journal final sub 30048 537548

2012_DESIGN STUDIO_AIR Madeleine Brown_537548

CONTENTS

Title Page 1 Contents 2 About Me 3 Introduction to the Project 4

Week 1: EOI: Case for Innovation: Architecture as a Discourse_Urban Primary School 6 EOI: Case for Innovation: Architecture as a Discourse_National Museum Australia 8 EOI: Case for Innovation: Architecture as a Discourse_AAMI Park Stadium 10 Week 2: EOI: Case for Innovation: Computation in Architecture_Capital Gate 12 EOI: Case for Innovation: Computation in Architecture_Walt Disney Concert Hall 14 Week 3: EOI: Case for Innovation: Parametric Design_Webb Bridge 16 Week 4: EOI: Research Project: CUT: Develop_Input/Association/Output Matrix 18 EOI: Research Project: CUT: Develop _Scope of Possibilities Week 5: EOI: Research Project: CUT: Develop_ Reverse Engineering_Dior Ginza 24 EOI: Research Project: CUT: Develop_ Reverse Engineering_Tokyo Airspace 32 EOI: Research Project: CUT: Develop_ Reverse Engineering_Aoba-Tei 36 Week 6/7/8/9: EOI: Research Project: CUT: Develop_Possibilities_Refinement of Ideas 40 PROPOSAL: The Three Threads Gateway_Design Development 56 PROPOSAL: The Three Threads Gateway_Fabrication 62 PROPOSAL: The Three Threads Gateway_Presentation 72 PROPOSAL:The Three Threads Gateway_Learning Objectives and Outcomes 84 References 90

ABOUT ME

Growing up I was the child that drew on absolutely everything, a serial “doodler” my teachers called me whenever they’d receive ther tests back covered in scribbles.

Architecture has always interested me, growing up in Perth I didnt initially gain much exposure however as my family is originally from the UK we traveled frequently, mainly to Europe, and

it was there I fell in love with how Architecture can shape the essence of a city and express so many elements of both a time and a culture.

I also believe architecture is something I am predisposed to do, my mother has finally found the time to begin selling and exhibiting her work and my father, having previously taught CAD at TAFE WA, now works as the Lead Piping Designer for a large Oil and Gas Company - Architecture

seems like a pretty good combination of the two.

I started my path to become an Architect by studying a Bachelor of Environmental Design at the University of Western Australia during 2009 and 2010 which really cemented my belief this was

something I could do and [in time, hopefully] do well.

In 2011 I took a year off travelling around both Australia and Thailand for the first time and, falling [completely] in love with Melbourne I decided to settle here and return to the path of becoming an

Architect, hoping to finish the final year of my Bachelors at the University of Melbourne.

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT

The site for the WYNDHAM CITY WESTERN GATEWAY centres around the CITY BOUND roads on the Princes Freeway leading away from Wyndham, it is at a

BOUNDARY where urban development meets the natural plains. The challenge is to create a COMPELLING, EXCITING and EYE-CATCHING installation that not

only generates new discourse but that INSPIRES and ENRICHES the municipal-ity of Wyndham and also manages to encourage a sense of PRIDE and further

REFLECTION upon its meaning; all while being primarily viewed by motorists at HIGH SPEED.

Wyndham is the fastest growing municipality in Victoria Based around the sub-urbs of Werribee, Hoppers Crossing, Point Cook, Wyndham Vale, Truganina and Tarneit. The largely rural community is slowing accepting the suburban settle-ments in the wider area. Art and architecture has the ability to be that thread

connecting people and place,

THERE IS AN INTENSIVE RELATIONSHIP BETWEEN THE NATURAL ENVIRON-MENTS AND THE ACTIVITIES OF HUMAN SETTLEMENT AND ASSOCIATED

INDUSTRIES


My approach the the project not only incorporates the points that the installation should enhance architectural discourse by being eye-catching and exciting - but will also use the advantages of parametric modeling made ready at my disposal

through my progression of the objectives of this semester in computational design. Not only has my ability in Rhino, CAD and Grasshopper increased expo-

nentially but so has my ability to critically engage with architecture.

“Architecture as Sign & Architecture as Innovation”

As will be expressed in my Case For Innovation and Research Proj-ects, parametric modelling advances architectural discourse for its

ability to not only transform the standards of design of a project type, but in its ability to enhance both the design aesthetics and structural and fabrication processes to allow for a more innovative and inspir-

ing ideas to be conveyed, critically evaluated and constructed.

KEY CONSIDERATIONS:- Prominent location of the site at the entry to metropolitan Melbourne;- Back dropped by a large scale service centre;- Consideration of how the installation integrates with and/or sits in the immediate and surrounding landscape;- Iconic feature;- Appropriately scaled;- Dialogue between sculpture and landscape to compose the Gateway;- Original and engaging in form;- Object‐centred individual sculpture or a more experien-tial approach;- Literal or abstract;- Adherence to the regulations imposed by VicRoads in relation to siting, view lines, setbacks, materials, colours etc;- Daytime and night time viewing; and- Safety, ease of maintenance, materials and longevity.

In my second year of study for the Bachelor of Environments at UWA one of my Studio Assignments was to design a Primary School in the city urban environ-ment which solves the problems of space vertically; our design still had to ad-here to all the standard sizing and funciton requirements of primary schools in Western Australia which are normally very flat designs spread over a very wide area. Instead we had to incorporate all elements into a restricted vertical space in such a way as to enhance a primary schools function of learning and play. My design centred around a previous Playground Project developed from the idea of a canopy of trees and as so my Urban Primary School design reflected and represented all the elements of a single tree organism, achieved through both its appearance, floor layouts and structural elements.

