DESIGN STUDIO AIRJOURNAL

E L L E N I N N E S 3 8 8 5 3 1

FORM ME, DESIGN IS LIKE CHOOSING WHAT I’M GOINT TO WEAR FOR THE DAY - ONLY MUCH MORE COMPLICATED AND NOT REALLY THE SAME AT ALL.

-ROBYNNE RAYE

ADVANCING THE ARCHITECTURAL DISCOURSE

COMPUTATION

EXPRESSION OF INTEREST [CUT]

RE-IMAGINING ANAMORPHISM

PLACE [FIND]

LEARNING OBJECTIVES AND OUTCOMES

REFERENCES

1-8

9-12

13-19

20-24

25-36

37

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Personal Project

State of the Art [Bearstech / Vennessla Library]

Unique Innovation [Volta Dom / Bone Chair]

Scripting Cultures [Dirty Geometry 1]

Exploration Matrix

Reverse Engineering

Urban Density

Preliminary Grasshopper

Preliminary Models

Anamorphisn

Form and Cuts

Final Idea

Form

Experience

Computation

Fabrication

CONCEPT

FORM

EXPERIENCE

CONSTRUCTION

FABRICATION

PHOTOGRAPHY

PERSONALPROJECT

This project was the conceptualization of space and volume. Taking inspiration from liquid and solid forms, the project expressed them as a merging of material, exploring the perceptions of substance. This project explored the technique of computerization, which is a necessary beginning point when using computers to both model and design because it allows for an initial understanding of how computer space works. From this point, computation can be considered as an extension of this computer space.

It also explored fabrication and showed that though there are limitations to some materials, computers can aid in overcoming these restrictions.

Possibly the most important aspect of the HeadSpace project, though, was that it wasn't designing building, it was designing a form of hat. In terms of the Wyndham City project, this is extremely relevant. It is important for designers to be able to step away from the restrictions that apply when creating a built space in order to become better at what they do. By conceptualizing the idea of form and space, designers can then apply that to the built environment. Computation and computerization aid this progression because of the possibilities that they offer.

VIRTUAL ENVIRONMENTS [HEADSPACE / 2010]

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STATE OF THEART PROJECT

Parisian designer Paul Coudamy was approached by the computer company Bearstech to design the interior of their office. The meeting section of the room is the 'Bearcave', a space defined by 100% recycled pieces of timber.

Each piece of wood tells it's own story, which could almost be an analogy for computer code. Every code is different, serves a different purpose and tells a different story. The shape of the structure was created as a vortex based on an association of chaotic mass.

This project highlights an innovative way of mixing spatial design and stainability. Though the concept of stainability is in no way a new idea, it is becoming an extremely important aspect to the world of design.

In all aspects of architecture this compromise comes through, especially sustainable design. But through the meeting of these compromises comes art, in a conceptual form. It is unfair to the world of design to question wether it is art when so many intricate lines must be considered in its process. If not the final project, then definitely the process is an art form. This is important to consider for the Wyndham City project because though it will not be a building, it will still be a piece of architecture. The intricacies of it in both a process based and stainability designed sense will come through as art.

COUDAMY DESIGN[BEARSTECH HEADQUARTERS / 2009]

1 Richard Williams, 'Architecture and Visual Culture', in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005)2

ARCHITECTURE... IS A UNIQUELY COMPROMISED ART, IF IT IS AN ART AT ALL.1

STATE OF THEART PROJECT

The new library in Vennesla, Norway was designed by Helen and Hard architects. It is an interesting project in that while it clearly explored modern building techniques, there is a very strong influence of the modernist era of architecture.

It could almost be compared to the Amsterdam Stock Exchange building by H.P. Berlage because of its use of structural innovation to create space. This geometry of the ribs not only explores the traditions and innovations of the modern movement, it emulates them, creating a tradition of its own.

History is extremely important to the design process. It is often an innate consideration that designers take into account because of the lessons learn over thousands of years of building. Simple things such as the distance of a cantilever or the strength of a certain structural material are informed by a predetermined process of trial and error and in turn inform how designers create. The Gateway project is no different to any other in this sense, however rather than just relying on these predetermined facts, it will also be creating its own history, through the trial and error of computational design.

