DHANIKA KUMAHERI

ADSAIR

We live in a very exciting time of change.

As a young architecture student developing design thinking and design skills , this period in time offers us fantastic adventures, oppor-tunities, dreams, visions and ideals. Essential-ly, the revolution of computational and digital

tools has lured us down the rabbit hole, to the magnificent Wonderland, full of untapped resources and unexplored possibilities. It is also the cocaine of the self-proclaimed avant-

garde architecture, so far pleasing only a significantly small portion of the international

stage, but causing an ongoing addiction for research and progress for its cause. It is

the purpose of this semesters design studio to focus on, and contribute to, this ongoing

architectural discourse, and to do so not only through meaningless form-finding, but more

importantly in developing mastery in design-ing with these new tools where creativity is

not instant but traceable and runs through the whole project.

What this studio will not be, essentially, is

...an onanistic self indulgence in a cozy graphic environment. Endless repetition and

variation on elaborate geometrical schemata with no apparent social environmental and

technical purpose whatsoever.

-John Frazer, in M.Burrys Scripting Cultures-

downthe rabbit hole

Ca

se f

or

In

no

va

tIo

n:a

rC

hIt

eC

tu

re

as

a D

Is-

Co

ur

sed

ef

inin

g a

rc

hit

ec

tu

re a

S a

diS

cO

ur

Sea

rc

hit

ec

tu

re a

S a

rt, S

ign

an

d u

rB

an

eX

Per

ien

ce

ar

ch

ite

ct

ur

e a

S Si

gn

ca

Se S

tu

die

S a

nd

Pe

rSO

na

L P

rO

Jec

t

ont

ent s

week

Ca

se f

or

In

no

va

tIo

n: C

om

puta

tIo

n I

n a

rC

hIt

eC

-t

ur

eC

ase

st

uD

Y 1

Int

eG

ra

tIo

n I

nt

o e

oI

Ca

se s

tu

DY

2In

te

Gr

at

Ion

In

to

eo

I

Ca

se f

or

In

no

va

tIo

n: p

ar

am

et

rIC

De

sIG

nC

ase

st

uD

Y 1

: De

sIG

n p

hIl

oso

phY

Ca

se s

tu

DY

2 :

phIl

oso

phY

&t

eC

hn

Iqu

e03

re

sea

rC

h p

ro

jeC

t: C

ut:

De

ve

lo

pC

ut

Ca

se s

tu

DIe

s

Ch

ose

n C

ase

st

uD

Y

05

re

sea

rC

h p

ro

jeC

t: C

ut:

De

ve

lo

pv

or

on

oI

pan

el

sC

on

to

ur

pa

ne

ls

06

re

sea

rC

h p

ro

jeC

t: C

ut:

fa

Br

ICa

te

eo

I su

mm

ar

Yk

eY

le

ar

nIn

G a

Ch

Iev

em

en

ts

07

re

sea

rC

h p

ro

jeC

t: C

ut:

De

ve

lo

pm

at

rIx

: me

th

oD

ol

oG

YIn

put-

ass

oC

Iat

Ion

ma

tr

IxIn

put-

ass

oC

Iat

Ion

-ou

tpu

t m

at

rIx

sel

eC

tIo

n p

ro

Ce

ssD

IsC

ar

De

D C

an

DID

at

es

04

re

sea

rC

h p

ro

jeC

t: C

ut:

fa

Br

ICa

te

fu

rt

he

r D

ev

el

opm

en

t

08 09

fIn

al

Ize

D D

esI

Gn

Co

nC

ept

10

Co

nst

ru

Ct

Ion

De

taIl

InG

11

faB

rIC

at

Ion

epI

lo

Gu

e

01

c02

1weeK

deFininG architectUreaS a diScoUrSe

wk01.01 case for innovation

Defining architecture has been a focus and rather, a hobby for many architects since it is so open ended and hard to define

It is the true aim of this design studio, in the use of new computational tools and design thinking, the Expression of Interest Document, and also the Wyndham City gateway project, that whatever results spring in the end - will contribute to the great and ongoing architec-tural discourse. A step forward.

the goal

Ian McDougal, AND Lecture series 2012diagram 1 &2 summarized from lecture 1 : Un-derstanding the Course : Architecture as DiscourseWilliams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. 8 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

diagram 2. The strife to advance architecure as a discourse: to push boundaries forward

with individuals performing as a whole.

diagram 2. A summary of what it means to

advance architectural discourse.

architectUre aS art

How architecture as art has advanced the architectural discourse

Architecture as art, in this case - as an expression of a design intent that have the power to evoke a feeling, emotion or as-sociation, and produce significant effects to its consumers, has been an ongoing contribution to the architectural discourse.

The pylons of the Karnak temple (figure 1.1)are seen as a canvas for artwork. It is adorned in hieroglyphs and represent a barier, a gate to the inside of the temple,which is a representation of the realm of the gods. The reason why they are so tall inheight is to intimidate the unworthy. The same idea of decoration to achieve an elevated state of being, and the manipulation of height is later used, more than 1500 years later, by a British architect called Sir John Soane, in the adorning of the walls in his home. The towering height and the chaos of artworks were conceived to be a trick to overwhelm, and to cause a sense of reverity and vertigo. One can see that even though Sir John Soane borrowed a piece of an idea from Karnak temple, that he also duly added his own intake to it.

And this is what it means to contribute to an architectural discourse. It is to look back upon what has already been done, reflect upon it, and reproduce it in a way that both reflects the zeitgeist of the time as well as offering some-thing new that will broaden the meaning of architecture and give the opportunity for someone else in other parts of the architectural profession to replay the process.

fig 1.1 (top). Karnak Temple, Egypt.

fig 1.2 (bottom). Sir John Soanes House in London. (now Sir John Soanes Mu-seum).

The previous works shown earlier were great works of art. However, it is undeniable that they are also out of date. It is mandatory that architec-ture as art reflect the zeitgeist, the soul of the current age. And right now, the age demands for something contemporary, dy-namic, a parametric manifesto.

architectUre aS SiGnHow architecture as sign has advanced the architectural discourse

Once we have established that architecture could be an artform, the question that follows is Beacuse it is subjective, then how do we interpret it?

It is precisely this quality in architecture that allows it to be defined also as a sign.

Architecture is the most dominant and prevalent form of art. However, there is something slightly problematic with this view. Reading architecture merely as a conception of a genius artist, an offspring of ideas that are aesthetically grand and pleasing is nothing but an incomplete view of ar-chitecture, even though this is the most common view of ar-chitecture from the general public. Architecture seen in this way also neglects the needs of the masses and becomes no more than a visually aesthetic privilege for a select people in the top architectural hierarchy (Williams, 2005: 105-107)

wk01.02 case for innovation

And like them, we are certain that architecture ought to function on the level of a sign, as well as anything, and actu-ally- that as signs, they are open to multiple in-terpretations. The mean-ing of architecture was therefore not single, authoritarian and closed, but multiple, democratic and open.;

-Richard Williams, 2004-

wk01.02 case for innovation architectUre

aS Urban eXPerience

Looking at architecture as an urban experience does not subject buildings or any other architectural elements below the power of urban planners, or the city as a whole. It is merely acknowledging the fact that architecture dis-solves into nothing more but an accumulation of expe-riences, emotions, memories, activities, and necessities within an urban fabric.

