project. The increased number of columns really affects the form of the final structure. It may not be so ideal as it doesn’t give people much room to manoeuvre around. The maximum number of points we could apply was only 12 for some reason. The definition didn’t seem to work once the points increased above 12.

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1111 points had been applied

WB stellate/cumulation @distance of 5

WB inner polygon subdivisionWB Sierpinski Carpet

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CASE STUDY 2.0ICD/ITKE Research Pavilion 2010UNDERSTANDING MORE

The strips of plywood is thinner at the straight parts and gets thicker at the bent parts. There is a pattern of straight-bent-straight-bent on the strips.

Refer to pages 34 & 35 on second precedent for further analysis of this pavilion.

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ICD/ITKE Research Pavilion 2010

Final model

Images sourced from detail-online.com

Model laid flat

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CASE STUDY 2.0ICD/ITKE Research Pavilion 2010REVERSE ENGINEERING

There were lots of problems when we started our reverse engineering process. We managed to create a similar effect to the original pavilion but by using a slow and tedious method. We first lofted 3 rings and divided the surface. We then exploded (BANG!) each component and manually dragged it to each single component to complete the definition. This sort of defeated the purpose of using parametric tools as it was supposed to ease the work flow rather than making it harder. However, thanks to Mike’s and Dave’s help, we were able to come up with a much simpler definition after understanding more about data structures and data matching. The rings were used to control the degree of bending in the model. In addition, we could also increase the amount of bending

by increasing the number of rings. Whilst experimenting with this, it got really confusing as the number of rings started to increase.

We initially treated the model as one element but it did not give us a desired result. But once we separated the model and splitted up the curves, we started getting the inner lines to curve as well. By having a better understanding and control of the model we could then start to imitate the main design element of the ICD/ITKE 2010 pavilion design.

Number of rings increase

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ICD/ITKE Research Pavilion 2010

Through these images you can see how the rings (in magenta) affect the bending of the curve. However, because we treated the curves as a single element, we couldn’t control the curve at the inner section of the model. We then thought of the idea of separating it as different elements to get the desired result. The 4 elements that resulted in this is the inner curve 1 (cull pattern: false true), inner curve 2 (cull pattern: true false), outer curve 1 (cull pattern: false true) and outer curve 2 (cull pattern: true, false)

Could not control inner curve

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After establishing a technique, it was just the matter of trial and error where we had to play with the number of rings and the distance between each ring to get the result we wanted.

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Inner curve 1 (false, true)

Inner curve 2 (true, false)

Outer curve 1 (false, true)

Outer curve 2 (true, false)

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Step 1: Creating inner curve 1Step 2: Creating inner curve 2Step 3: Creating other forms by changing width of ringStep 4: Creating outer curve 1Steps 5-7: Creating outer curve 2 and playing around with the ringsStep 8: Final form

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Vector drawings of the final reversed engineered model.

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Vector drawings of the final reversed engineered model.

CASE STUDY 2.0Similarities | DifferencesSimilarities: • The main element (weave pattern) can be seen in the reversed engineered

one and the original one. • The main inner column where the curves start from is there. • Similar form.

Differences: • We couldn’t get the curve to stay straight then bend. • No connectors (joints). • We did not have the same amount of strips compared to the original one.• The original structure was made as a whole single element. We separated

ours to get it to look similar.

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TECHNIQUE- developmentMaterial Tests Plywood

Input of our findings into grasshopper. The colour red represented the breaking point

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Because our design approach was material performance, it was only natural that we did more tests on the material itself before diving straight into Grasshopper. 2 different materials were tested: plywood and timber veneers. We used elastic bands to test each material’s breaking point. For plywood, we used 300 mm long strips of 3 mm thick plywood that were bent perpendicular to the grain and strips that were bent parallel to the grain. The number of elastic bands used and the height of the bend was measured. We found out that plywood bent parallel to the grain was much stronger. Through this material test, we were also quite surprised to find that plywood was capable of bending to such a high degree. The figures from the test were then inputted into grasshopper (thanks Dave for helping us!).