HELEN & HARD[VENNESLA LIBRARY

& CULTURAL CENTRE / 2011]

2Vennesla Library 2011, Helen and Hard Architects, Norway viewed 9/3/2012, < http://www.hha.no/projects/vennesla_library/>

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THE RIBS INFORM THE GEOMETRY OF THE ROOF AS WELL AS THE UNDULATING ORIENTATION OF THE GENEROUS OPEN SPACE.2

Volta Dom was an installation in a corridor at MIT University. Based on vaulted cathedral ceilings, the project was created via computational design. It is an interesting mix of computational innovation and the classical form of the vault. The form was also born out of exploration of fabrication techniques..

Computational design is excellent in this way because it allows for form and fabrication finding in an unprecedented way. As parametric design becomes a more prominent theme in the art and architectural world, issues like fabrication must be addressed. This allows for another type of form finding because of the unique restrictions it presents.

In considering Yehuda E. Kalay's ideas of problem solving and puzzle making, Volta Dom is more like the latter.

Volta Dom explores this idea of fabrication as a puzzle with its own unique solution that must be discovered during the design process.

For the Wyndham Gateway Project this merging of architecture, sculpture and fabrication exploration will allow structures that may not have previously been possible to come to life. Exploratory fabrication will play a major role in the execution of the project, not only in defining the form but also in expressing the vision behind the concept and design method.

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UNIQUEINNOVATIONS

SKYLAR TIBBITS[VOLTA DOM / 2007]

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

FOR MANY PROBLEMS, INCLUDING SOME PHASES OF THE ARCHITECTURAL DESIGN PROCESS, SUCH KNOWLEDGE [OF THE CHARACTERISTICS OF A DESIRED SOLUTION] CANNOT EXIST PRIOR TO THE SEARCH ITSELF, SINCE THE SOUGHT AFTER SOLUTION IS UNIQUE3

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The Bone Chair project, by Joris Laaman, began in 2004. The idea was driven by aspects of nature, such as trees and bones, that grown and change according to their environment. Bones, for which the chair is named, grow more dense in places that are subjected to repeated pressure, where as bones that are never stressed grow delicate and slender.

Laaman used an imaging and simulation software that was originally designed to aid the creation of complex systems, such as motors, by optimising their strenght and minmising their materials. This idea is similar to the Grasshopper plugin 'Galapagos', which is an Evolutionary Solver that allows designers to produce optomised parameters resulting in a form.

Using nature to inspire design is by no means a new concept, but with the use of a computer, it doesn't just have to be a source of inspiration, the mathematical process can actually be applied. This results in forms that are directly related to these natural processes. Optimisation in both this sense is particularly useful because not only does it allow for interesting form finding, it allows for better, more efficient results. They use less material, less energy and allow for designers to step away from the traditional ideas of structure and load paths.

In terms of Kalay's problem solving and puzzle making, this project has become and interesting conglomeration of the two, though it leans more strongly towards problem solving. It takes a goal the need to support a person's weight, and applies a series of solutions, the growth patterns of bones. It then applies the most efficient and appropriate solution to the initial goal. The result is a beautiful, yet somewhat eerie piece of design, that is at its optimal state in terms of materiality and structure.

This is relevant to the Wyndham city project in more than one way. Of course it is important to design efficiently, but in doing this , the message of stainability is

UNIQUEINNOVATIONS

JORIS LAARMAN LAB[BONE CHAIR / 2004]

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4 David Dick, 2009. FUrniTURE: Joris Laarman's Bone Chair (viewed on 20/04/2012)<http://www.ignisfatuus.com/2009/10/15/furniture-joris-laarmans-bone-chair>

being both explored and promoted. Optimisation can allow this to happen in a way that leaves little room for human error, thus it once again refers back to nature, which cannot afford errors in efficiency and hope to survive.

Optimisation also breaks away from the 'traditional' yet uses the most innate and visceral idea for its inspiration, the human body. This connection between innovation and traditional is something to be explored at Wyndham. There is an elegance to referecning the past whilst exploring the future. An interesting example of this is the idea of Urban Growth and Density. It relies of history and data from previous generations to inform the furture and thus create innovative systems to combact the issues that may arise form things such as over population.