It is interesting to explore the situations when an indi-vidual stops perceiving the city as an agglomeration of buildings, but instead as a series of experiences shaped and made by these precise arrangement styles, ad design of buildings or other architectural elements.

it describes the point at which debate cxpands from consideration of buildings alone, to consider the psychological (and indeed other) ef-fects that an accu-mulation of build-ings might have.

Architecture as a sign is highly related to its asso-ciative powers. Throughout history architecture has been used to show power, represent a politi-cal stance, represent a particular social groups presence, ethnical identity, or cultural identity.

For example, skyscrapers have long since broke through from its initial meeting its space-cost efficiency. Different from its earliest predeces-sors of proto-skyscrapers like the Life Insur-ance Building in New York, built in the 1870s. They are now architectural signs of modern civilizations, a proof of technological and en-gineering superiority, financial power, design and cultural prowess and stature of a nation.

This is what it means to look at architecture as signs. Looking at architecture as a sign means looking at architecture and its mean-ing and impact in the publics eye. In order to properly interpret architecture and the mean-ings behind it, one must look at its context, its predecessors, its design drivers and con-straints, and its designers and consumers.

This is how looking at architecture as a sign con-tributes to the architectural discourse. Interpre-tation of a single architectural entity will not be achieved without extensive discussion that will touch upon other ares in the subject. It contributes to the discourse because interpretations of ar-chitecture rely on architectural symbols and ges-tures, which have different meanings over time. Therefore, looking at architecture as a sign con-tributes to the architectural discourse because it is equivalent to interpreting constantly changing language, that are influenced by the changing so-cial, political, cultural, and historical environment

Architecture has to have that capacity for people to project their own understand-ings and beliefs into them , in a sense, the public must be allowed to appropriate a bit of the interpretattive aspect of archi-tecture. If not, architecture is meaningless, if not architecture cannot communicate and therefore is detached from its main consumers, rendering it disfunctional and unloved.

INTEGRATION TO EOI AND WYNDHAM CITY GATEWAY PROJECT

With the interest of contributing to the architectural discourse, the proposal EOI and the final pro-posal for the Wyndham city gateway project should encompass all three definitions of architecture. The final proposal will present the gateway as art, sign, and urban experience. It must have a pleasing artistic appeal, be a vessel or machine of Wyndham city identity that people can interpret and ap-propriate with their own interpretations and understandings, and most importantly stress the urban experience of driving through it.

Why contribute to the architectural discourse in the Wyndham city gateway project?

It enriches your project. Its the most effective way to make your project be discussed and remembered. It gives your project a timeless quality. It gives your project life beyond its intended time.

We are taking a step to advance and influence the ideas and practice of others in the field of archi-tecture, which in time, or in the future also may inform our work in return.

Contributing to the ongoing 'idea machine' that has been a tradition for as long as architecture existed.

2

3

1

conclusion

t h e b l u r b u i l d i n g

The Blur Building by Diller + Scofidio, is almost literally no building at all. It was a temporary pavilion for the 2002 Swiss ex-position that was developed based on the foggy Swiss weather. It was unique in that the primary material used in the building was water vapor. Also, a smart weather system reads the shifting climactic con-ditions of temperature, humidity, wind speed and direction, and processes the data in a central computer that regulates water pressure.

This whole orchestrated effect creates ar-chitecture that fully and wholly immerses you. So much, in fact, that you forget where you are, what you are doing, and everything dissolves into emotions and feelings of apprehension and excitement.

Diller + ScofidioYverdon-les-Bains, Switzerland - 2002Progressive Architecture Design Awardexhibited in : Swiss Expo 2002Featured in: Ted Talks http://www.ted.com/talks/liz_diller_plays_with_architecture.htmlhttp://www.dsrny.com/

i m m e r s i v e // g r i p p i n g // i n e s c a p a b l e

image above left. perspective view of blur building entrance rampimage below left. Visitors get equipped with raincoats for their blur building adventure

Probably the single most compelling aspect of the project is its role as a changeling, and also the weightless aspect of it. The Building also provokes the consideration of the role of gravity, the weight of our buildings in the distant future that begin to escape the bounds of the earth.

"

"

perhaps one of the really interesting things about the building Is that it makes people think about environmental experiences and strategies, and maybe those sort of strategies will become fashionable.

B.W. Parker, pRACTICING ARCHITECT IN NEW YORK

"MARY HANCOCK, COURSE CHAIR FROM OXFORD BROOKES UNIVERSITYTHE BUILDING DOESN'T SUGGEST NEW CONSTRUCTION TECHNIQUES. IT PROPOSES NEW WAYS OF THINKING ABOUT ARCHITECTURE, OPENING UP OUR MINDS TO WHAT ARCHITECTURE CAN BE. MORE AND MORE, PEOPLE ARE REALIZING THAT ARCHITECTURAL DESIGN DOESN'T JUST INVOLVE JUST BRICKS AND STICKS AND STATIC FORMS, THAT IT DOESN'T NEED TO HAVE SPECIFIC BOUNDARIES.

"USMAN HAQUE. PRACTICING ARCHITECT, BRITISH ARCHITECTURAL INTERACTION DESIGN FIRM

"

IT ALSO MAKES US QUESTION WHERE LIES THE DIFFERENCE BETWEEN ARCHITECTURE AND NON ARCHITECTURE. IT GIVES YOU THE FEELING OF BEING PART OF A CONSTANT METAMORPHOSIS.

EVA AFUHS, ARTISTIC DIRECTOR OF THE 2002 SWISS EXPO "

"

"

The blur building was a translation of the common swiss fog, an ordinary ele-ment well known to the people of Switzerland. Yet, its execution was far be-yond ordinary. Through the use of computer-controlled systems, the blur build-ing, while mimicking the natural fog phenomenon, also delivers an immersive new definition of an ar-chitectural environment.

A similar approach will be taken into Wyndham city gateway. The aim is to take a local element from Wyndham, reproduce it parametrically, and deliver acritical statement of Wyn-dhams identity as well as an unforgettable immersive experience of a gateway.

integration into eoi

b r o d / t h e s h i p/ l a n a v ea project of the Ministry of Culture, republic of Croatia

Architects: Saa Begovi Marko daBrovi igor Frani Tanja grozdanipeTar Mikovi SiLvije novak veLjko oLui heLena paver njiri Lea peLivan ToMa pLeji goran rako Saa randi idiS TuraTo pero vukovi Toni arni

p o l l u t e d v i s i o n //c r i t i q u e a g a i n s t m o n u m e n t s // i n t e r n a l i z i n g t H e e x p e r i e n c e

image above left. exterior shot of the ship with visitors. theres clear evidence of the dissolvin-gof external planar boundaries of the pavillion.

image below left. perspective view of the ship, boasting its hazy visual pollution effects.

image above. CAD drawings of layout cut into the wire 12 wire meshes that will be stacked on top of each other. these 12 layers make up the whole pavil-lion structure.

Exhibited at : 12th international architecture exhibition, Venice Bienalle 2010. People Meet in Architecture, August 29 - November 2010, directed by Kazuyo Sejima

Publications: An interview with Leo Modcrin, project comissioner http://www.domusweb.it/en/video/leo-modrcin-croatian-pavilion-arsenale/Videos of The Ships details, elements and constructionhttp://www.veengle.com/s/Croatia%20Pavilion.htmlOfficial websitehttp://www.pavilion.hr/index.phpOfficial Publication:http://www.pavilion.hr/download/book.pdf

This impressive installation is made up of layers of steel reinforcement meshes cut up into different patterns to accomodate voids. With this layering technique, the intrin-sic qualities if the industrial and mundane material were explored and harvested in creating a hazy effect of visual pollution. The composition of the meshes makes the pavil-lion look almost see through and almost like a pixelated illusion or eye trick. This is in itself a statement against the stereotypically monumental approaches normally seen in national pavillions, with their high definition monumental external forms. The designers of the ship has chosen to invert the definition of monumentality by totally dissolv-ing the external boundaries of the pavillion and making visitors concentrate on the experience inside and not so much its external form.