1-4: Plywood bending perpendicular to the grain5-13: Plywood bending parallel to the grain

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TECHNIQUE- developmentMaterial Tests Veneer

Next, we started to test timber veneers. These veneers were extremely thin and fragile with a thickness of 1 mm. The first test was to bend a single strip veneer. The veneer was able to bend to its maximum degree without breaking. The next test was bending double layered veneers. Obviously the double layered veneers were going to be stronger but what we found most interesting was that the veneer started to warp (may also be possibly due to the bad gluing technique). We proceeded to test out laminated veneer to see if it would change its bending pattern. True enough, the parts where it was not laminated bent more than the laminated parts, creating a nice smooth curve in the middle of the veneer strip. Finally, we tested out another strip of laminated veneer. However, this time, we created a pattern by creating jagged edges on the laminated bit. There was a slight difference in this technique as the non-laminated strip was warping a bit. This technique did cause the veneers to lose it structural integrity as it soon broke after the picture was taken. The next step was to cut openings into the veneer to see what would happen. The veneers tend to bend where the opening was. So instead of bending in the middle where it normally would, it started to bend at the area where the opening was located.

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1-4: Single strip veneer5-7: Double strip veneers8-12: Laminated strip veneer13-17: Laminated (pattern) strip veneer

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TECHNIQUE- developmentFurther explorations with veneer

These tests showed us the natural properties of veneer. How the different natural forces exerted onto it were able to produce interesting curves and bends. Since we understood more about the natural properties, we wanted to know more about how we could manipulate veneer more by applying it to extreme conditions. We did this by steaming strips of veneers. I wrapped strips of veneers with damp paper towels and left them in the microwave for 30 seconds. After that, I started to wrap them around chopsticks. When I was wrapping them, I noticed that the veneer was

acting like paper. Normally under those circumstances, veneer would have cracked and broke. After leaving the veneers wrapped for a couple of hours to dry, the strips were able to maintain its wavy form without any support. We also noticed that veneers were semi transparent as they are so thin. This was great as it provided a really beautiful effect when it came close to a light source. After all these tests and consultations with tutors, we decided to stick to using veneers in our design.

Wrapping the strips with damp paper towel then placing them in a microwave

Wrapping the strips around chopsticks and holding them in place with elastic bands

Strips able to twist and starting to manifest good bending qualities.

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Further explorations with veneer

Strips able to twist and starting to manifest good bending qualities.

Shape of strips stay in place without anymore sup-port.

Semi-transparent veneer allows light to past through it. Beautiful effect.

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TECHNIQUE- developmentMatrix explorations

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I chose this shape out of the many options as I felt that it was pulling away from the circular form. This structure emphasized more on the individuality of the strips instead of the circular form. By eliminating its initial form, I was then able to play more around with the strips.

Having it in the shape of a tunnel increases the experiential and spatial qualities for the users. We

thought that external factors such as wind and sound could also be manifested more through a tunnel shape structure. An enclosed space gives a more

intimate feeling. Moreover, since users will be driving at around 100km/h, it would be useful to utilize

every second of that experience. Having it at the side of the road and not over them may mean that users

could potentially miss it.

I liked this form as it no longer had much resemblance to the form of the ICD/ITKE 2010 pavilion. It is quite interesting to see how an initial inspiration could end up looking totally different through multiple processes. This form was achieved by mirroring identical series of strips at the x-axis. This form was good as it started giving a feeling of enclosure, a quality that we wanted in our design.

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Because our design approach was material performance. We decided to have each strip perforated to control each bend naturally. Through our research, we understood that the natural bending of the veneers would form a sort of inverted catenary arch, where it would bend in the centre because of the same applied force on both sides. We wanted to manipulate this natural tendency by cutting openings onto each individual strips. These openings would determine where the strips would bend. Hence, giving us more control over it. For example, we would cut an opening on the right side of the strip for it to bend that way. With this technique, we were able to create a dynamic structure purely based on the material’s properties.