Canopy - Cladding: Glass bands surrounding ramp, glass walls of the class-rooms, and the views through the voids of the school and the structural sup-ports reflects looking through the leaves and branches. Branches - Levels: Alternating levels between teaching and play and the alter-nation between closed levels and open. Trunk - Circulation System and Structural Members: The central circulation sys-tem of the lift and staircase, the outer circulation system of the ramp, and the steel columns encased in concrete all represent the strength of the trunk. Roots - Staff Level and Assembly Hall: Placement of the main staff and office spaces on the lower ground level, and the Assembly Hall on the ground level represent the roots, as they are also the main elements of the schools develop-ment and develops the school’s core principals.

This design transforms the primary school standard in Australia ,which is generally very flat and spread over a wide area, to a vertical space which still encompasses all aspects required for a fully functioning school and play areas.It does this while also debating on the importance of the facade and the structural elements of a building and whether these can reflect the intent use of the build-ing. If we consider architecture to be “as much a philosophical, social or profes-sional realm as it is a material one,” this project is as much a part of architec-tural discourse as any other (Williams 2005 p103).

ARCHITECTURE AS DISCOURSE URBAN PRIMARY SCHOOL

ARCHITECTURE AS DISCOURSE URBAN PRIMARY SCHOOL

This design enhances the Architectural discourse through it’s transforma-tion of the standards of design of a particular project type [in this case a primary school in Australia] while still encompassing it’s given require-

ments , at the same time reflecting the intended use of the building through structural elements

‘TREESCAPE’ DESIGN Madeleine Brown

To advance architectural discourse a project must consider how it is appraised or comprehended by others and not just the spatial experience it affords. While my Treescape Primary School design does this by considering how it will affect the students and how they feel a part of one singular school organism, in my opinion the National Museum of Australia in Canberra designed by Ashton Rag-gatt and McDougall Architects (ARM) also does this, because ARM has used this project as an opportunity for debate on the not only the presentation of muse-ums and what an experience with a museum should feel like and provide but how it actually chose to represent Australian history aswell.

As NMA Director Dawn Casey stated it was decided that the museum should heighten awareness of the contribution that normal members of Australian society make to the comprehension of the national identity; and ARM reflected this through its design of the building (Message 2009). Specifically designed to not look like a museum, it is based on a theme of knotted ropes, designed to symbolise bringing together the stories of many different Australians, The main structure of the building itself is meant to be the large knot with ropes extending outwards reaching into and merging with the larger landscape, with the large loop called the “uluru axis” because it aligns with that particular landmark and as such integrates the project with the spiritual centre of Australia. The main hall continues this idea as the building has been booleaned with a knot and then subtracted those differences within the interior (ARM 2001).

This also ties this project to our Expression of Interest and parametric design, with lead architect Howard Raggatt using computational techniques to realise his ideas that may not have been so readily (if at all) possible without the use of computer programs.

This design enhances architectural discourse through its exploration and representation of identity

ARCHITECTURE AS DISCOURSE NATIONAL MUSEUM OF AUSTRALIA

ARCHITECTURE AS DISCOURSE NATIONAL MUSEUM OF AUSTRALIALocation: CANBERRA, AUS Contributors: ARM ARCHITECTS

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ARCHITECTURE AS DISCOURSE AAMI PARK STADIUM

The AAMI Park Stadium in Melbourne, designed by Cox Architects, can be seen as a clear example of the boolean tool in use to help create this design, ‘union-ing’ the spheres next to each other and subtracting the interior which is used for sporting events such as rugby and soccer (AAMI Park 2010). This project also enhances the architectural discourse for it poses the question of just how valu-able is parametric design in architecture now, and could this design have been realised with out the use of a computer?

“[AAMI is a] formally elegant and ambitious structure that blends en-gineering smarts with the humorous iconography of inflated soccer

balls.” - Rory Hyde, Architectureau.com (Phaidon 2010)

This design was awarded the 2011 Victorian Architecture Medal, the Melbourne Prize and the William Wardell Award for Public Architecture. The project also received the Colorbond Award for Steel Architecture. Instead of one dome the series of interlocking domes made of triangular elements serve to structurally support themselves both individually and together (AAMI Park 2010).

The design enhances architectural discourse through it’s use of com-puting techniques to enhance both the aesthetic and structural de-

sign; and additionally through it’s use of iconography as structure

ARCHITECTURE AS DISCOURSE AAMI PARK STADIUM Location: MELBOURNE, AUS Contributors COX ARCHITECTS

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While it must be said that computerization of designs is still the primary format most architects use in order to display and manipulate an idea or design they have already created in their head in order to develop a project, computational design refers to the actual design process being carried out in a parametric for-mat- and this is what creates such debate and the question of whether the pro-grams limit or expand the scope of the person designing within them. A positive to the computation versus computerization argument is the many unique inno-vations are presented by these parametric design techniques with many works successfully enhancing the architectural discourse.

Certified as the ‘World’s Furthest Leaning Manmade Tower’ by the Guiness Book of Records, the Capital Gate building leans at an amazing 18 degrees (E-archi-tect 2012). The Design by RMJM Architects has combined computation and para-metric techniques to solve the ever present issues that an design must solve such as aesthetics, structural stability and sustainability. The vision described by owners the Abu Dhabi National Exhibition Centre (ADNEC) was “Honouring the past, celebrating the future, ” with the building intended to signify Abu Dhabi’s growth and evolution through it’s aesthetic and technical advancements, while paying tribute to the late President of the UAE His Highness Sheikh Zayed Bin Sultan Al Nahyan by integrating the historical National Exhibition Centre which was apparently much loved and utilised during his reign (Capital Gate 2012).

Structural stability is also achieved by Capital Gate through the use of the di-agrid system, triangulated beams are used in tandem with horizontal rings, meaning the structure effectively spreads its mass from its centre and through this draws it’s strength from multiple sources and numerous directions; this stiffness increases it’s ability to resist both gravitational, seismic and lateral forces while using less steel than conventional frames,thus also saving money. RMJM have created a sustainable design through their use of double glazing on the windows combined with two silver coatings to reduce emissions and the sun’s glare and heat impact. The ‘splash’ of metal on the south side of the building not only serves the purpose of representing the fluidity of wind and water and connecting the old Exhibition Centre Grandstand with the new build-ing but also acts sustainably by acting as shade from the direct midday heat (ADNEC 2012).