+015

+030

+045

+060

+075

+090

+105

+120

+135

+150

+165

+180

INTEGRATION INTO EOI

Like the Croatian Pavillion, a similar approach will be utilized to deliver a design that critiques the stereotypical monumental buildings that relies too much on its high definition external form and appearance, and rather focus more on delivering an internal sensory experience that is im-mersive and memorable. The delivery for the Wyndham gateway project shall come in 2 parts : an external shell in the form of a mundane, ordinary geometry that masks a myriad of parametrically designed, delightful sensorial stimuli inside.

It should not be read as a buIldIng, It has no scale. the project at-tempts to avoId the terror of the vIsual, to Include other senses and In that way brIng archItectural space to recognItIon. sensory propertIes lIke the sharpness of the elements that emerge by cuttIng, the wInd that you feel penetratIng the structure all that Introduces you to some form of topography that Is not created through three spatIal dImensIons, but emerges on the complex scale of welded wIre mesh.

t o n c I a r n I c- croatIan pavIllIon archI-tect

scenario bifurcation 1. Settlers come in.

scenario bifurcation 2.population growth

scenario bifurcation 3. stagnant growth

scenario bifurcation 4. densify

scenario bifurcation 5. baby boom

a personal group project for aa beijing winter school 2012

growth node

growth corridors

u r b a n c r e a t u r e o f t o n g z h o u

This project is an experimental con-ceptual work focusing on the potential pf computaional tools to compute and calculate how different varieties of factors and parameters might potentially alter, kill, disfigure or grow a plan of an urban settlement. After designing (scripting) several different scenario biofurcations for population growth in Tongzhou city near Beijing,

The purpose of this experimental work is to investigate alternatives to substantiate the capabilities and potentials of com-putational design into more meaningful levels through experimentation on high density redevelopment for transform-ing Tongzhou, a new suburban district in outside the 5th ring road of Beijing, into a new city center in order to release some of the population burdens of the old city center.

integration into eoi

This Tongzhou project looks at the issue of time and change and how a design could morph and change according to external factors that are constantly changing. Wyndham as a city also undergoes periodical changes such as of demographics, climate, culture, and societal. The site for the proposed gateway also undergoes periodical change, even just in the short span of one day. It is therefore relevant to incorporate the changes that occur on the site within a 24-hour time-frame and use it as opportunities to create design decisions. The final proposal for Wyndham city gateway project may have a few different faces or looks as a result.

1

2 3

4 5

2weeK

We pursue the parametric design paradigm all the way... systematic, adaptive variation, and dynamic parametric figuration concerns all design tasks from urbanism to the level of tectonic detail, interior furnishings and the world of products... addressing the demand for an increased level of articulated complexity... parametricism is the great new style after modern-ism. Postmodernism and Deconstructivism have been transitional episodes that ushered in this new, long wave of research and innovation.

-Patrik Schumacher-Parametricism as Style: Parametricist Manifesto

week.02week.02 COMPUTATIONAL INNOVATIONS

BAROQUE DETAILING: REDEFINED

A SEARCH FOR PURE ORNAMENTATION

Michael Hansmeyer. A New Order. neo-baroque collumn prototype.

2010

Official Website: http://www.michael-hans-

meyer.com/projects/columns.html?screenSize=1&color=1

Exhibitions:featured in Gwangju Design Bien-

alle, Gwangju, 2.9 - 23.10.2011 Self-Structure: Column

Protoype at Le Lieu du Design, Paris, 30.9 - 17.12.2011

We are familiar with the use of generative grammars, L-sys-tems or other recursive procedural frameworks, such as Roland Snooks swarm based models that references natural processes or organic structures. What is extraordinary about the work of Michael Hansmeyer is the fact that Hansmeyer does not seek to reference the same processes as analytical tools to investi-gate nature. Instead, Hansmeyer is directly interested in creat-ing an outcome purely for the purpose of synthesizing and producing ornamentation. In his latest, and most famous work, his structures make reference to the foundational discourse of the architectural order of columns. And yet, his approach is not intended to add criticism or to expand or modulate this dis-course in any way - he does not intend to seek a modified new order, but rather is interested in its ornamentability.

The fact is, such shapes and such details would be too much to design and comprehend, too complex to process in the human brain. Contemporary computational cultures has provided de-signers with new fabricatable geometries that is redefining our concepts of ordinary spaces and geometries everyday. With this high level of intricacy and complex geometries, computa-tional tools redefines our senses, the way we respond to our environment, the way we comprehend architecture, and the way we interact with it.

michael hansmeyer: a new order

"The shapes of Michael Hansmeyer present themselves, as ornamented columns, very self-confidently as the produces of artificiality - even though there is a strong touch of alien organicity proper to them.''- Vera Buhlmann

week.02 COMPUTATIONAL INNOVATIONS

1. Michael Hansmeyer. A New Order. neo-baroque column prototype. 20102. Michael Hansmeyer. A New Order.

neo-baroque column prototype. Close up zoom 9x. 2010.

3. Michael Hansmeyer. A New Order. neo-baroque column prototype. Tangi-

bility. 2010.4. Michael Hansmeyer. A New Order.

neo-baroque column prototype, on dis-play at Gwangju design Bienalle, 2011.

1

2

3

4

"The mastering of hi-techengineering software is ultimately used to produce ornate architecturaldecoration." - Mark Burry

Contemporary computational cultures has also challenged the separate, traditional ways of deigning and fabricating and instead translated them into one process that informs and complements each other. It offers a more competitive edge in terms of generating forms that are never seen before int real-life. Michael Hansmeyers collumn has redefined the concept of ornamentation by treating ornamentation not only as something that is applied on top of a surface, but rather, a complex organic blanket of undulating topographical forms that create and form the surface of these collumns.

Hansmeyer has redefined ordinary traditional ornaments: floral, geometrical, life-like illustrations of the ordinary. Instead, he has introduced that ornamentation could be something highly organic in form, and so complex and so beautifully fab-ricated that people begin to question the abilities of computa-tional design in a positive light.

The calculation of the cutting path for each sheet takes place in several steps. First, the six million faces of the 3D model are inter-sected with a plane representing the sheet. This step generates individual line segments that are tested for self-intersection and subsequently combined to form polygons. Next, interior polygon are deleted. then a series of filters are used to hollow out the slice to reduce weight.

This method is similar to contour-ing objects, and is very popular with fabricating complex organic/blobby shapes in architectural models.

Whats important about this, in terms of the EOI, is the assurance that computational and fabrica-tion tools are capable of handling such complex designing and fabrication of forms. The contour-ing method allows for complex undulating forms and surfaces that has the potential to create particular experiential qualities of being within a space, and as this relates to our main design theme, is something we could explore in more depth in the coming weeks.

week.02

7 8

5 6

fabrication

5. A new Order. Initial intersection with line segments

6. A new Order. Formation of Polygons7. A new Order. Polygon Filtering and

vertex adjustment8. A new Order. Interior offset/ hollowing

out

week.02 COMPUTATIONAL INNOVATIONS

integration into eoi

Through Michael Hansmeyers design the power and advantage of using 3D computational design became evident in so many levels. Conceptually, his initial ideas of ornamentation was later allowed to be informed and expanded by a more complex computer generated form of execution (3D ornamenta-tion), thus allowing him to explore complexly mind - numbing patterns that are far beyond the human sensorial memory to comprehend, and finally- al-lowing him to manufacture these forms in an automated process that not only saves time and money but also allows a very high degree of precision and quality control in dealing with a massive numbers of fabricated elements.