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In the case study 2.0 matrix, what we basically did was to play around with the rings that controlled the bending degree of the strips. I think we got too caught up with this and finally gave up when it seemed to get us no where (we were stuck on a single form- the circle). We wanted to keep it simple so we decided to further develop the simplest form we got out from the first part of the matrix. Next, we started to experiment with changing its form. The next outcome I chose to further develop was the one that was mirrored at the x-axis. The reason why was because I felt that it was simple but still had an interesting form that could be played around more. The next step was to use the strips to create a tunnel effect. We chose the form that was more interesting and different than the others. Unlike the others, the chosen outcome was asymmetrical and dynamic. Each single strip was different than the rest. It could also be a good experiential quality as users drive under it.

After this, we thought about the test we did where we cut openings into the veneer surface. I first used GH to input the openings onto the surfaces but it looked really ugly and there was no purpose to that. Since we felt that the material was supposed to inform us about the design, we cut the openings in real life and then modelled the openings onto Rhino.

Front view

SUMMARY

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Top view

Perspective view

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TECHNIQUE- prototypes

The model from the end result of the matrix looked simple

enough to cut out so we tried to manually make our model. It

proved to be a mistake as the model started to break. Our cutting

skills were not as precise as a laser cutter’s and therefore caused

some edges to break. The fact that the veneers were so thin did not help either. We sent it to the

FabLab which was actually the best decision as the model turned out

to have clean and nice edges which did not break.

FIrst, we made a prototype by cutting strips of veneer and slotting them into foam core. Some strips were left untouched and some were laminated with various thickness of veneers. The reason we wanted to do this was to test out the natural bending movement of the strips when external force is applied to it. We came to a conclusion that the natural bending movement formed a sort of parametric wave which was quite cool to see. Some strips were laminated

Pushing the sides of the foam core to create the wave effect and to see its natural bending movement

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TECHNIQUE- prototypes8

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Strips were first laid out

Slots were sliced onto the foam core

The strips were placed onto the slots of the foam core

Step 3 was repeated till model was completed

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Assembly diagram for final prototype model

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In the end, our model did not really look like the end result of the matrix as we wanted it to bend naturally. In other words, the form of the model was due to the spontaneity of the bending of strips. We did not anticipate this which was why we could not model it on grasshopper. This was a problem we faced.

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TECHNIQUE PROPOSAL

Through the prototype making process we figured that the structure could be cut into the ground which in a way also connects it back to nature. The sense of dynamic fluidity and continuous sense of motion one can experience as they travel under the sculpture conforms with our focus on changing perceptions. Users would start to change their mind about timber (the way it is able to bend) and how it is able to be used to create art sculpture. A simple material can go a long way if one understands how to manipulate it, in our case, we used cutting edge technology like Rhino and Grasshopper as a medium between the real and digital world. What I’m trying to say is that we are engaging 2 different parties. First, the normal, everyday users (with the introduction of extremely bent timber, it would be striking as most users wouldn’t have known that timber can be bent in such extreme way) and secondly, designers who have background on parametric software (Not many people would bother researching or checking out more on the sculpture, therefore, this group of people would be essential in “publicizing” this sculpture and also to prove that Wyndham is not only an advocate for the arts, but also how it has managed to get on with the times with the use of parametric design in the sculpture).

The sculpture is meant to be dynamic and interesting. Hence, one gets a different reading of the sculpture at all different viewing

angles. Through the material tests, we were also able to understand that veneers are able to change through different conditions. This could be really beneficial as it would be able to change during different weather conditions and seasons. This would not be a static sculpture and it is able to create an on-going interest for the users through all these different effects.

Realistically though, they are some drawbacks. While the model appears to be standing in the prototype model, it may not once it is at a 1:1 scale. There is also a concern that there would only be limited sizes of timber sheet. Without a single sheet of timber we would not be able to create a self supporting sculpture.

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LEARNING OBJECTIVESWe managed to receive several good feedback during the mid-semester crit. The few issues that have been brought up are:

• How would Wyndham benefit from this design?• The practicability of veneer. We need to look at a material that scales

well. There are also some restrictions. We wouldn’t be able to source veneers/plywood that was 80m long. We should also look at other projects that have done material testing and see what they’ve done going from material’s testing phase to the actual design.

• We need to focus on the next step to create something for Wyndham. We understood the properties of the material, now we need to utilize this information to create a design.