THE SENSE OF PURSUING DESIGNS LIKE THE BONE CHAIR ON A MASS SCALE LIES IN THE FACT THAT DESIGN POWER WAS ONCE A SCARCE RESOURCE, BUT ONE THAT IS NOW BECOMING BOUNDLESS - AND THE MATERIALS WE USE, WHICH WERE ONCE INEXHAUSTIBLE, ARE NOW BECOMING SCARCE.4

THE WORK THAT FOLLOWS IS THUS AN EXPRESSION OF THIS AMBITION TO RETAIN THE SPECIFIC FEATURES OF DESIGN INTELLIGENCE GEARED TOWARDS EXPERIMENTS IN COMPUTATIONAL TECHNIQUES. GEOMETRY IS INTERNAL TO ARCHITECTURE. IT ALWAYS HAS BEEN. BUT TODAY, AND PERHAPS FOR THE FIRST TIME, IT IS NO LONGER A GEOMETRY OF IDEALITY OR FORM OR CONCEPT. INSTEAD, IT IS A GEOMETRY OF MATTER/ENERGY RELATIONS ALREADY TENDING TOWARD NEW TYPOLOGIES THAT HAVE THEIR ROOTS IN SPECIFIC ARCHITECTURAL CATEGORIES BUT WHICH

CONNECT TO MAJOR SHIFTS IN THE URBAN FEATURES OF SPATIAL AND MATERIAL ORGANIzATION.5

7

8

Peter Macapia's Dirty Geometry 1 is a conceptual solution to city density and spatial issues in New York. Macapia is the principal director of DORA, an office which explores the problem of geometry in the age of computation, the geometry and topology of matter/energy relations and the possibility of an elastic density in the contemporary city. Macapia's philosophy toward computational design rests in the areas of CFD (computational fluid dynamics) and FEA (finite element analysis) and how this can assist the creation of healthy, urban spaces.

Dirty Geometry 1 is particularly interesting because it illustrates the break away from the traditional sense of Form as a pure, ideal element and moves toward the idea of a conglomeration of structural elements, similar to the idea of optimisation, that create the most efficient composition possible. The project uses the surrounding buildings to support the structure whilst also depending on those walls to create a thermal stack, intended to aid natural ventilation through convection.

Exploring scripting in an urban sense is definitely important, and Macapia's contribution to the field is no doubt extremely comprehensive. Rather than shying away from the tough issues and questions, he confronts them, which is the only way that this kind of architecture can progress. In a world where space is a precious commodify to the individual, Macapia highlights the importance of keeping some space for the collective. If collective spaces are lost, then people who live in fast paced metropolis's such as New York face losing a basic aspect, one of the better qualities, of the human condition - the sense of togetherness.

Wyndham City is in a similar situation. As it grows in population and density, it faces the realisation that it may, in the not so distant future, become swallowed by Melbourne Proper. Using scripting can help to create a place that, though won't function as a social area, will help the people of Wyndham to keep their sense of place pride, even if it does not remain so separate from the city of Melbourne. Scripting can allow the final design to be place and history relevant, as well as structurally efficient.

CONTEMPORARYSCRIPTING

PETER MACAPIA[DIRTY GEOMETRY 1 / 2007]

CULTURES

5 Peter Macapia, 2007. Turbulent Grid Part 1: Dirty Geometry (Arch'It)

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INITIAL EXPLORATIONS

INPUTS ASSOCIATIONSARBITRARY POINTS

OUTPUTS SC

ALE

IMAG

E SA

MPLE

RGE

OMET

RYCOMPONENTS ATTRACTOR POINT

DENS

ITY

To gain an understanding of how each of the Grasshopper Scripts in INPUTS, OUTPUTS and ASSOCIATIONS worked, four main elements were changed and the effect was recorded. Scale, was increased and decreased which would change the sizes of certain elements. For example, in Arbitrary Points, the size of the circle increased as the Slider was moved. The size of elements was also determined by an Image Sampler. In Data Driven Components, the Image Sampler coupled with multiple Sliders changed the sized of the elements depending on the brightness of parts of the image. When the Image Sampler is changed, each separate elements changes size. The geometry was also changed. In Attractor Point, it was changed from circles to squares, whereas in Arbitrary Points it was change from circles to triangles. This was done using the Polygon tool, where the Radius, Base Plane and Number of Segments are input and a polygon is thus output. In Data Driven Components, the changing of geometry was slightly different as it is based on a Curve orientated around a Vector. By changing the shape of the curve, the entire image changes. Finally, density was explored through Attractor Point. By changing the number of Rows and Columns in the initial grid of points on a surface, the density of the circles either increased or decreased.