These three powerful advantages answer the previous conceptual demands elaborated through extensive analysis of the conceptual precedents in teh previous week.

1. Conceptually : in order to fully reinterpret, transform and translate an ordinary element from Wyndham, parametric designs ability to explore and execute concepts in groundbreaking ways will be an excellent research tool that will open up new possibilities.

2. Form: As a gateway and installation that has an ambition to deliver an internal experience, parametric design will offer the ability to design forms or ornaments that are extra difficult for human memory to process and to rationalize.

3. Fabrication: the translation and rationalization from 3D model into built form that incorporates a process of automated machines that allows high precision and quality control of the outcome.

3weeK

A frOzeN PIeCe Of MUSIC

Anisotropia, the design for the new Busan Opera House

wk03

contemporary scripting design philosophy

This project started with an interesting notion of music and architecture, and how similar they are to each other. However, unlike his earlier predeces-sor Iannis Xenakis, who composed music for pre-ex-isting spaces and designed spaces to be integrated with specific music compositions and performances, Christoph Klemmt took this idea of merging archi-tecture and music into a further level. With his de-sign for the Busan Opera House, hyh reconfigured a musical piece that he wrote and through the use of computational tools, translated it into a faade that wraps the entire opera house in a corresponding harmony of architectural and musical composition.

Klemmt has once, and for all, frozen music into architecture.

Klemmts initial design philosophy revolved around the differences similarities between architecture and music and how he could merge the two. One of the most ap-parent differences between the two is that architecture eventually manifests itself in form and mass, whereas music is without mass. Despite these differences, he was interested in similar experiential qualities that mu-sic and architecture share. At a fundamental level, both architecture and music are art forms that have the ca-pacity to evoke and express emotional response. From a technical perspective, they are both made up of tech-nical or individual components or members that join together to make a coherent composition of elements.

wk03

contemporary scripting design philosophy

(top left) Busan Opera House. rendering of great hall. Cristoph Klemmt, 2011.

(bottom left) Busan Opera House Rendering of main theatre hall. Cristoph Klemmt. 2011.

(bottom right) Busan opera house floor plan. Cristoph Klemmt. 2011

Architect:Christoph Klemmt

Completion date: unknown

Published in:Design for Busan Opera House Competition entry

http://orproject.com/bu-sanoperahouse/

http://thecreatorsproject.com/blog/orproject-turns-music-into-architecture

British forum for ethno-musicologyhttp://www.bfe.org.uk/2.html

featured in:AA Beijing Winter School 2012 for computational design

They also share a similar way of design rep-resentation. Both of these disciplines rely on visual graphics, drawings and annota-tions to communicate, replicate, and visu-alize their design, and both have their own codes, systems and rules of representa-tion. The last, and probably most important similarity that Klemmt explored was time. Klemmt was interested in how both disci-plines occupy the dimension of time, and it was through this very method that he suc-cessfully translated sound into space. In a way, Klemmt transformed the time compo-nent in his music into an architectural space.

Having been successful with transforming something that is intangible into something that is spatially tangible, Klemmt was then faced with the most important question in parametrics and computational architecture : How does one incorporate ones compu-tational concept into built architecture?.

Klemmt does this in a sinuous, philosophi-cal way. By wrapping this frozen music around the building mass, Klemmt created a new symbol for art. He has managed to visualize music into built form, the equiva-lent to making ghosts visible to the naked eye before the age of computational tools. Klemmt hugged and dressed his building mass in this abstract, interweaving waves that not only just represented music, but embodies it. By doing this, he actually took the understanding and discourse of archi-tectural symbolism further. With the help of computational tools, it is now possible to literally manifest a concept that is previously never possible. Klemmt achieved a literal representation of an abstract concept, mu-sic, in an elegant and not so mundane way.

wk03

contemporary scripting design philosophy

However, architects still face a challenge in how architecture communicates to the general public. There has always been a gap between most buildings conceptual start-ing point, and the public apprehension of such concepts. The general public consen-sus is that architectural concept and the way public receives them are incongruent. While this incongruency is good in that it lets dif-ferent interpretations and meaning be pro-jected onto the built work, it also poses the question of whether or not an architectural concept behind the building needed to be communicated at all. Should it be an archi-tects job to make sure that his concept, his personal message be communicated to the world? Or should it not concern the archi-tect at all? Does it matter whether or not the public gets it? And most importantly, will the public get this piece of architecture?

A building that is truly a work of art in its nature, essence, physical being an emotional expression. This being so, and I feel that this is so, it must have, almost literally, a life.

The theme of ornamentation is central to this design. And it is important to approach the intention of this ornamental facade criti-cally. The marriage between architecture and ornamentation has had its significant rise and falls. And the public view on how an ornamentation is received is always changing. Ornamentation also brings a central theme of identity, and with it, is-sues such as place making, or lack thereof.

-Robert Seyfarth

The musical piece that is behind the conception of Busan opera

house facade detail .

KLAvIERSTCK

wk03

contemporary scripting design philosophy

It is curious to note that the architect composed a musical piece in German that isnt an actual music for the ears. Instead, Klavierstck I is a piano composition writ-ten by Klemmt based on a twelve tone row which is repeated and altered, in or-der to create complex rhythmic patterns. One can say that this musical piece was created for the sake of how it is meant to appear as a the opera houses or-nament appearance. Once again, this feels unconvincing. Why not choose a musical piece related to Busan, South Korea, as an interdisciplinary twist on site-specificity? Why not take the won-derful concept and use it to enhance the cultural heritage, the cultural treasures and richness of the site and the people? Why not make this architectural concept a driver and beacon for cultural iden-tity of the place? At least then the rea-sons for the origins of the design would fit with the location of the structure.

Sure, beauty by itself can be wonderful to be-hold, but in the case of a purpose-built build-inga cultural center no lessbeauty with a reason is often more satisfying. This project manifests the very meaning of computational architecture and its power to visualize abstract concepts in a novel way. Through the use of computation, the design intent was carefully and beautifully executed: Translating and freezing music into built form. It is successful in pushing boundaries of architecture as a liter-al means of representation, but a question re-mains unanswered. Will computational design contribute to a further death of site specific identity and richness? Will it promote site-spe-cific solutions that are embedded within the heart and culture of the local people? Or will it simply be an empty cocoon of form, waiting for locals toi project a sense of identity to it?

Busan Opera house 3D rendering, perspective view, Cristoph Klemmt, 2011

wk03

contemporary scripting design philosophy

INTegrATION INTO eOI

Computational tools have the prowess and ability to materialize concepts that are previously immaterializable.They also have a better control of representing substanc-es that are without real space and volume, in this case, music.

With computational design tools comes the powers of representation and with repre-sentation comes the reading of meaning, discussion, and possibly self discovery.

CRITIQUE TOWARDS THE BUSAN OPERA HOUSE

The architectural field is current use of the parametric has been superficial andskin-deep, maybe importantly so, lacking of a larger framework of reference, narra-tives, history, and forces - Mark Burry

Busan Opera house has an amazing concept of materializing music and giving it mass and volume, however, it is still superficial and essentially lacks a design narra-tive that justifies the form's connection and relevance to its site, making its paramet-ric design outcome more sculptural than representational.