• We stopped at the point where the real story begins and we haven;t told them yet. There are 8 fins which means there are 8 ‘stories’ we need to tell. Why do the fins bend in that way? Why are they shaped like that? A 9th ‘story’ needs to be told about how all these 8 stories come together as they do not work independently.

In terms of material choice, I would still consider plywood as a good choice. Yes, there are some restrictions in terms of size but I still stick to our first argument where we want to change people’s perceptions on the material. Timber is rarely used in parametric design as compared to metal or some other material, and it also gives us a lot of control with the known properties.

The group has decided to change the design. With inspiration from our case study 2.0 reverse engineering project, we decided we could always separate the final structure into different elements if there is a size restriction. By setting a restriction of say 5m to the material, we could work our way around this restriction and come up with a better design.

In regards to precedents in material testing to the final design. It really is hard to find appropriate projects as most precedents deal with smaller scale projects (eg, pavilions). For our case, we are attempting to create something huge over the freeway. However, it is also a good opportunity to contribute to this discourse with this large scale project.

& Outcomes

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Through this part B, I’ve understood more about how to utilize Grasshopper as an useful tool in designing. In this part, we used grasshopper to model our findings rather than generating designs from it. We were more focused on the material tests as we thought that it was the main part to our argument. However, in the next part, we plan to utilize and take more advantage of this software to aid in our next design.

I also understood more about data structures and data matching which was great. I found myself knowing what to do when the model refused to loft itself by using the flatten/graft components. It is also essential to understand the data trees to ease the workflow. I felt stupid that I had exploded every single components (all 30 of them!) and dragging each component to the loft component. After understanding the concept, it took only a minute to get it done, compared to the 8 minutes where i had to manually drag each component.

The next step will be to utilize more of the information we have to create a design.

Initial case study 2.0 definition.

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Case study 2.0 final definition for each element (much simpler)

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Teaching by Doing: A Research Pavilion in Stuttgart, (Detail Online 2010), 2009) < 8- http://www.

detail-online.com/architecture/topics/teaching-by-doing-a-research-pavilion-in-stuttgart-007367.html

> [accessed 15 April 2013]

Japan Pavilion, EXPO 2010 (Design Boom website ) <http://www.designboom.com/history/ban_expo.html> [accessed 20 April 2013]

Interview with Julian Lienhardt, (Digital Crafting, 2011) <http://www.digitalcrafting.dk/?cat=23> [ac-cessed 22 April 2013]

Voussoir Cloud, (Triangulation Blog) , <http://www.triangulationblog.com/2011/06/voussoir-cloud.html> [ac-cessed 18 April 2013]

ICD/ITKE Research Pavilion 2010, (Stuttgart University, 2010) <http://icd.uni-stuttgart.de/?p=4458> [ac-cessed 21 April 2013]

BIBLIOGRAPHY

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PART C gateway design

PROJECT PROPOSAL

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TO WYNDHAM

Proposed location

DESIGNING FORTHE SITE

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TO MELB CBD Before dwelling any deeper into our design, we wanted to make sure that our final

design would conform to the project brief and site. Extensive research of the site and brief were done and it helped give us a better understanding of what was asked for and needed.

We wanted to have our sculpture where it could be visible to the people of Wyndham. Since it was designed with them in mind, we wanted to place it at the road towards the city of Wyndham. That way they could call the sculpture their own. Our chosen location is also close enough to the freeway leading to the CBD. It gives a little teaser to the users travelling to Melbourne to what Wyndham has to offer.

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We started understanding more about what Wyndham

was about through their website and the project brief.

We then picked phrases that best represented Wyndham and important aspects that were asked for in the project brief.

Wyndham prides itself for being a sustainable and environmentally friendly city. Our proposed design would be made out of plywood. Plywood is a natural earth material that would fit perfectly onto the landscape of Wyndham. The idea of plywood combined with the use of parametric tools is seldom done in the present architecture discourse. Most designers stick to the use of steel or more ‘reliable’ materials in their designs. With that, we aspire to create a design utilizing

the natural properties of the material. The use of plywood is also significant as it also stands as a metaphor for room for growth much like how it is slowly developing in the parametric discourse. By combining the known natural properties of this humble material with the use of parametric tools such as Grasshopper, we should be able to achieve a result that produces and ongoing interest and refreshment in ideas because of the new way that we are using the material.