The design responds to it’s environment through it’s aesthetics,structure and sustainable design.

COMPUTATION IN ARCHITECTURE CAPITAL GATE

COMPUTATION IN ARCHITECTURE CAPITAL GATE Location: ABU DHABI, UAE Contributors: RMJM ARCHITECTS

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“Parametric design represents an approach to design where all at-tributes of a design are given parameters that can be changed. The real value arises when those parameters can be altered without adding work for the individual designer.” - Jessica Nicole Sundberg (2009)

This is what programs such as Rhino and Grasshopper are for; when a param-eter is changed the program adapts the rest of the deisgn to accomodate the change... rather than the designer having to create a whole new drawing or change all the influences individually, like in CAD where the model doesnt adapt to changes, the program does it rather than the designer. This heavily impacts upon the architectural world because design refinement can happen at a much faster speed, client input or changes can be made with much greater ease, and the scope by which the parameters are able to be changed is much larger; the pre-fabrication of materials for construction is a large example of this .

“My vision for 2020 is one where construction methods will minimise on-site labour – more prefabrication. Buildings may be more trans-portable, moving or growing as required. Sustainability and re-use of building materials will drive materials and construction methods.” - [Quote taken from Hampson & Brandon’s 2004 Report by the Cooperative Research Centre for Construction Innovation, Australia] (University of Melbourne 2012)

COMPUTATION IN ARCHITECTURE WALT DISNEY CONCERT HALL COMPUTATION IN ARCHITECTURE WALT DISNEY CONCERT HALL

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For the Walt Disney Concert Hall in LA, using curved surface steel-framing, Frank Gehry and his team worked extensively with CATIA (another parametric design program) and Rhino to draw, model and calculate complex structures and send them off... known as ‘file to fabrication’ (Balian and Ferris 2004). The three-dimensional model in the computer was transferred to the site by laser tramsmit method to locate the coordinates within the site (Kolarevic 2003).

The design uses computation to enhance both the design and the construction process

COMPUTATION IN ARCHITECTURE WALT DISNEY CONCERT HALL Location: CALIFORNIA, USA Contributors: FRANK GEHRY

COMPUTATION IN ARCHITECTURE WALT DISNEY CONCERT HALL

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This bridge was touched on in the lecture of week 3 and I was amazed because I walk past/over that bridge every single day to get to university, to work, and to the shops. A pedestrian/ cyclists bridge over the Yarra River in the Melbourne Docklands DCM (Denton Corker and Marshall) Architects were awarded the op-portunity to design the bridge after presenting their Expression of Interest. With a design representing an eel trap formerly used by the indigenous Koori who lived in the area over 200 years ago, DCM reconcile the cultural significance of the site back to the design and link the old to the new through the use of para-metric modelling to achieve it (Denton Corker Marshall 2010).

Using a continous box-beam structural system DCM worked very closely with the structural engineer team of Arup, who were using their in-house developed GSA Bridge programs to identify bridge load optimisation, footfall analysis/hu-man induced vibration, steel design, concrete slab and wall design, non-linear analysis, buckling, dynamic analysis and seismic responses. DCM, in conjunc-tion, were developing the elaborate latticework of curved and flat laser-cut strips of steel over the bridge. In CAD format and with parametric modelling they were able to integrate the Koori eel trap idea and play with the size and distance of the hoops of the bridge and do this in easy conjuction with the engi-neer Arup. Data was entered into the CAD base model and, defined by simple parameters, the architects could then change these parameters and the model would update itslef simultaneously (GSA Bridge Benefits 2011).

“Parametric modelling introduces a single new idea. Relate the parts together and defer to the system the task of keeping parts so related.”-Woodbury, R., Williamson, S. & Beesley, P., 2006.

This project expresses the use of scripting and programming in contemporary architectural design through its use of parametric modelling to develop the project in both a structural and aesthetic way throughout the design process and from ‘File to Fabrication”, with the actual use of spreadsheets to fabricate and build the bridge itself. For a spreadsheet is a parametric model in itself, maintaining the relationships between columns, numbers and their sums, with the human user entering the information and leaving the program to rearrange it and produce a result - exactly the same as parametric modelling in architec-ture. DCM Architects, in conjunction with their engineer Arup, have successfully used contemporary scripting/programming cultures to develop their design and have ensured that the design intent of combining the old with the new has remained throughout the process (Denton Corker Marshall 2010).

PARAMETRIC DESIGN WEBB BRIDGE

PARAMETRIC DESIGN WEBB BRIDGE Location: MELBOURNE AUS Contributors: DCM ARCHITECTS

The design uses scripting programming to develop, fabricate and to represent the reconcilliation between the old and the new

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ASSOCIATION ORIGINALSINPUT ORIGINALS ROTATION

EXTRUSION

IMAGE SAMPLER+EXTRUSION

CUT // DEVELOP_MATRIX_POSSIBILITIES INPUTS/ASSOCIATIONS/OUTPUTS_EXPERIMENTATION

SURFACE NORMALS+IMAGESAMPLER+EXTRUSION

SURFACE NORMALS+IMAGE SAMPLER (TEST IMAGE)

SURFACE NORMALS+IMAGE SAMPLER (PAISLEY PATTERN)

SURFACE NORMALS+MATHS FUNCTIONS+EXTRUSION

CUT // DEVELOP_MATRIX_POSSIBILITIES INPUTS/ASSOCIATIONS/OUTPUTS_EXPERIMENTATION

SURFACE NORMALS+MATHS FUNCTIONS+EXTRUSION

BOOLEAN PATTERN+IMAGE SAMPLER+ROTATION

BOOLEAN PATTERN+MATHS FUNCTION+ROTATION

CURVE ATTRACTOR+IMAGE SAMPLER+ROTATIONCURVE ATTRACTOR+IMAGE SAMPLER+EXTRUSION

CURVE ATTRACTOR (LOFTED/EXPLODED SURFACE)+EXTRUSION

EXPERIMENTATION REFERENCING AAMI PARK_BOOLEAN UNION OF SPHERES+BOOLEAN DIFFERENCE WITH A RECTANGLE+DIAGRID FUNCTION FROM THE LUNCHBOX PANEL IN GRASSHOPPER