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IN DEPTH EXPLORATIONS [CHANGING THE ASSOCIATION]

The Boolean Pattern input was explored in furthur depth by changing the association from an Image Sampler [focusing on light and dark] to a mathematical fucntion. After this, three aspects were edited within the new function: the pattern of the boolean, the scale of the geometry, and the function to be solved .

BOOLEAN MATHS FUNCTIONMATHS FUNCTION

BOOLEAN

FALSE FALSE TRUE TRUE FALSE TRUE FALSE

SCALE - LARGE SCALE - SMALL

CHANGE FUNCTION

+

=

BOOLEAN CURVE ATTRACTORCURVE ATTRACTOR

=

FALSE FALSE TRUE FALSE

SCALE - SMALL

CHANGE DENSITY

When a different association is adds, such as the curve attractor, certain aspects of the script change. Rather than edit the function, as it is no longer a mathematical problem, the density was changed. Through exploring the different manipulations possible through associations it becomes possible to input any data, such as a density map of the greater Melbourne area. This allows for the penetrations to reference the specific project, thus creates continuity.

REVERSE ENGINEERING FOREIGN OFFICE ARCHITECTS [SPANISH PAVILION]

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INITIAL ATTEMPTS

The very initial starting point was to create a series of repetetive irregular hexagons. This was done by manually referencing the points in Rhino to Grasshopper, then using the move parameter to repeat the lines of hexagons.

Another attempt was made by dividing a surface referenced from Rhino into a grid of points and then using these as the centre points of a grid of hexagons. In an attempt to create irregularity, the hexagons were roated.

The third attempt was somewhat successful. A hexagonal grid function was used in Grasshopper with each centre point referenced as a plane. On this plane another hexagon was created and rotated, similar to the previous attempt. The grid and the hexagons where then pluged into a curve function to make it all a singular entity. This curve was then exploded and fed through a Graph Mapper function which created the warped shape. This was still wrong though, as it did not create a repeated pattern of the six same irregular hexagons.

The Spanish Pavilion was designed for the 2005 Expo in Aichi, Japan. The following work shows various attempts at re-creating the unique pattern of hexagonal tiles in the program Grasshopper, a parametric modeling plug-in to the 3D design program Rhinoceros. With each failure, new ideas were learned and applied. In regards to the Wyndham project, this is the very beginning of explorations into the sphere of computational modeling in the physical sense. It is important because it allows for a guided exploration of form finding, which could be applied as either a solid mass, a series of cut shapes, or a combination of the two.

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The fourth, and final attempt was successful and was completed through four main steps.

A grid of hexagons was greated.

Specific branches were selected.

Each point of discontinuity (the ends of the vertices) were selected with the List Item.

The points of discontinuity were moved with a Slider to recreate the original shape and the vertices were replaced to connect the new points and create a new hexagon

Each new hexagon was offset with a smaller internal one

This was repeated for the other branch and then colour was added

The grasshopper script below was used to create the first hexagon in the series of six.

EXPRESSION OF INTERESTCUT

E L L E N I N N E S 3 8 8 5 3 1

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PRELIMINARY INVESTIGATIONS WYNDHAM [URBAN DENSITY]

The preliminary concept that stood above the rest was the conceptualisation of the urban density. It is clear that Wyndham is an extremely fast growing centre. Along with this, the initial idea of form began to evolve. Another idea to be explored is anamorphism and the changing view.

SEEING A CUT THROUGH A FORM [EXPLORING ANAMORPHISM]

PRELIMINARY GRASSHOPPER

Initially, the image sampler was used to input the map data of greater Melbourne as triangles cut from a surface. To create a more graduated formation of the triangles from large to small, the image was then edited and softened.