From our previous experiments for the case study 2.0, we figured that veneers have a very large bending capacity even without the use of heat to maintain its bend. With this in mind, we started off our experiment and research with veneers which are the scaled material of plywood.

ADDRESSING THE BRIEF

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With the idea of lamination, we

thought of laminating a single strip of plywood, which would then be supported in tension with cables. The cables allowed it to be bent without being subjected to external conditions to maintain its bend. We started documenting different styles of lamination with veneers and how it would affect the bending. (refer to series of pictures)

Satisfied with the technique of it, we experimented with different widths and lengths to achieve a pattern to it. However, it felt like something was missing. Hence, we decided to place it at alternative spots. Each located in a zigzag pattern across the road from each other. With this, we were then able to play with the positive and negative spaces, which would then lead to better spatial experiences during the day and night. We were happy with our design but there was one thing that really bothered us. Which were, the visible cables. Taking the

cables out would destroy our intentions of having it bend naturally. On the other hand, we thought that it would look out of place and shift the user’s attention from the main timber structure.

We presented our ideas to Mike and mentioned the visible cables as a point of frustration we had. What he suggested next really came as a blow to us. He thought that our design did not push the limits of what the material can do. In regards to the visible cables, he then suggested the idea of a continuous structure. Hence, removing the need for any cables.

It was quite frustrating because it meant that we had to scrap our initial idea and begin from the start. After the consultation, we came up with 2 criteria that the final model should have.

1. It should include the lamination technique.2. It should be a continuous structure.

IDEA#1This was our group’s first idea for the final design. Our main priority was to portray the different degree of bends through lamination.

>> Testing out how far the laminated strips could bend

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Lamination technique: Staggered

The pieces were laminated in a staggered way to minimize the appearance of a weak joint. However, through our research and tests, we also found out that it is not very smooth and produces a jagged edge when it bends.

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1&2: Each strip would increase in length across the road.

3: Forming a pattern by decreasing and increasing each strip.

4: Illustration of how it may look like when laminated.

red lines portray the cables holding the bends of the structure

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IDEA #2

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1&2- Playing around with the continuous form, we found out quickly that the corners joining all the strips had to be flat. It would be physically impossible to twist veneer/plywood to that extent as it may affect the structural integrity of the model. We tested this out with veneer by cutting it to the form of a curve. It could not handle the stress and would snap as we tried to bend it to curve at the corner.

3 & 5- I tried another different form by having it zig-zag across the road. At first with a constant size throughout the strips. We felt that it was boring having it all the same size so we increased the size of the strip as it went along the road. The problem with this was that the bigger strip would block the road. Moreover, it would be hard to source and shape a material of that size.

We started brainstorming on different designs that could be continuous. These were my explorations.

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4- This form was conceived by placing identical mirrored strips on the sides of the road. The last bit formed a sort of suspended arch at the end. I was quite happy with this form but we decided that it would be hard to realize this in real life.

6- This form was the result of combining the suspended arches derived from experiment 4.

Sadly, we could not develop these forms as we had to stay true to our design approach which was designing based on the natural properties of the material. These designs could be possible if we steamed it to shape by altering its’ natural properties. However, it would have meant that we had to deviate from our main purpose which was to have the material in its natural state. These exercise did not go to waste though as we found out what we had to avoid to produce a workable design.

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These line drawings convey our process of searching for a final design. After weighing the pros and the cons of all the previous designs we decided that:

A. It should have a tunnel effect which was inspired by our case study 2.0. Placing our sculpture over the users provide a much stronger experience for them instead of just placing it along the sides of the road. Instead of just a visual connection, users will have the opportunity to experience the shadows formed by the gaps in between each strips. Moreover, they will be able to closely admire the texture and pure form of the material.

B. Learning from our mistakes in the previous experimentation and observation. We understood that in order for the structure to appear continuous, the corners joining all strips had to be flat. This would provide enough support for the strips and would also prevent it from breaking which is caused by twisting it. We

plugged each model to our GH definition to make sure that the corners were all flat. This was determined by the color gradient projected on the models. It would turn red when the corners were flat.