EXPERIMENTATION WITH FABRICATION DEFINITIONS GIVENUNROLL WITH CURVES

The Office of Kumiko Inui were commissioned to design a flagship store for Christian Dior in Tokyo. Drawing inspiration from Dior’s iconic cannage pattern used on bags and wallets, they increased the scale of the pattern to cover the facade. There are two layers to the facade, the outer layer of 10mm thick aluminium perforated with

the pattern and the inner 10mm thick aluminium layer in which the pattern is printed at a scale reduced by 30%, These layers are then separated by an illuminated space which serves to further highlight the differences in scale of the patterns and to fur-

ther disguise the internal structure and organisation of the building (Pell 2010).

REVERSE ENGINEERING// DEVELOP DIOR GINZA

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I chose to focus on the Dior Ginza building because I was interested by its use of multiple layers to affect a facade. Because in the Gateway project our primary audience will be people passing by the structure in vehicles I was interested in exploring how scale can affect the meaning of a deisgn and how it is viewed. This is an obvious link to the project as scale will be a large factor to consider

in the design process. To recreate this design in Rhino and Grasshopper I used two image samplers set to the one rectangular surface. Both with the same Dior cannage pattern that i recreated, I then scaled the image of one “image mapper”

association down by 30% and this created the desired result.

REVERSE ENGINEERING// DEVELOP DIOR GINZALocation: TOKYO, JAPAN Contributors: OFFICE OF KUMIKO INUI

REVERSE ENGINEERING// DEVELOP DIOR GINZA

REVERSE ENGINEERING// DEVELOP DIOR GINZALocation: TOKYO, JAPAN Contributors: OFFICE OF KUMIKO INUI

REVERSE ENGINEERING// FABRICATION DIOR GINZA

To fabricate my reverse enginnering of the Dior Ginza building I used the laser cutter to cut the two separate layers on boxboard 1.8mm thick. Gluing the two layers together then recreated the shadows and the reduced scale of the pattern.

REVERSE ENGINEERING// FABRICATION DIOR GINZALocation: TOKYO, JAPAN Contributors: OFFICE OF KUMIKO INUI

REVERSE ENGINEERING// FABRICATION DIOR GINZA

REVERSE ENGINEERING// FABRICATION DIOR GINZALocation: TOKYO, JAPAN Contributors: OFFICE OF KUMIKO INUI

REVERSE ENGINEERING// DEVELOP TOKYO AIRSPACE

Designed primarily by the architect Hajime Masubuchi of Studio M, the build-ing was intended to cater to many functions and clients, comprising of a mix of residential and commercial spaces, with the lower two floors public space for photo shoots, events, meetings and classes and the upper two floors used for

private residences.

The facade of the building however, which I and my group were most interested in, was designed by the Faulders Studio based in San Fransisco. Drawing inspi-

ration from the previously existing 4m thick vegetation on the site which used to shelter and protect the old residence, Foulders Studio decided to develop the facade as a protective airspace, with the double-layered voronoi screens act-

ing to both represent the previous vegetation and serve to ‘protect’ and hide the inner workings and program of the building itself. Creating a series of layers of varying geometric patterns Foulders then overlaid these to create the ‘airspace’

facade (Pell 2010).

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REVERSE ENGINEERING// DEVELOP TOKYO AIRSPACELocation: TOKYO, JAPAN Contributors: HAJIME MASUBUCHI, FAULDERS STUDIO

These ideas of layering and relating to the existing and previous vegetation of the site are relevant to the Wyndham City Gateway Project as they are all ideas that must be considered

when designing the installation; it must relate.

To recreate this facade Lucy Ferguson used the Grasshopper voronoi pattern and, incorpo-rating 3 attractor points, chose to keep the sharp corners and edges of the geometric shapes

rather than filleting or rounding them.

REVERSE ENGINEERING// FABRICATION TOKYO AIRSPACE

REVERSE ENGINEERING// FABRICATION TOKYO AIRSPACELocation: TOKYO, JAPAN Contributors: HAJIME MASUBUCHI, FAULDERS STUDIO

REVERSE ENGINEERING// DEVELOP RESTAURANT AOBA-TEI [AIP]

Developed around the concept of a “soft boundary surface” architect Hatushi Abe designed his spatial partition as an organic membrane to be inserted into, and to be informed by, the existing program of the Aoba-Tei French restaurant in Senjai, Japan. Created from curved steel using the CNC milling in fabrication process, the pattern perforations are base on the canopy of a Zelkova tree; typical in Sen-dai’s natural landscape. Hatushi Abe is exploring the varying ways the natural landscape and its forms can be integrated into the urban landscape (Pell 2010).

The idea of connecting the natural to the urban, and the old to the new, which in turn aesthetically influences the spatial experience of the project, is one that should be deeply considered when designing the Wyndham City Gateway. In reviewing this Case study, I was very interested by the use of folding to represent different aspects of an idea; such as the plan view suggesting a tree outline while the perforations recreating the effect of dappled light through a tree canopy.

In re-engineering this design Toby Dean created a lofted surface from two curves, using surface normals and image smapling to create a perforated geom-etry illustrating the tree. Change in scale and sizing to create a achievable panel that illustrates similar ideals to the Aoba-Tei project.