In the case of Wyndham city gateway project, extreme effort will be taken to create a design narrative that ties the structure back into the locality, giving more depth and enriching the project, rather than just presenting the board with a sculptural piece that lacks grounding.

wk03

contemporary scripting design philosophy

VISUALS:

Yannick Jacquet (Lego_man)

Jrmie Peeters (Shir)

SOUND DeSIgN:

Thomas Vaqui

PrODUCTION: Nicolas Boritch

Awards:

Selected for Vimeo Awards

exhibited at:

Mapping festival in geneva (2007);

Image radio, eindhoven (2007),

100% Montpellier (2008);

Yota Space in Saint Petersburg (2010).

Scopitone festival, Lieu Unique October

12-16th, 2011, Nantes, france.

Official website:

http://antivj.com/3Destruct_v2/

featured in: http://www.archdaily.

com/230425/video-3destruct-scopi-

tone-2011/

3DeSTrUCT

wk03

contemporary scripting design philosophy

3destruct is a light installation that uses 'curtains' of see through mesh that are stretched out vertically from floor to ceiling and become the 'canvas' where a series of animated light will dance accompanied by sound.

"As the visitor walks through, he loses his landmarks in this non-linear universe that destroys any spacial coher-ence. Feelings of space ordinary space are revoked and challenged." - Yannick Jacquet

INTEGRATION INTO EOIDesign philosophy:Lighting has a certain experiential quality in them. Humans are attracted to light. And with lighting instal-lations like these, what can be implemented into the EOI is the TRANSFORMATION that takes place in a dark, unlit place when it is lit up. 3Destruct tricks the mind to 'unsee' the original forms of the meshes that are used as a medium to reflect the light. In a way, the lights 'camouflage' and 'mask' the forms of these meshes, and people get too immersed in the dynamic light movement to notice the meshes. This visual trick is something that could be a potential avenue to explore in realizing our design concept of making Wyndham a new monument that is not about the form, but about the experience.

Design Technique:Further research is required on different lighting types and methods, as well as how to control the movement of lighting is needed to incorporate into final design scheme.

Choice of materials :Has to have some degree of translucency to let light shine through it. Potential materials : glass ( either structural glass or supported by lightweight framing structure), or laminated clear sheets (supported by lightweight framing structure), fabric mesh (secured in place by methods of stretching/ tension).

4weeK

matrix

opportunity

ARPBPCIEGOPSGSNATPCAISMFMMFSTUS

arbitrary points

boolean patterning

curve intersections

explicit grids

overlapping patterns

surface grids

surface normals

attractor point

curve attractor

image sampler

maths function

multiple maths function

streaming text

using sets

wk.04

ddcddrddeddsgmsmcrl

data driven components

data driven rotation

data driven extrusion

data driven shading

grid manipulation

surface manipulation

cross-reference list

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP

wk.04

matrix presentation style : based on Yyehuda kalays search process : depth first - and then breadth

In every graphic presentation, the most important question is how to communi-cate graphically, in the most succinct, effective, elaborate when needed too, and non-ambiguosly. In this case, where the computational design process churns out multiple and seemingly open ended outcomes of candidates for optimal design, it is therefore necessary to lay them out in a structured way - not just for the benefit of whomever designers will present their information to, but also for the designers own benefit.

Integration into EOI

Structuring the candidates of optimal design in a more structured way allows the designer to de clutter his or her workspace and thinking space and allows him or her to see emerging patterns or values in his or her many, many different candidates. It allows designers to effectively compare, cross check with the different methods he or she used, and make more informed decisions.

It is precisely because of this search method introduced in the Kalay reading that proves the competitive advan-tage of computational tools compared to other tradi-tional designing tools. It can produce so many design possibilities at a click of a button, endless explorations are possible.

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP

The Matrix of inputs and outputs were explored according to the breadth method, where all possible options or combinations were explored before reviewing which ones could be the logical candidate/solution according to a set of criterias.

Since our group aims to create an immersive architecture as an experience, not as form, we have set a few criterias to choose the right candidates for further development using the output techniques.

1. vibrant composition - dynamic, curvilinear, or imposingly dif-ferent2. detail should not be too fine

creating matrix of input and associations

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP

step 1

all combinations of inputs and outputs are explored

a b c d

1

2

3

outputs

inpu

ts

a b c d

1

2

3

outputs

inpu

ts

candidates are chosen

inputs variations of outputs

association

+ first matrix + second matrix

general process of search

creating matrix of inputs and association combined with outputs

1. Must be a form that creates an immersive 2D/ 3D experi-ence: this could be achieved through some form of optical effect2. Must be low-definition : low complexity and low-details. 3. Must be fabricatable

while also: 1. vibrant composition - dynamic, curvilinear, or imposingly different2. detail should not be too fine

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP

step 2

The next step after picking out candidates from the first matrix is to recreate another matrix, only using Kalays breadth first, and then depth method. The selected few from the previous matrix are then plugged into the outputs technique, and this will be the base of the second matrix. These new combinations then will be recombined using different outputs technique, and from these combination, a few will be chosen to be further explored accord-ing to a more refined set of criterias that relate to our goal.

combination 1 is explored

solution 1 is found

combination 2 is explored

solution 2 is found

Arbitrary Points Boolean Patterning Curve Intersections

Attractor Points

Curve Attractor

Image Sampler

Maths Func-tions

Multiple Maths Functions

Streaming Text Files

Using Sets

AS

SO

CI

AT

IO

NS

I N P U T S ( b r e a d t h s e a r c h )Overlapping Patterns Surface Grids Using Surface Nor-

malsExplicit Grids

chosen for further development

matrix of output breadth search

DISCA

RDED

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP

not fabr

icatable

not fabr

icatable

not dyn

amic/in

ter-

esting en

ough

not dyn

amic/in

ter-

esting en

ough

not dyn

amic/in

ter-

esting en

ough

immersiv

e in 2D

- create

s

a 3D opt

ical illus

ion on 2

D

plane of

a dynam

ic move-

ment

too muc

h detail

too muc

h detail

CHOSE

N

not fabr

icatable no

t dynam

ic/inter-

esting en

ough

too muc

h detail

immersiv

e in 3D

- will a

ct as

a movin

g optica

l effect i

f one

drives th

rough it.

Integration into EOI

all 2 viable candidates were cho-sen for their potential to display, 2D or 3D ways to engage and immerse viewers within a particu-lar optical illusions experiential qualities, which is what our group is aiming to do.

ARP ATP DDR

rotation is offset at quite a large distance from ini-tial set of circles

when degrees of rotation are changed , effects of a dancing fabric like structure is created, even though this is in 2D, it creates the illusion of a 3D environment

however, there seemed to be too much detail (too grainy)

so next the surface is divided with less segments, and offset distance is further enhanced.

this achieved a more fluid and dynamic set of dancing fabrics

final candidate is cho-sen for its dynamic and immersive qualities (3D illusion within a 2D form) with less details (so it wont be missed during the drive), especially if we could somehow animate this

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP

Initial condition

Compressing of space

Changing angles

Simplification

Elaboration on offset and angles

Final candidate

matrix of output depth search

the resulting circles from curve intersections input are extruded based on a trigono-metrical maths formula,

ci mf dde

results in a smooth undula-tion of pipes extruded from the flat planar surface. However, as the curvy bit is under the main plane, this candidate might be hard to fabricate

manipulating the surface of the main surface plane creates a more dynamic 3D pattern, and will certainly be a more immer-sive experience, however, there are limitations in the fabrication techniques that we will be using (laser cutting)

further manipula-tion allows a more structured and ordered composi-tion. Dynamic in a musical sort of sense.