C. It has to include the lamination technique which controls how each strip would bend.

At this point, we thought that it would be physically impossible to source plywood of such great lengths to achieve a continuos structure. We decided to split the model up into parts, much like what we did in the case study 2.0 reverse engineering. This would not affect our design intent or final form as it would still appear smooth and continuos, as if it was never split up into different parts.

After finalizing our design, we decided to work on the details and tectonic elements.

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1-6: variations of different forms achieved by altering its parameters. Example of generative design method as discussed in Part A. 7: chosen final form

The final form is made up of a series of strips increasing in length, degree of bend, in between gaps and width. This decision was made to allow a sense of “opening up” or revelation” which suggests a possibility that there is more to come. It uses the idea of continuity that allows the idea of fluidity and dynamism, thus drawing interest and different perspectives at different glances towards the structure. The incorporation of this ‘fluidity’ in the design also lets the users ponder and reflect more about the material because timber is not often thought of as a material that is flexible. We also did not want it appearing too flashy or overpowering on the road as we had the users in our mind. We believe that this form is simple enough and would not distract the drivers on the road.

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laminates

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WORKFLOW OF DESIGN DEFINITION

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1. Create 2 continuous curves and loft. Ensure that corner of strips are flat

2. Plug in curves into GH definition to obtain color gradient.

3. Unroll and split curves according to color gradient.

4. Assign number of lamination according to color. Green= 3 laminations. Yellow= 2 laminations etc.

5. Place laminations according to color gradient

DESIGNPROCESS

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neutral point

less curvature

more curvature

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We devised this strategy of having a constant number of laminations for a certain color to ease the workflow and so that it would not be too complicated. According to the diagram, the variation of colors allowed us to understand which part of the strips are bent the most and the least. The color green signified less curvature which would mean that it would have to be more laminated to have it straighter. On the other hand, the color yellow represents more curvature which meant that less laminations would be applied to. It was really simple actually. This is our technique in layman terms:

1. Green >> straighter >> more laminations 2. Yellow >> curvier >> less laminations

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Lamination technique: StackedWe decided to have a stacked lamination technique. This was due to the lesson we learnt from our previous exercise in our first idea. Having the laminations stacked produced a smooth curve which is a desired quality in our model.

We placed the stacked laminations on the bottom to allow a sense of continuity from the top, giving it more support and stiffness where it is needed due to the curvature of the strips.

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<< axonometric view of how the final design will be laminated

vvperspective view of the laminations

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1. Pieces to be cut and laid out off-site

2. Pieces to be prefabricated and pre-laminated off site

3. Pieces to be transported to site for assembly

4. Structure is assembled and Dynabolts to be used as connections between plywood and composite piles.

CONSTRUCTION PROCESS

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DIAGRAM OF CONSTRUCTION PROCESS

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TECTONIC ELEMENTSWe wanted our structure to be as self- supporting as possible. Hence, there were only 2 main important supporting detail in our model. These elements are:

1. The bolted flat corners of each strip.2. The laminated pieces (which was described in detail in pages 86 & 87)

As stated previously, we changed the lamination technique from staggered to stacked due to our previous experiments and observations. We figured that it would appear more continuous with the change.

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2x150mm LaminatedTimber Veneer

Ramset DynaBolt HexNut Zinc Plated

Concrete-SteelComposite Pile

In reality, our strips will be prefabricated and pre-laminated off-site and will be transported on-site for assembly. The structure will have its flat corners bolted down with Ramsat Dynabolts into composite piles of concrete and steel.

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FINALMODEL

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ABC

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We labelled each individual pieces to ease the process of fabrication. We had to be really careful that each piece was turned the right side up and placed at the correct position. Messing up one piece would destroy the whole model. Material was scarce so we could not afford to make any mistakes. We not only depended on the nested labelled pieces but constantly referred to the model on Rhino to reduce the risks of any mistakes.

ASSEMBLYDIAGRAMS

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LEGEND:force exerted on the model to shape it into place

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The laminated model before it was pushed into its place.