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REVERSE ENGINEERING// DEVELOP RESTAURANT AOBA-TEI [AIP]Location: SENDAI, JAPAN Contributors: HATOSHI ABE + ATELIER HITOSHI ABE

REVERSE ENGINEERING// FABRICATION RESTAURANT AOBA-TEI [AIP]

REVERSE ENGINEERING// FABRICATION RESTAURANT AOBA-TEI [AIP]Location: SENDAI, JAPAN Contributors: HATOSHI ABE + ATELIER HITOSHI ABE

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECTExpression of Interest

MADELEINE BROWN TOBY DEAN LUCY FERGUSON KATHERINE MCDONALD

SITE PLAN 1:5000


WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT THE SITE ITSELFKEY WORDS

//COMPELLING

EXCITINGEYE-CATCHING

INSPIRESENRICHES

PRIDE REFLECTIONHIGH SPEEDWYNDHAM

KEY CONSIDERATIONS

//PROMINANCE

ENTRY TO MELBOURNE

SERVICE STATIONINTEGRATION

SURROUNDINGSICONIC

SCALINGEXPERIENTIAL

LITERAL vs ABSTRACTRECULATIONS

VIC ROADSDAY vs NIGHT

SAFETY MAINTENANCE

LONGEVITYMATERIALITY


WYN

DH

AM

AN EXPLORATION OF THE SITE >> Orientation of the site in relation to the broader context, the piece we create will hope to weave the ideas of Melbourne, the central urban node, to Wyn-dham, the new, creative inter-node.

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT REFINEMENT OF IDEAS

MELBOURNE

KEY IDEAS//

WEAVING // AN URBAN FABRICOF WYNDHAM CITY

RURAL & URBAN

PEOPLE & PLACE

NATURAL & INDUSTRIAL

INTEGRATION//CHANGE OVER TIME

ART & SIGN & URBAN SPACE


> GENERATIVE ITERATIONS OF CURVES THAT FLOW OVER THE SITE

> CONNECTIVITY OF PLANES AND FLOWING MOVE-MENTS LINKS

WYNDHAM WITH THE BROADER CONTEXT

> THE WEAVING AND INTERSEC-

TION OF THE COMPLEX CURVES CREATES INTER-ESTING GEOM-ETRIES

EXPLORATION OF WEAVING//CURVES//WAFFLING

URBAN

VS

RURAL

PEOPLE

VS

PLACE

NATURAL

VS

INDUSTRIAL

CHANGE OVER TIME

&

INTEGRATION

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT CHANGE OVER TIME // WEAVING // RURAL AND URBAN // PEOPLE AND PLACE // NATURAL ENVIRONMENT AND HUMAN INTEGRATION

TION OF THE COMPLEX CURVES CREATES INTER-ESTING GEOM-ETRIES

> PATTERN BUILDING AND FORMATION OF AN INTERIOR SPACE, AN EXPE-RIENCE FOR THE

DRIVER THAT IS IMPOSSIBLE TO AVOID> DYNAMISM OF CURVES CREATE MOVEMENT PATHS

AND A INTEREST IN WHERE THEY ARE GOING AND WHERE THEY CAME FROM

EXPLORATION OF WEAVING//CURVES//WAFFLING

SIMPLIFICATION OF FORMS, RATIONALIZATION AND FABRICATION >> A series of lofted curves to create a complex surface.

>> Rationalisation of parametric model and an ability to transform this into a waffled surface allows for ease of construction. The construction process integrates the design narrative, with the visual weaving of pieces and clear construction techniques being visually available to the viewer.

>> This simplistic experimentation of form and construction techniques will lead to a further development of this form and complexities added to the construction process.

>> By utilising maths functions and introducing more advanced parameters of maximum and minimum clearance values, as well as limitation of materials, the form will be placed within physical boundaries of known construction techniques.

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT CHANGE OVER TIME // WEAVING // RURAL AND URBAN // PEOPLE AND PLACE // NATURAL ENVIRONMENT AND HUMAN INTEGRATION


DEVELOPMENT OF FORMS AND DIGITAL RATIONALIZATION

>> After critiquing the first concept model, the limitations become apparent, the constrcution of the model is relatively simple, and a desire for greater complexity and finesse.

>> Further development of form led to the creation of a series of surfaces that intersect, with a much more visual representation of weaving, with two complex surfaces creating a more dynamic composition.

>> Exploration of structure and joinery


// SURFACE AND PATTERNING

// The surface of these ribs would be created from a metal sheeting, allowed to form a natural patina. The direction of the rib would influence the material, with one set of ribs oriented towards the heart of Wyndham City and the other oriented towards the CBD of Melbourne.

// This orentation of forms, will allow for the use of different metals, symbolising each of these differ-ent urban entities, but linking them together in the creation of a three dimensional form, woven out of the two. The plan view shows the clear directions created by the waffling techniques

FURTHER THOUGHTS//LIMITATIONS//FABRICATION

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECTTHE THREE THREADS GATEWAY

MADELEINE BROWN TOBY DEAN LUCY FERGUSON KATHERINE MCDONALD

C O U N T R Y .

THE THREE THREADS GATEWAY DESIGN DEVELOPMENT //THE FEEDBACK FROM OUR EOI PRESENTATION WAS THAT WE DID NOT RELLY HAVE STRONG DESIGN IDEAS BEHIND OUR CONCEPT. FROM THIS WE SAT AS A GROUP AND FROM THE DISCUSSION GREW A STRONG CONCEPT WHICH STEMMED NOT ONLY FROM THE SURROUNDING LANDSCAPE BUT FROM WHAT THE WYNDHAM CITY COUNCIL ALSO BELIEVES IS IMPORTANT TO WYNDHAM. ON WYNDHAMS LOGO THERE ARE THREE WORDS: //CITY//COUNTRY//COAST

C I T Y .

C O A S T .

THE THREE THREADS GATEWAY DESIGN DEVELOPMENT

S I T E P L A N . 1 : 5 0 0

//AND SO WE CHOSE TO REFERENCE THESE AS ‘THREE THREADS’ WEAVING THE CITY THE COUNTRY AND THE COAST TOGETHER. THE AX-IAL INFLUENCE WAS QUITE STRONG, WITH THE THREAD FROM THE CITY POINTING TOWARDS MELBOURNE CBD, THE COUNTRY THREAD POINTING TOWARDS THE CLOSEST RURAL AREA AND THE COAST THREAD ANGLED TO THE CLOSEST COASTAL POINT.