These final 2 models were chosen on the basis of practical-ity and fabrication techniques, as well as its composition and performance outcome that directly relates to our design goal : immersive experi-ence

Initial condition

Problems identified

Surface manipulation

Surface manipulation

Normalized surface + condensed trigonometry curve length

Final Candidate

ARP ATP DDE

ARP ATP DDRCRL

ARP ATP DDR

ARP ATP DDc

Doing the matrix of outputs unearthed a few different rev-elations about the scripting and computational process.

1C o m p u t a t i o n a l tools never tire. And could be creative if you script them the right way. It gets you the designer thinking in so many different ways and possibilities that would otherwise would be too ex-haustive for human brainwork to do.

The more param-eters you put in, the more possi-bilities you end up with. The more parameters yous consider in your script, the more di-verse your design outcomes could be.

It is easy to get lost in the fun. This means designers got to know his or her goals amd when to stop ex-ploring possibilities to make a decision

bpusddc

bpus

ddr

bpus

ddrcrl

bpusdde

2

3

discarded versions of the matrix

Maths function seem to be gener-ating the most out-come, especially if combined with the data driven rotation

Association tech-nique gives you the most control over these defi-nition, and also most variations.

4

ci mf dde ci mf dde sm ci mf ddr sg mf dde sg mf ddrsg mf ddr

crlsg mf dde

gmsg nf ddc

sn st dde sm ddr

sn st ddr

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP integration into eoi

With the limited amount of grasshopper definitions that was learned in a short period of time, overall there was this interest to undulating forms and dynamic but smooth curves in the composo-tion to make an immersive experience.

However as our group moved on to learn about other grasshopper definitions and possibilities in forms, it was decided that none of the definitions in the matrix offer the depth and experiential quality our group was looking for.

Even though none of the definitions in the matrix is pursued further, this exploration of matrix was necessary to understand the limitations and possibilities within grasshopper.

5weeK

De Young Museum [ Herzog & de Meuron ]

Overall form gives an impression of a prehistoric monolithic structure, especially against the backdrop of the landscape. But on a closer look at the details, it boasts a modern, computationally designed and enabled facades.

Technique: These facades were obviously designed with an image sampler as the as-sociation technique, and with circles as the outputs technique, which is then developed into perforations and bumps.

Performance: The weathered effect, which had been unforeseen proves a nice addition to the whole design. Having experienced this unplanned quality in their work, the architects who made this building will have gained an incredible insight to their next design and these emergent qualities that might come up. It is precisely this that highlights the importance of research in the design methodology.

Hills Place [Amanda Levette Architects]Overall form is pockets of lights. Having these openings ensures that light is, in fact, also a part of the building.

Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way that they appear almost seamless. In terms of prefabrication, joints are something that archi-tects and designers have to carefully orchestrate so that their design intent comes through to reality without being compromised.

Performance: The surfaces with glazing would have captured more water than regular vertical walls. This would have achieved an experiential effect on the inhabitants inside. The choice of materials also highly informs this design decision. Metal gives off a reflec-tive quality that is unachievable with other materials. Only with metal can you get the building facade to almost merge with the color of the sky.

The Banq Restaurant

Overall form: Undulating curvilinear contours that are used to hide the ceiling, the collumns, and engulf the restaurant in a wave of soft

Technique: A very successful technique would have to be in the way this clad-ding was fabricated. The joints between each cladding module are orchestrated in such a way that appears seamless wood panels.

Performance: This project reinterprets the ordinary flat ceilings of modern com-mercial developments. The curving timbers are now both ornamentation, identity, as well as the focal point of the restaurant.

Overall form: Facade were created from three layers of metal cladding that form an intri-cate, weaving visual effect.

Technique: Voronoi patterning is used to design these three layers of cladding.

Performance: The voronoi layering creates a different effect of a confusion between positive-negative spaces/ figure-ground. This difference comes to life during the change between daytime and nighttime. , since the interior of the building lights up during nighttime and transforms the layers into silhouettes.

This building celebrates its facade during daytime, and it celebrates its interior during night time.

Airspace Tokyo [Faulders Studio]

Integration to EOIVoronoi patterning and layering provided opportunities of multiple readings of spaces (voids and solids) and can potentially create an optical illusion that could be further implemented and explored into our final proposal.

Voronoi Patterning can also serve as ornamentation of a surface, as well as a structural ele-ment to reduce weight or wind pressure.

note: later on the design process, this method was discarded and the method from Banq restaurant was implemented for its richer design possibilities.

6weeK

F A BR I C ATION

attempt 1v o r o n o i patterning :

1. We looked at voronoi as an attempt to explore the experiential or perceptual qualities of positive (the voronoi skeleton frame) and negative spaces (the voronoi cells). [FIGURE-GROUND CONCEPT]. We were interested in the difference (or lack thereof ) of the vo-ronoi skeleton frame and the actual voronoi cells.

We were interested in looking at the order in which you perceive these two spaces, and the fact that you cant perceive these two spaces in the same time : do you see the negative spaces first or the positive spaces first? Do you see these panels as a skeleton frame? Or do you see them as holes on a surface?

With this concept of the figure-ground rela-tionship we first wanted to try and create some sort of optical trick that could immerse people in a new architectural experience. For example, making people see the figure first, and then later making them realize that what they have seen is indeed the ground.

The relationship between positive

and negative spaces as an experiment

w e e k

s i x

For this we chose to fabricate these panels out of 4 mm MDF boards, so that there is a clear difference between the negative and positive spaces.

In order to do this, we experi-mented with photography from different angles, just to high-light the difference of percep-tion between the positive and negative spaces, and also cast the MDF Skeleton frames with two different materials, wax and plaster.

The cast models were not our actual design goal, but are just an exploration of fabrication technique should we need to fabricate 3D blobby forms in the future if we chose to go in that direction. With these 3D cast models, we were basically taking advantage of the nega-tive spaces (voronoi cells) and using those as molds for 3D elaboration of forms

Steps to create molds:

1. The negative voronoi cells on the MDF boards are fitted with hand-formed aluminum foils, with the edges taped and sealed into the boundaries of the voronoi cells.

2. The voronoi plane was added with a mold that are sealed with glue gun.

3.. The mold was cast with wax and plaster.

The solidness of MDF that does not allow light through creates different ambiences as light was moved around, and almost gives the impression that these photographs were taken with different materials.

F A BR I C ATION

w e e k

s i x

VO

RONO

I FRA

ME U

NDER

DIF

FERE

NT L

IGHTIN

G C

ONDIT

IONS

We decided to break the wax to get it out of the mold. The most interesting thing about this model is the richness of surface texture that it displays.

However this level of detail gets lost on once the viewing distance exceeds a certain amount of distance.

VORONOI: FIGURE-GROUND RELATIONSHIP EXPLORATION

F A BR I C ATION

most ambiguous slightly ambiguous slightly ambiguousFAB

RICAT

ION R

ESU

LTS:

LEAR

NIN

G

depth creates disam-biguation

depth creates disam-biguation

3D blob volume is offset larger than the

mold opening

w e e k

s i x

Figure-ground / Postive-negative spaces:

1.Weve come to a conclu-sion that figure ground/postive-negative spaces relationship is at its most ambiguious when both ma-terials/color/ texture of these two separate entities are of the same kind.