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GREATER MELBOURNE

WY

NDHA

M PR

OPER

The very initial Grasshopper explorations produced a Rhino generated form with Grasshopper generated cuts/triangles projected on to it. The cuts were produced through the Image Sampler (the image above). This exploration gave a sense of how further development might proceed, though in itself was not particularly successful.

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PRELIMINARY MODELS

Models, as well as video's, were created to begin to understand how the form would come together. They also aided in the understanding of simple things such as structure, and how if there are too many cuts, it will not stand. Having the physical models also helped give an understanding of the visual side of the cuts and how they may be viewed by a passing car.

EXPL

ORIN

G TH

E CU

TS [S

HAPE

AND

DEN

SITY

]

CUTS ON A 3D FORM [VIEWED BY A DRIVER]

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PRECEDENTS [ANAMORPHISM AND URBAN ICON]IN DEPTH RESEARCH

The installation appears to change, depending on what angle is it viewed from. Relating this to the Wyndham project, the aim is to create a moment of anamorphism, where seeming random cuts align to create the appearance of a consistent Extracted from ABS website: http://www.abs.gov.au/ausstats/abs@.nsf/Products/3218.0~2010- plane.

Guangzhao has been an industrial and trade city up until present, the aim of the project was to create a building to represent the increasing culture of Guangzhou Wyndham, like Guangzhou is currently increasing in culture and the Gateway needs to show this. The Gateway is the first thing people will see when driving into Wyndham and therefore must create the right impression of the area with its sense of monumentality.

ZAHA HADID[GUANGZHOU OPERA HOUSE / 2003]

ROBERT STADLER[NUIT BLANCHE FESTIVAL INSTALLATION / 2008]

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GRASSHOPPER [MODELING FORM AND CUTS]IN DEPTH RESEARCH

To created cuts on a series of surfaces that were anamorphic, the process of projecting the triangles from a plane was used. The first step was to create a plane of trinagles using the Image Sampler method, the same as the preliminary explorations.

A base point was then placed behind the plane and referenced in Grasshopper. This point emulates the eye-height of a passing driver. On the other side of the plane a series of surfaces was created in Rhino for the form.

The points of discontinuity were found on every triangle.

A vector line was drawn from this base point to every point of discontinuity on the plane of triangles.

These vector lines were then extended so that they went far beyond the furthest point of the series of surfaces.

The surfaces were referenced in Grasshopper and then any point where the extended vector lines intersected with the surface was found.

From these points of Intersection polylines were drawn to reconnect them as triangles on the form.

FINAL IDEA

Ths is a form that conveys multiple aspects of the intended purpose.

Approach: Monumental entranceExperience: Growth (exponential)Past: Movement

Our aim to express a change over time is sucessful given the three distinct viewpoints and is made even more special by the animorphic alignment of cuts.

The comination of form and cut also inspires multiple levels of interpretation. While the viewer admires and experiences the sculpture's form, there is further opportunity to understand the triangular cuts and their reflection of the growth in Wyndham's urban density.The interesting shadows created by the dynamic form and cuts create the perfect subject for postcards and advertising schemes.

MODEL IN CONTEXT

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Concepts for a new Wyndham City logo to be modled off the design. May be used for postcards, watermarks, stamps, page headers etc.

AN EXCITING, EYE CATCHING INSTALLATION AT WYHDHAM’S WESTERN GATEWAY

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EOI CRITRESPONSEE L L E N I N N E S 3 8 8 5 3 1

RE-IMAGINING ANAMORPHISM

EXTRUDE

MULTIPLY

GROW GENERALISE

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DEPTH/THICKNESSPOSSIBLE FABRICATION

As further development to the form, some things were taken into consideration. First, extruding the form to make it larger and wider was considered to created a greater impact on a diver.

As it was a singular moment, repeating the form and changing the anamorphic moment with this repetition was also considered to create a greater effect.

It was then considered that rather than create a moment beside the road that a driver may strain to see, the design should span the road to allow for a more accessible installation.

In terms of form, it was considered that it should be far more generalised because of the tenuous nature of creating a sharp, cartoon like shape.