//ALL THREE THREADS THEN PLAIT CLOSER TOGETHER AND ANGLE TOWARDS WYNDHAM, MEANING OUR GATEWAY BECOMES A DIALOGUE BETWEEN LANDSCAPE AND OBJECT, WEAVING THE INFLUENCES AND INFLUENCED INTO ONE THREAD, DIRECTING AND LEADING THE EYE TOWARDS THE EMERGING CULTURAL HUB OF WYNDHAM.

EAST

NORTH

THE THREE THREADS GATEWAY DESIGN DEVELOPMENT //DERIVED FROM AXIAL LINES AND SUR-ROUNDING LANDSCAPES, THE PIECE UTILIZES PARAMETRIC SCULPTING AND FABRICATION TECHNIQUES TO RATIONALISE A COMPLEX GE-OMETRY. FROM ELEVATION THE DESIGN ALSO REFERENCES THE YOU YANGS, A SERIES OF GRANITE RIDGES THAT RISE TO 364M OVER THE WERRIBEE PLAIN,

ICONIC, MONUMENTAL, THE MODERN ARCH-WAY TO WYNDHAM, THE WOVEN FORM BOUNDS OVER THE ROAD, CREATING AN ICONIC, UN-MISSABLE AND EYE CATCHING SCULPTURE.

TO INOVATE, IS TO UTILISE NEW TECHNOLOGIES TO CREATE SOMETHING DIFFERENT, WE ARE NOT INVENTING NEW IDEAS, BUT UTILISING MODERN TECHNOLOGIES TO RATIONALIZE AND CREATE OUR IDEAS.

WEST

SOUTH

THE THREE THREADS GATEWAY DESIGN DEVELOPMENT

E L E V A T I O N S . 1 : 4 0 0

THE THREE THREADS GATEWAY FABRICATION

//To create the model for fabrication the lines were first referenced from the You Yangs of the surrounding landscape and have sub-sequently been woven into a 3 dimensional plait to reference the Coast City Country motto of Wyndham. Each individual curve, which references either the country the coast or the city, has been ‘piped’ in Rhino, with the radius’ varying from thicker at the base (6m) to thinner (2m) where they each branch off to their direction point. This piped Rhino surface is then referenced into Grasshopper and using the Waffle Type 2 Definition is waffled where the surface becomes divided in to components following the x and y axes. Due to the complexity of the waffle and the number of components to notch the surfaces a different definition is used. This definition (shown below) allowed us to easily notch the surfaces (to mathc the 1.8mm material boxboard thickness) by referencing them section by sec-tion, and then baking the definition in grasshopper until we were left with all the pieces necessary for our 1:100 model.

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT MODEL FABRICATION THE THREE THREADS GATEWAY FABRICATION

For our Wyndham Gateway Proposal to be constructed in reality, there are a few details that need to be taken note of, and factors that need to be taken into consideration before and during construction. One of the fe tures of the design is the contrasting copper and brushed steel cladded components, with the copper components lying on the x axis of the design and the brushed steel on the y axis, as you divide the waffle of the design into the respective axes.

Another important thing to note in construction is the implementation of strong footings and foundations in order to ensure the structural integrity of the design, and success in the real‐world construction. We have researched and suggested footing and foundations systems that could be used for the successful in terms of weight distributing and load‐carrying of our structure, but would of course seek expertise in the form of a geotechnical engineer and a structural engineer before any official construction drawings com-menced. Details of the materials and assembly of each component are noted for construction purposes, as are the important footing and foundation systems that we expect to put in place to make this design successful in both its aesthetics and its sound structure. In our design, the materiality of each component plays its own role in the success and meaning of the structure. The design is broken up into x and y axis components, which contrast with each other in terms of their materials, x components being cladded in copper and y components being cladded in brushed steel. By breaking down this construction process and showing the details of the assembly of one component, this can then be duplicated and repeated for all three threads in the design.

The structure itself is quite light‐weight, with aluminium used for the framing of each component. This aluminium framing in each component is in the form of U‐Beams, measuring 160mm in width and 90mm in height of the U shape, and measuring at 6mm in thickness of the overall beam. The lengths of these beams are determined by the circumference of each differing component, with a mediumsized (about 6.5metres in length) component’s circumference measuring at about 37 metres long. This length is to be shaped and welded into the required geometry depending on its position within the thread, off‐site in a factory. The pre‐made components are also cladded offsite, reducing the construction time and costs, which is beneficial for the highway assembly of the design, considering the use of the road daily for com-muters. In terms of cladding, with the use of CNC milling, we are restricted to the maximum sheet size measuring to 2400mm by 1200mm. This means that a medium sized component, (such as the one used in the axonometric drawing, and used as an example for the u beam circumference) would need 12 pan-els to clad each side of the component, totalling 24 panels for the component.

axonometric detail 1:100


Detail of interlocking steel panels.Source:http://designcladding.com.au/Products/Interlocking‐Panel‐Color-bond

For our Wyndham Gateway Proposal to be constructed in reality, there are a few details that need to be taken note of, and factors that need to be taken into consideration before and during construction. One of the fe tures of the design is the contrasting copper and brushed steel cladded components, with the copper components lying on the x axis of the design and the brushed steel on the y axis, as you divide the waffle of the design into the respective axes.

Another important thing to note in construction is the implementation of strong footings and foundations in order to ensure the structural integrity of the design, and success in the real‐world construction. We have researched and suggested footing and foundations systems that could be used for the successful in terms of weight distributing and load‐carrying of our structure, but would of course seek expertise in the form of a geotechnical engineer and a structural engineer before any official construction drawings com-menced. Details of the materials and assembly of each component are noted for construction purposes, as are the important footing and foundation systems that we expect to put in place to make this design successful in both its aesthetics and its sound structure. In our design, the materiality of each component plays its own role in the success and meaning of the structure. The design is broken up into x and y axis components, which contrast with each other in terms of their materials, x components being cladded in copper and y components being cladded in brushed steel. By breaking down this construction process and showing the details of the assembly of one component, this can then be duplicated and repeated for all three threads in the design.