2. These kinds of complete ambiguation of figure-ground/positive-negative spaces are also quite difficult to achieve with a surface that has depth- because lighting conditions would highlight and deepen the 3D quali-ties of this plane and at once make it be read as other a skeletal frame, or a voronoi cell.

Working with different materials:

1. Better design of molds was clearly needed. From the two wax models and one plaster model, only the first wax model was suc-cessfully detached from the mold. After being cast, the aluminum foils expanded with the volume of wax and plaster, and were offset off the mold opening. This made it impossible to get the cast model out of its mold without breaking the mold. We should have taken this possibility into consideration

Design intent:

1. Instead of just photographing them singularly we should have tried different methods of layer-ing and changing perspectives.

2. However, midway through experimenting with these voronoi panels, we decided not to pursue them any further because they did not have a rich outcome. NO MULTIPLE READINGS,

Stop motion animations showing different lighting conditions and changing perspectives:

http://www.youtube.com/watch?v=FqMQy8rJoMM

http://www.youtube.com/watch?v=Od9ACPZNu8Q

INTEGRATION INTO EOI:

In the end, our hypothesis of how the material would behave and simulate a figure-ground experi-ence did not really come through.So we decided to discard this technique as our main design technique, and decide to explore other techniques and materials.

We might, however still use vor-onoi on surface as ornamentation, or as ways to reduce the wind load.

F A BR I C ATION

w e e k

s i x

EXP

ERI

MENTAT

ION 2

: CO

NTO

UR

PANELS

This time a different approach was utilized in the design. We created an undulating poly-surface based on an arbitrary image sampling method.

We were not sure of the experiential quali-ties that can come out of this experimenta-tion, but from the previous experiment we have concluded that MDF boards does not provide us with enough experiential quali-ties regarding to light and shadow or even texture.

This is what led our decision to experiment with a different type of material. We chose perspex because we knew it has light emit-ting/dispersing qualities.

At first we envisioned these panels to frame the highway as cars pass by. And this deci-sion also meant that we needed to find a way to construct a support system for the panels to stand up together.

design of waffles with a 3mm slot to wedge the panels in. the dimen-sions of the waffles are designed to be inter-changed and connected in different configura-tions.

solid/polysurface

segregation/contouring

fabrication set out

waffle design

F A BR I C ATION

w e e k

s i x

LIT FROM BELOW+ BACKGROUND TO CATCH THE SHAD-OWS

LIT FROM BEHIND

LIT FROM BEHIND-ORTHOGONAL VIEW

LIT FROM BELOW + PERSPECTIVE SIDE-WAYS VIEW

LIT FROM BELOW + ELEVATION (EYE LEVEL BELOW THE MODEL

EXP

ERI

MENTAT

ION 2

: CO

NTO

UR

PANELS

strips of light projected onto background

partial darkness surface edges light up

strips of light and shadow fall to ground

MOST EFFECTIVE IN DEPICTING SUR-

FACE EDGES LIGHT-ING UP, FORM OF

THE PANELS

very continuous lit surface edges, surface form is lost

from this view

F A BR I C ATION

w e e k

s i x

PLANES FLIPPED SIDEWAYS + CHANGING PER-SPECTIVES

PLANES FLIPPED SIDEWAYS + LIGHTS FROM BEHIND

PLANES FLIPPED SIDEWAYS + CLOSE UP CHANGING PER-SPECTIVE

PLANES WITH VO-RONOI OPENINGS + LIGHTING FROM BELOW

PLANES WITH VO-RONOI OPENINGS + BLUE BACKDROP + SLIDING EFFECT

dynamic when static, depth of the layering of

panel is gone

MOST EFFECTIVE IN SHOWING DEPTH

OF PANEL, AND LIT UP SURFACE EDGE

Depending on light source and angle, and

also colors of the panel, discoloration occurs.

not fruitful, the see-through quality of per-

spex does not bring it out, but instead merges it to

the background

successful attempt, , openings disperse more

light.

F A BR I C ATION

w e e k

s i x

INTEGRATION INTO EOI:

It was clear that manipulating the ef-fects of light on perspex and on such complex geometry creates a lumi-nescent effect that is very immersive, almost hypnotizing. From here we decided to use this dynamic lighting in our final design proposal.

Light will be a representation of the dual identity of the oil refinery plants during day and night.

Stop motion videos of different successful explora-tions :

http://www.youtube.com/watch?v=ecUzYK6Wxhkhttp://www.youtube.com/watch?v=P9PrQIzcwnAhttp://www.youtube.com/watch?v=9OB3FgLv_Ychttp://www.youtube.com/watch?v=g4JrKmW24yk

NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

TIME SPAN DURING NIGHT TIME

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE DEVISED TO CREATE AN INTRIGUING AND MORE EXCITING EXPERIENCE.

7weeK

R E

V I

E W

EOI SUMMARYThe brief asks for a long lasting, eye-catching piece that will represent Wyndhams identitiy as a new and emerging municipality, and also contribute to the ongoing discourse.

Which identity can be represented? And how does it relate to Wyndham?

OLDNEWFORMAL

RIGIDHISTORICAL

RURAL

DYNAMICRICHRECREATIONAL

FUTURE

INSTALLATIONENRICHINGINSPIRING

EYE CATCHINGLONGEVITYIMPACT

ACTS AS A PART OF AN ONGOING DISCOURSE

THE NEW IMAGE FOR WYNDHAM

The old logo represents the old Wyndham, historical, and formal, in almost a conserva-tive way, and the new logo represents dynamism, leisure and modernity. From the dif-ference between the old and recently introduced logo and slogan city, coast, country , it is clear that Wyndham envisions to be a very livable city that has all the potential to be the new recreational hub in Victoria. A place for recreation, getaway, retreat, without missing the hustle bustle of city life.

How does it contribute to discourse:Conceptual precedents: Through the careful research, analysis and compilation of different state - of -the- art projects, design logic and themes were also compiled to shape the direc-tion of the project.

Themes are as follows: - buildings without forms but as environments- immersive in delivering a particularly shocking/ grappling experience- challening mundane everyday concepts

Technical Precedents:Parametric design tools are especially advantageous for this proposal because it allows quick experimentation and generation of new forms. It is an inexhaustible research and exploration tool for rapid generations of forms. It also allows the designer better strength in branching out their options with many more varieties and possibilities, allowing them to choose the ultimate candi-date that best fits the brief.

The next advantageous aspect of parametric modelling is that it has the power to create geometries and forms that are beyond the human brains ability to rationalize and construct. It also has far better working memory to process these forms than a human brains. Most importantly, paramet-ric design allows the rationalization of these forms and also an automation system of fabrication that will produce exact dimensions and accurate details.

An initial concept that challenges the brief.

The idea of a traditional monument is being challenged. Monuments rely too heavily on its exterior form. We aim to challenge this notion by intriducing the idea that monuments does not have to rely on its form to be considered a monument. Instead, it should be the experiential qualities of an architectural piece that makes it monumental.

Arch de Triomphe, Paris. A classical roman arch that celebrates a triumphant event. The very definition of a traditional, classical monument.

Babiy Yar Memorial in Kiev by Kokkugia, a redefined, INVERT-ED monument, where not its exterior form, but its interior form is the main focus of the monumental experience.

h E

V I E

WHow is it feasible and deliverable?