Some fabrication methods were considered in the creation of this form. To incorporate cuts, the fabrication may be a frame with a series of cylindrical objects within it. This would allow for the passage of light and almost any form to be created.

To culminate the abive ideas, the final form will be a series of ribs either overlapping or

DEVELOPMENT [FORM]

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RE-IMAGINING ANAMORPHISM

To move away from the idea of a singular moment and to created a smoother, more sophisticated design, the Flowlines plugin for Grasshopper was used.

[EXPLORING FLOWLINES]

Flowlines works by creating points in Rhino and referencing them as 'charge points'. Similar to ripples, the 'charge points' determine the severity of the curve of the line. A Slider used to created these 'ripples'.

SPLAYING ALONG THE SURFACES

VERTICAL VEINS

HORIZONTAL VEINS

CUTS THROUGH THE SURFACE

CREATING AN EXPERIENCETo create an internal experience for the driver and passengers, detailed 'veins' will be added. The veins do not have a specific meaning, they are purely to ad a further experience. They can thus be read on many different levels. To some they may emulate guard rails, to others, vibrations waves.

CREATING A FORM

DEVELOPMENT [EXPERIENCE]

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RE-IMAGINING ANAMORPHISM FINAL IDEA [COMPUTATION]

Due to the nature of Flowlines, the most interesting form is the smallest [it gets more intense closer to the charge points]. For the design, the most interesting had to be the biggest.

This is because the idea behind the anamorphic form is that it appears as a singular object from far away, however as it is approached, it becomes clear that it is multiple objects

To achieve this, the curves were baked into Rhino and scaled so that the simplest was the smallest, etc. The curves were then cut into the shape of arches.

The curves were then offset to create and lofted to created and internal surface.

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RE-IMAGINING ANAMORPHISM FINAL IDEA [FABRICATION]

Fabrication of this design was simple, but time consuming. To achieve the smooth, sloping curve, each arch was divided according to the thickness of the fabrication material. the chosen material was 2.7mm plywood, thus every 2.7mm, the arch was split to create a surface at that point. These surfaces were then nested on a 600mmx900mm size page and sent to the Melbourne University FabLab to be laser cut. Laser cutting is particularly important for curved shapes because it affords a precision that hand cutting cannot achieve. Once cut, each surface was glued together to create a composite arch.

After gluing the arches together, some of them were sanded to explore the texture and smoothing of the wooden layers. It was found that this technique was successful, though wether sanded or noth, the aesthetic was very pleasing.

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DRIVING TOWARD [DRIVING THROUGH]

CULMINATION OF WORKPLACE [FIND]

E L L E N I N N E S 3 8 8 5 3 1

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THE FOLLOWING WORK ARTICULATES EXPLORATIONS OF THE MEETING POINT BETWEEN PLACE AND FORM.

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PLACE [FIND] DEVELOPMENT [CONCEPT]

The main thing that was discovered in the previous designs was that they were disconnected from the site. To combat this issue, all three sites were re-evaluated. It was discovered that at the point of the actual turn-off to Wyndham City, Wyndham was to the left, Melbourne was front and central and Geelong was behind and to the right. These locations are the three main populated areas around the site. There is thus still a slight reference to urban growth and density, however it is no longer the main focus of the concept. Place finding now determines how the shape will be formed, thus the chosen site spans across the true turn off to Wyndham City [from Site C to Site A].

[EVALUATING THE SITE]CREATING A CONCEPT

MELBOURNE

WYNDHAM

GEELONG

CHAR

GE P

OINT

S

SITE A

SITE B

SITE C

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PLACE [FIND] DEVELOPMENT [FORM]

GEELONG CHARGE POINTS

WYNDHAM CHARGE POINTS

MELBOURNE CHARGE POINTS

The three main internal and external curves that will be used were derived from the Grasshopper Script above. These curves will be lofted to create a singular, fluid archway, then cut into strips. This will allow the design to be a series of arches rather than a tunnel a driver may pass through.

CURVE 1

CURVE 2

CURVE 3

To produce curves that reference the three chosen locations, points were referenced from Rhino into Grasshopper and then manipulated with Flowlines. Three points were chosen for each location to add the necessary severity that would allow for a driver to read Geelong, Wyndham and Melbounre.