The structure itself is quite light‐weight, with aluminium used for the framing of each component. This aluminium framing in each component is in the form of U‐Beams, measuring 160mm in width and 90mm in height of the U shape, and measuring at 6mm in thickness of the overall beam. The lengths of these beams are determined by the circumference of each differing component, with a mediumsized (about 6.5metres in length) component’s circumference measuring at about 37 metres long. This length is to be shaped and welded into the required geometry depending on its position within the thread, off‐site in a factory. The pre‐made components are also cladded offsite, reducing the construction time and costs, which is beneficial for the highway assembly of the design, considering the use of the road daily for com-muters. In terms of cladding, with the use of CNC milling, we are restricted to the maximum sheet size measuring to 2400mm by 1200mm. This means that a medium sized component, (such as the one used in the axonometric drawing, and used as an example for the u beam circumference) would need 12 pan-els to clad each side of the component, totalling 24 panels for the component.


Both the copper and brushed steel panels or sheets that are used to clad each of the aluminium‐framed components are made so that they interlock with each other, similar to that of roof tiles, so that the components appear to have one neat and symmetrical plane for each face. This system of interlocking metal sheets has been used in other architectural construction where the structure has been cladded with aluminium, copper or steel.

It has been proven to improve the strength of the materials, and with additional welding of each panel to the neighbouring ones, this ensures the strength and waterproofing of each component. An example of this interlocking steel cladding can be seen used by the company Australian Stainless with the Westfield Do caster Shopping Centre Fascade, shown in the images included.

These panels of copper or brushed steel cladding are then to be connected to the aluminium framing with the use of screws and welding to maximise strength and stability, but also to ensure that each component is water‐tight to reduce the weakening or failing of any materials with any seeping and leaking of rain and weather into the structure.

Overall, we believe that this method of off‐site assembly and construction is the most beneficial for the successful real‐life construc-tion of our design, and together with the implementation of a strong footing and foundation system, will lead to a structurally sound and aesthetically pleasing composition.


With the sheer size of our proposed design spanning over 70 metres in length,with sections of just over 35 metres in length in each individual thread, beingsuspended above the road, we expect that an extensive and strong footingsystem is to be implemented on either side of the highway.Thinking of the design as like a bridge in terms of construction, it is likely thatpre‐stressed concrete piles with steel reinforcing will be used to ground thestructure at each end of the individual threads, taking the structural and staticloads of the design, including the weight of the steel framework, copper andbrushed steel cladding and the weight of any welding and bolts needed tomake the design structurally sound. This footing system will also take well as the live and dynamic loads of wind, rain, birds and other animals landing and climbing on the structure and the loads of people in terms of construction workers and maintenance for any repairs that need to be done in the future. The structure will be made to resist forces equivalent to that of a small

earthquake in impact as to prepare the structure for any ‘worst‐case scenarios’ in which a car or truck may crash into the structure, to ensure that the design doesn’t fail and/or cause damage to the highway, sur-rounding environment or passing vehicles. To increase the strength of these footings, a deep, reinforced concrete slab will surround each foot-ing, which is to be hidden from sight with grass growing over it.A detailed diagram of pre‐cast reinforced concrete foundations that were implemented for Providence River Bridge in Rhode Island, U.S.A, which we expect will be similar if not identical to the footings we imple-ment for each thread of our design. Benefits of this footing system being predominantly pre‐cast include that they reduce construction time on the site, meaning less delays in terms of the highway traffic that utilise this roadway daily, and less cost/time to construct theentire design on site.


earthquake in impact as to prepare the structure for any ‘worst‐case scenarios’ in which a car or truck may crash into the structure, to ensure that the design doesn’t fail and/or cause damage to the highway, sur-rounding environment or passing vehicles. To increase the strength of these footings, a deep, reinforced concrete slab will surround each foot-ing, which is to be hidden from sight with grass growing over it.A detailed diagram of pre‐cast reinforced concrete foundations that were implemented for Providence River Bridge in Rhode Island, U.S.A, which we expect will be similar if not identical to the footings we imple-ment for each thread of our design. Benefits of this footing system being predominantly pre‐cast include that they reduce construction time on the site, meaning less delays in terms of the highway traffic that utilise this roadway daily, and less cost/time to construct theentire design on site.

1;400 diagram of construction

1:500 MODEL

1:50 MODEL

1:50 MODEL


1:100 MODEL


THE THREE THREADS GATEWAY PRESENTATION

THE THREE THREADS GATEWAY PRESENTATION

I firmly believe that the team of Madeleine Brown, Toby Dean, Lucy Ferguson and Katherine McDonald creatively and innovately designed an appropriately scaled and themed Gateway for Wyndham. Original and engaging in for the “Three Threads” Gatway is appropriately scaled, standing out and creating an iconic, monumental and indeed memorable experience for the driv-ers who will be passing in and out of Wyndham. Compelling, exciting and eye-catching it is an installation that not only generates new discourse through its materiality, construction efficien-cy and meaning, but also has the ability to inspire and enrich the municipality of Wyndham to come together as a community and celebrate what makes it the cultural hub it has come to be.

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECTLearning Objectives and Outcomes

MADELEINE BROWN

Communicating Visually:

The ability to communicate visually and “portray theperformative/material/dynamic characteristics” of a design is paramount when you are studying an Architecture degree. I would say that before this semester my presentation of my concept had always been a bit slap-dash in previous studios as my messy nature always seems to make itself visible. I think for me the concept of a journal rather than a folio really helped me organise and categorise my thoughts and thought processes, actually helping me to refine them because what I was working towards was clearly defined in my journal each week. Something I had also never done before was to photograph a model with a professional camera and using proper lighting - definitely a lot harder and alot more work than I thought! I definitely progressed in my abilities throughout the semester but definitely concede I need alot more work - which I am looking for-ward to doing next semester.