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The juxtaposition of the concept of fluidity and the stiffness of timber come together to create an interesting structure that will leave users thinking more about the material and structure. The

fact that the model behaves in an elastic way and not plastic due to its natural properties proves that it is indeed unique. It is always easier to heat plywood to retain its form but it would lose that special quality it has of being natural.

The research and underlying technology behind this sculpture would appeal to people with design and technology background. However, it will also appeal to the normal users who travel about the freeway due to its size and the way the material has been used.

I am quite happy with the result as I reflect and compare on my hopes for the model as expressed in Part A and on the final model achieved.

There is a symmetry in the final design. Users are able to find a sense of order as they drive through the structure. The last thing anyone would want is to feel on the road is panic or chaos. This could lead to accidents occurring.

The use of a simple material, plywood, is one of the major highlights of the final model and has been repeated many times throughout this journal. It showcases the beautiful and unique characteristics of plywood without being too flashy, which fits perfectly with this humble material.

The structure was also designed with its surrounding environment and users in mind. It does not stand out excessively due to the use of a natural material and it would not distract the drivers on the road.

With all these characteristics, I am certain that this structure can mould

and shape the identity Wyndham has been looking for whilst providing a new experience for the drivers who past through it.

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LEARNING OBJECTIVES& OUTCOMESThe crit has been really helpful in pointing out our flaws. I would like to highlight some of the feedback that we received:

“Veneer is very difficult to scale up... probably not achievable”This was always an issue with our group. We always believed that veneer was a good scaled down version of plywood. I guess it would be hard to predict if it would really work unless we made a 1:1 scale of it.

“Going over the road was always going to be an issue”We understood this problem but went with the design over the road because we felt that it was really important that users get to experience the sculpture first hand.

The technique was not convincing enough. This comment was really helpful for us. It made us wonder how we could improve our design more. This lead to further developments of the model.

Model was not made in accordance with the 3d rhino model as differences are visible in the final model

We are sad to admit that this is true. We decided to use a bit of our instincts when we made the model. We thought that it could have saved us more time but realized that mapping out each exact location was actually not a step to be missed. Computers- 1, jasbenyun- 0

“If it wants to look like a ‘veneer ribbon’, it needs to play by the rules”. It was suggested that we steam it to shape.

This is true but we had to play by our design approach’s rules whichwas to retain the material’s natural properties.

Laminating on the inside would not make it seem continuous to the users. When Mike mentioned this, I was quite surprised that i had not thought of this issue. We laminated it on the underside because it would have bent better and smoother. We also thought that it would have looked out of place if it was laminated at the top.

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The design did not stop there. After our final crit, we received many helpful feedback from our

tutors and the guest jury. We utilized the final week we had before we needed to submit the journal to work on ways we could improve our model.

One important aspect was to continue working on our technique to make it more convincing. We decided to increase the number of layers to fully make use of our technique. So, instead of only 2 or 3 layers, we would increase the laminations to a maximum of 5 layers. We decided to have a maximum of 5 layers instead of more because one strip was relatively short. Increasing the layers would not be necessary and could appear messy. We decided to test this idea out by making a test model.

We also decided to change our lamination technique. Learning from our past mistakes, we combined the favorable results from the staggered and stacked technique to produce a composite lamination technique.

The composite lamination technique produced a more desirable effect. It minimized the number of weak joints (like the staggered technique) and it was also able to produce a smoother curve (like the stacked technique). It also addressed the issue of laminating underneath the structure. It would now appear more continuous than when we used the stacked technique.

In addition to that, we mapped the exact points of where the strips should be as suggested by the guest jury to

produce a more accurate model.

it was also suggested to us that the number of curvature was too little. This was due to the fact that we had only used 3 colors to indicated the curvature on the color gradient. We made some changes to the color gradient so that more colors can indicate more difference of curvature throughout the strips

Finally, the model was also more stable and the strips did not tilt as much as the previous model. This addressed the issue of how our model did not look like the 3d rhino model.

FURTHER DEVELOPMENTS

The previous model had a tendency to tilt at certain strips. However, by increasing the number of layers, we were able to have more control of the model and it did not tilt as much.