Using Sliders, the charge points manipulated three sets of curves in order to determin two curves [internal and external] for each location. These finalised curves were then baked into Rhino.

PLACE [FIND] DEVELOPMENT [FORM]

Along with the three primary curves, three secondary curves were selected. This is to ensure that the model morphs enough over the span of the site so that there are three distinct pushes, firstly to the right, then to the left and finally to the middle. All of the curves were then placed in a line from front to back, however they were still full circuit shapes. A road plane was added in and every curve set was split at this point. Any encroaching curves on the bottom that came above the road plane were deleted to create six arches.

ALL CURVES

CURVES SPLIT WITH A ROAD PLANE

CONSECUTIVE ARCHES

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PLACE [FIND] FINAL IDEA [FORM]

INTERNAL LOFT

EXTERNAL LOFT

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The six final arches were then lofted, both internally and externally.

CUTT

ING

PLAN

ES

CUT

ARCH

ES

To cut the lofted surfaces into arches, planes were created in Rhino. Each plane was used to split the internal and external lofts into the series of arches. Arches were made, rather than a full tunnel, becuase this allows for the diver to understand the changing, mophing form better. It also creates a more natural experience, particularly as the arches are not equal distances apart. It thus gives the feel of driving past trees, rather than man made members.

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PLACE [FIND] FINAL IDEA [EXPERIENCE]

To create the internal experience, or 'veins', Rhino curves were used. Going back to the pre cut model, the lofted surface was split into a series of curves. This was done to ensure that the veins sat flush against the irregular curving internal surface. On each side of every new curve a gradually changing series of three small bumps was added. On the Wyndham City side, the veins started close together, splayed in the middle and came back together at the end. This was the inverse on the Geelong side. Once all of these veins were customised to the series of curves that made the surface, they were lofted to create a smooth surface. This had to be done prior to cutting the model because otherwise the detail may become disconnected from one arch to another. Once all of the veins were lofted, they were placed on the original internal surface and the model was cut as previously shown.

LOFTED SURFACE SPLIT INTO INTERVALS

VEINS

CUSTOMISED ON CURVES

VEINS LOFTED

REAPPLIED TO INTERNAL SURFACE

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PLACE [FIND] FINAL IDEA [CONSTRUCTION]

1. 200UB Steel portal frame with pad footing

2. Steel portal frame is fully crected, being bolted together on site

3. 100mm light-gauge steel (at 1500mm centres) brace steel portal fram

4. Exterior cladding of steel ribs added, and bolted to steel portal frame

5. Rigid steel ties at 600mm centres supports internal metal cladding

6. Aluminium internal metal cladding added, including external 'vein' details.

After the developmental process, some things were considered in order for the construction process to be realised. The main consideration was that it would be unnecessary to have an external surface when the driver would never actually see it. To resolve this, the curves that make up the front and back of each arch were lofted to create a flat surface. This means that the external surface is referenced without the need of excessive materials/construction.

FRONT VIEW

RIGHT VIEW

FINA

LISE

D MO

DEL

PLACE [FIND] FINAL IDEA [FABRICATION]

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Whilst preparing the model for fabrication on the computer was easy, the physical fabrication process for the final model was an arduous task. Computationaly, the front and back surface was taken from each of the eleven arches [as explained prior] and were nested onto sheets. These were then laser cut out of 2mm black acrylic sheeting. vAfter this, each arch was constructed separately from three materials - the acrylic, grey card and silver embossing metal. A set of front and back arches was connected with card in the shape of the internal surface and then the embossing metal was moulded, including the veins, and attached to the card. Initially, the idea was to fabricate with just the metal and the acrylic, however it was found that the metal was not strong enough to support the face arches. The card allowed for an extra level of stbility.

VEINS EMBOSSED

1:500 MODEL CARD CONNECTING FACES

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PLACE [FIND]

A PROPOSAL THAT INSPIRES AND ENRICHES THE MUNICIPALITY OF WYNDHAM.