Applying Technical Skills:

The “ability to optimise, detail, fabricate and as-semblecomplex geometries” is most obvious in our 1:!00 model. Now even just looking at the model can incite palm sweats from anyone in my opinion! the amount of pieces and notches that had to be assembled was staggering! I learnt SO much from creating this model. What was most im-portant for our team was a clear layout of the parts and pieces, and an understanding of how the construction process would be played out BEFORE we began! Laying out the pieces for each individual tube in the x and y direction and worked from one end to the other. As our de-sign was laser cut on box board we were able to layout the pieces on the computer first; once the pieces were laser cut they were then taped down so we would know in which order to begin our waffle. It was definitely a learning experience as we ended up gluing one whole tube back to front!!!! From that time-wasting experience I defi-nitely learnt it is beneficial to check EVERY piece when placing it in, rather than just trusting what side of the box-board the burn is! We definitely learnt our lesson and marked the pieces in pencil after that!

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT LEARNING OBJECTIVES & OUTCOMES

Designing with Computers:

The sheer volume of information and new skills to e learnt this semester was astounding to say the least, the expectations very high. As some-one who already knew my way around AutoCAD and a little of Rhino I was perhaps a little more confident than others - but the sheer amount of information to be absorbed was to be hon-est overwhelming! The ability to understand the scale of our design was relatively simply, we chose to design the 3Dimensional model in Rhino and Grasshopper in 1:1 and then scale the whole thing to 1:100 before fabrication to ensure we had all the dimensions correct. As explained through-out the journal our final design was made in both Rhino and in Grasshopper. Having never used grasshopper before it was a steep learning curve but as can be seen throughout my journal I have learnt so much about parametric design and how to apply it successfully to my design ideas; including the ability to take one final design and refine that to fully realise the concept.

Arguing Persuasively:

This semester has really improved the ‘sales-man’ in me I have found, and has taught me that to sell something you must believe in it and express that to those judging the design. The ability to explain the innovative characteristics of our design was developed through the journal process in which the hierarchy of images and text was important to consider and also through the EOI presentation and the final Project Pro-posal presentation front of the crit panel. During the presentation the team and myself chose to present our concept very strongly, confidantly snd defiantly; for if you believe in your product you make others believe. And as those on the crit panel replied to my closing address:“You got the job!”

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECT LEARNING OBJECTIVES & OUTCOMES

WYNDHAM CITY WESTERN GATEWAY DESIGN PROJECTThankyou

MADELEINE BROWN

REFERENCES

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Ben Pell, ‘Airspace Tokyo’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 86 - 89

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Sundberg, Jessica Nicole (2009). A computational approach to the design of free form diagrid structure. Thesis (M.Eng.) - Massachusetts Institute of Technology, Dept. of Civil and Environmental Engineering, 2009 [online]. DSpace@MIT, p.1-60. [Accessed 15 April 2012]. Available from: &lthttp://hdl.handle.net/1721.1/53526>.

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IMAGES

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Image 4. Australian Design Review (2010). Melbourne Rectangular Stadium [online]. [Accessed 10 April 2012]. Avail-able from: &lthttp://www.australiandesignreview.com/architecture/1798-melbourne-rectangular-stadium>.

Image 5. Melbourne Design Awards 2010 (2010). AAMI Park [online]. [Accessed 10 April 2012]. Available from: &lthttp://melbournedesignawards.com.au/mda2010/entry_details_v03.asp?ID=3371>.

Image 6. Phaidon (2010). Another victory at Melbourne’s AAMI Stadium [online]. [Accessed 10 April 2012]. Available from: &lthttp://au.phaidon.com/agenda/architecture/articles/2011/november/16/another-victory-at-melbournes-aami-stadium/>.

Image 7 and 8. ADNEC (2007). Abu Dhabi National Exhibition Centre [online]. [Accessed 10 April 2012]. Available from: &lthttp://www.adnec.ae/group/capital-gate.php>.

Image 9. e-architect (2007). Abu Dhabi National Exhibition Centre Images [online]. [Accessed 10 April 2012]. Available from: &lthttp://www.e-architect.co.uk/dubai/abu_dhabi_convention_centre.htm>.

Image 10 and 11 and 12. Jeremiasz Sieczko (2010). Week 11: More on the Walt Disney Concert Hall (Architectural Case Study Continued) [online]. [Accessed 15 April 2012]. Available from: &lthttp://jeremiaszsieczkoarch1390-2010.blogspot.com.au/2010/10/week-11-more-on-walt-disney-concert.html>.

Image 13 and 14.

Image 15. Wikimedia Commons: Antoine Taveneaux (2011). Walt Disney Concert Hall [online]. [Accessed 15 April 2012]. Available from: &lthttp://commons.wikimedia.org/wiki/File:Walt_Disney_Concert_Hall.jpg>.

Image 16. Kanawinkawebquest (2012). Koorie Culture and Heritage [online]. [Accessed 20 April 2012]. Available from: &lthttp://kanawinkawebquest.wikispaces.com/Koorie Culture and Heritage>.

Image 17. Flikr: Marquisde (2012). The Webb Bridge [online]. [Accessed 20 April 2012]. Available from: &lthttp://www.google.com.au/imgres?q=koori eel trap>.

Image 18. Filmapedia (2012). The Webb Bridge [online]. [Accessed 20 April 2012]. Available from: &lthttp://www.filma-pia.com/published/places/webb-bridge>.

Image 19. Ben Pell, ‘Dior Ginza’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 104 - 109

Image 20. Archicubed (2010). Airspace Tokyo [online]. [Accessed 25 April 2012]. Available from: &lthttp://www.archi-cubed.com/airspace-tokyo/>.

Image 21. Inspirationish (2004). Aoba-Tei Restaurant [online]. [Accessed 25 April 2012]. Available from: &lthttp://inspi-rationish.com/stores/aoba-tei-restaurant>.

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