Legend of diagram for next page

1: The strips are unrolled and sliced according to the color gradient obtained in the new exploration. 2: 1st layer3: 2nd layer4: 3rd layer5: 4th layer6: Final layer

The addition of different colors (purple and orange) allows us to clearly distinguish the different curvature the strips possess. This shows us where we should slice each laminate on each strip

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Pieces were laid out and labelled

Detail of laminations

Top view of model

Detail of laminations

Side profile of laminated strip. Does not appear as out of place as there is a sense of rhythm in the laminations

Detail of curved sections of model.

View of model as one travels through it

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Lamination technique: CompositeCombination of the 2 previous techniques.

Axonometric view of all the layers

Overall, we are quite happy with the changes made. If given more time, I am sure we would be able to use this technique to finish off the model. However, we lacked the materials to do so and just sparingly made it off with this model.

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LEARNING OBJECTIVES& OUTCOMES

Reading so much about computational architecture and parametric modelling in part A

already convinced me that technology was really benefitting the field of architecture. But after experiencing first hand what these tools can do, I honestly do not think I can continue my architectural studies without utilizing them.

Through this project, I realize how there are so many solutions to one single problem and how parametric tools are one of the biggest churners of these solutions. When i was playing around with grasshopper for the case study 1.0, I actually found it hard to choose which matrix to continue to develop with. There were also times where we would get too caught up with one particular parameter of the design. For example, we produced many similar forms of the initial case study 2.0 model by changing the number and width of rings. However, it is always better to have variations then none at all. It helped me to actually start thinking carefully and to choose the BEST one out of the bunch. I had to really think hard to justify my picks. That was the hardest part of all. There is also a huge misconception that parametric tools are able to fasten and simplify ALL designs. This is only true when the user understands and has a deeper understanding of that particular tool. Often times, I find myself really frustrated from thinking how to work a solution parametrically when i know it would be easier to do it on Rhino.

Eventually, I did figure out how, by using the knowledge I had on data trees.

I also learnt to break down complex tasks into simple parts. For example, in the case study 2.0 reverse engineering and final model’s assembly fabrication and technique. The use of parametric tools have definitely made me think more logically and that we should always take small steps when handling something complex.

I feel that my skills of parametric modelling has increased through all the explorations that this project has offered. I remembered being so clueless about grasshopper and would pause the tutorial video every 10 seconds just to keep up with what was going on. The tutorials were definitely a good way of learning. I also found that looking at other people’s definition and questions in the grasshopper forum was a good way of learning how to use grasshopper.

It is through this project that i realize how much vector line drawings are able to convey ideas in a simple and neat way. Before this subject, I would always render or take screen shots of my projects. This resulted in messy compositions and sometimes confusing images. I will most definitely be using vector drawings as a means for communicating to others in the next studios.

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Working in a group has its ups and downs, it was great seeing how we combined our abilities and strengths to cover up each other’s weaknesses. I am really shy and soft-spoken, so I really appreciate Ben and Jas’s help in conveying our progress and ideas to our tutors while I quietly nod, take down notes and do some of the background work. It was definitely a democratic group, and thank goodness we were not in a group of even number. We usually base our choices

on a group poll. Sometimes my ideas would not be accepted and it is quite an ego crusher but It taught me to think more rationally when people reject my ideas and it also gives me room to improve more. I am really grateful for having a group that would stay up all night together to get things done. Could not have done it without everyone sacrificing their time and efforts.

Special thanks to:

Jas and Ben. Thank you for being the best group members anyone could ask for. Thank you for staying through all the late nights and early mornings. Will definitely remember the craziness of the semester, battles with the glue gun and how we successfully carried our huge model from 757 to Baldwin Spencer.

Dave and Mike. Thank you for being such dedicated and helpful tutors. We really benefitted from all your help. Thank you for being patient to this sometimes-confused group. We really appreciate it.

Gray and everyone else from Timberwood Panels Pty Ltd. (I know they won’t read this but…) Thank you for always welcoming us and giving us free veneer samples. Thank you for opening your workshop after hours to accommodate us. We really learnt a lot about timber veneers and the production of it.

The End