PLACE [FIND] PHOTOGRAPHY [DAY]

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PLACE [FIND] PHOTOGRAPHY [NIGHT]

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DESIGN IS THINKING MADE VISUAL.-Saul Bass

LEARNING OBJECTIVES AND OUTCOMES

WHAT WAS MY BACKGROUND?I have been using computers to aid my designing since high school, however it was not until my first year of university that I got a taste of the real capacity for creativity that computers can have. In my second semester I took the subject Virtual Environments, and it was the first time that my ideas of 'architecture' were really challenged. As seen on page 1, we design Head Pieces, rather than urban schemes or buildings. I found this subject extremely enlightening in more than one way.

Firstly, through the use of Google SketchUp, I was able to design a form that would have been very difficult, if possible at all, to create in AutoCad or Revit [the programs I had experience with]. SketchUp, though not a particularly sophisticated program, was a brilliant starting point for my first explorations into computation and computerisation. Considering these two terms, computation and computerisation, the project ended up being a mixture of both, though it certainly favoured computation.

Secondly, it opened my eyes to a far broader world of design. Since year 7 I have known I would study some form of design, be it Interior, Graphic, Architecture or Fashion. This considered, I was blinded by the convention that Architecture [my favoured aspect] was purely buildings to be inhabited. I never really took the time to look into other forms of built design, or if I did, I never considered it 'architecture'. Virtual Environments swept away these archaic conventions from my mind and gave me a passion of the world of computation and conceptual creativity.

WHAT HAVE I LEARNT?This semester has been a particularly steep learning curve in terms of computational design. I came into this subject having never used either Rhino or Grasshopper, and it was quite a rude shock when I didn't pick them up as quickly as I was used to picking up computer programs. From the outset, though, I could tell that these skills will be invaluable in the future to come, particularly considering the fast pace at which the world of design was evolving.

In terms of Grasshopper, I must admit I was intimidate at first. I have never been particularly mathematically gifted and was wary of the way Grasshopper was wired [no pun intended]. Exploring the different capabilities [pages 9 and 10 - Exploration Matrix] with a bit of a helping hand from those on high showed me that though you need a basic understanding, you don't have to really get into the nitty gritty of formula, and if there's something you don't understand, the internet is a single click away with its ever hand hints. Once I realised that this program wasn't something to be feared, i really began to explore.

I believe my most successful Grasshopper endeavour of the semester was our EOI submission, the anamorphic crown. Though I adore our final design, [and I must admit, the Flowlines plugin is exceedingly fun] the crown was the real Grasshopper challenge. Page 17 shows the process I underwent in order to achieve anamorphic cuts on the surface. Proir to this, I found the Reverse Engineering [page 11 and 12] task to be quite a challenge. The fourth attempt [with a lot of help form our tutor] showed me more than one technique to use in the EOI.

At this point, I feel that if there had been a little more time for the final design, we could have explored more Grasshopper. My biggest disappointment is that I used Rhino to create internal detail [veins] rather than Grasshopper. The benefit of this, however, was that I learnt a lot about Rhino, which I believe will only serve to aid my future designing.

WHERE AM I GOING?Subjects like this, that manage to teach me an entirely new skill, are the reason I am at university. I am extremely excited for my future designing and what my new skills may bring to it. I will certainly be exploring possibilities surrounding the skills I have gained this semester, however there is still so much I have yet to learn and discover about this field. I know for certain that if the opportunity presents itself for further learning in computational design, I will be the first on board.

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REFERENCES[PAGE 2] Richard Williams, 'Architecture and Visual Culture', in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005)

[PAGE 3] Vennesla Library 2011, Helen and Hard Architects, Norway viewed 9/3/2012, < http://www.hha.no/projects/vennesla_library/>

[PAGE 4] Yehuda E. Kalay, 2004. Architecture's New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press)

[PAGE 6] David Dick, 2009. FUrniTURE: Joris Laarman's Bone Chair (viewed on 20/04/2012) <http://www.ignisfatuus.com/2009/10/15/furniture-joris-laarmans-bone-chair>

[PAGE 8] Peter Macapia, 2007. Turbulent Grid Part 1: Dirty Geometry (Arch'It)

[PAGE 16] <http://www.abs.gov.au/ausstats/abs@.nsf/Products/3218.0~2010- plane>

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