Explorations and Prototyping

Through various research methods, several different digital models have been produced, tested against fabrication and material feasibility, relevance to the brief and Wyndham city, and finally realized into model prototypes. Clearly the para-metric method we chose was suitable for the chosen fabrication method: laser cutting.

These prototypes show a very promising prospect in materializing the final de-sign proposal. A rich design effect was produced in teh final prototype, incorpo-rating visual elements such as lighting and surface undulation.

Details in protoype fabrication has also been carefully thought of as footing structures to prop panels up individually..

Competitive design advantageOur final design concept incorporates a hybrid approach of not only designing but also researching to advance future design techniques. That has gone through tests of many research steps and has constantly been re-evaluated through metic-ulous discussions and consultations. As a result, our final prototype has reached a level of significant breakthrough in comparison to traditional non-research design method.

Our final concept incorporates a hybrid approach into designing an experience. It involves time into consideration, and has a different mode (mood) of viewing during the day and during the night. We are offering a hybrid design solution that transforms the experience as the day transforms into night.

DAY TIME : IMPOSING PRESENCE OF CONTOURS

IDEA OF CONSTRICTION OF SPACE, CREATING A CLIMAX THROUGH THE DRIVEWAY AS A DIFFERENT EXPERIENCE

CREATION OF A POLYSURFACE TO INHIBIT AND OPEN SPACES

NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

TIME SPAN DURING NIGHT

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE

R E

V I

E W

LEARNING SCHEMATIC

understanding architectural

discourse

understanding role of

parametrics in architectural

discourse

understanding INNOVATIONS OF parametrics in architectural

discourse

basic rhino & gh interface

developing gh understanding and

techniques

GIVEN SET OF TOOLS FOR

EXPERIMENTATION

CONCEPTUAL FRAMEWORK

TECHNICAL FRAMEWOPRK

REITERATIONS:PATTERNING

EXPLORATIONS

DESIGN CHALLENGE 1

REPRODUCTION AND INNOVATION:PHYSICAL MODEL

IMPLEMENTATION TO FINAL DESIGN:

CONSTRAINS OFREALIZATION, FABRICATION,

CONDITIONS

FINDING A DESIGN GOAL, INTEREST,

CONCEPT

FINALIZED CONCEPT TO IMPLEMENT TO

WYNDHAM DESIGN BRIEF

EXPERIMENTAL DESIGN APPROACHOUTCOME?

Overall the learning experience has been quite messy. The links going back and forth in the diagram above show just how interlinked and inseparable the methods taken were. More importantly, there is the fact that these methods always inform each other, but not necessarily in a linear way, making the design process altogether messier but a richer experience.

CONCEPTUAL FRAMEWORK

idea

design outcome

brief

toolstoolstools

KEY ACHIEVEMENTS: RESEARCH

One of the most beneficial aspect of this course is that it introduces us to a new design methodology: which is de-sign through research. We were introduced to a complex series of steps that ensures we have the necessary skills and framework before being asked to compile those sets of understandings and skills to innovate and more im-portantly, learn from your process, critique it during your progress, and learn from your process and mistakes.

Compared to other design subjects, we are more exposed to fabrication techniques and qualities of materials and what is possible with these material qualities. With our own research that is set at our own pace and direction, we have learned the different properties of materials. The difference between MDF and perspex, and where would you ideally use them, and what effects you can achieve with them.

R E

V I

E W

KEY ACHIEVEMENTS: FABRICATION

Fabrication techniques has limitations. Sometimes using computational tools lets you in on a false notion that ev-erything can be computer automated and fabricated. But really, most of it is still you driving the process. The com-puter still does not design for you, and it does not think. It merely shows you your thinking efforts, but in the end it is up to you to drive the process and make it happen.

The techniques of fabrication , mainly laser cutting are very limiting in terms of the geometries that we can pro-duce. By far the most creative extension we can get from laser cutting is creating molds to achieve a solid 3D form.

Time management is also an important skill in terms of fabrication. As the fabrication resources are limited, we have to work efficiently to get the definitions working to fabricate in time.

R E

V I

E W

KEY ACHIEVEMENTS: GRASSHOPPER

Learning grasshopper was not particularly easy. I have learned that when scripting it is essential to:

1. do simple things first2. understand them and learn to do them right3. add new layers of scripting on top of them4. package it in simple groups 5. repeat

KEY ACHIEVEMENTS: WORKING IN GROUPS

No other studios have promoted groupwork that goes on for the whole semester. This is both its strength and limitation. Working in groups has been a completely new experience. One learns the balance of not being too imposing and not being too submissive with your ideas and intentions.

We learned that collaboration means better results only if your team dynamics is good. Along the way weve picked up new team social skills, task management, task alloca-tion, and even leadership and support.

No doubt these skills will be needed in the work force later on.

R E

V I

E W

KEY ACHIEVEMENTS: DESIGN NARRATIVE

A huge part of this course revolves around structuring your arguments and building a coherent design narrative that will give you and your team a competitive advantage to get commissioned to do the project.

Making coherent design a narrative and argument re-quires a synthesis of (technical: grasshopper) knowledge, space, placemaking, deep understanding of the brief, knowledge of Wyndham city characterunderstanding of architecture as a discoursefabrication techniquesmaterial qualitiesimplications of forms generated with parametric tools

8weeK

F U R T H E R D E V E L O P M E N T Future developmental goals:1. Lightweight structural material/ frame

2. Real life joints between perspex panels - how this will be achieved, and how that affects the fabrication technique

3. Fitting the light fixtures into the structure

4. Form needs to be invisble during daylight. To make the monument not abou tthe form and about the experi-ence, some sort of CAMOUFLAG-ING DEVICE had to be implement-

chosen site: directly adjacent to the entrance to wyndham city. Direct proximity to Wyndham

9weeK

F I N A L I Z E D D E S I G N P R O P O S A L

WHEN PIECES OF THE PUZZLE FALL TOGETHER

WK.09GH DEFINITION

INTENDED LEVEL OF INTRICATE VISUALLY POLLUTING EFFECT

INTENDED SCALE AND DIMENSION

AVOIDED 'STRINGY' UNCOHERENT VISUAL

EFFECT

This final candidate of grasshop-per technique was discovered dur-ing the exploration of matrixes in week 4, but was not documented. However, as the search for a final design went on in week 6-8, it was felt that none of the other grass-hopper definitions provided the level of intricacy and excitement that this 3D voronoi technique provided, especially in relation to our intended visual pollution ef-fect. We felt that this 3D voronoi technique represents our concept of visual pollution best, and yet is also something very different and has a lot of potential as the harbin-

ger of Wyndhams new identity.

a method rediscovered

WK.09

finalized designThe 3D voronoi technique also allowed us to explore material qualities of translucency, which ties into our concept of having a dual identity during day time and nightime (with lights). It also allowed us a complex and immersive tunnel like experi-ence that lets visitors get com-pletely immersed within the designed environment. This is why we designed the gateway to extend 111 meters long. The dimensioning of the arch were also calculated to accomodate vicroads setback requirements as well as height clearance re-

quirements.

translucent panels

translucent fins

modern triumphal arch

111 meter

7 me

ter

12 m

7 m

15 second drive experience

calc

ulat

ed to acc

omo

date

vicr

oad

's setb

ack line

s an

d

heig

ht c

lear

ance

s

WK.09

Wyndham is reaching out to attract investors, inhabitants, tourists and attention. This is why the brief for Wyndham city gateway was intro-duced. Wyndham is trying to increase the value of its goodwill as a new city that boasts the qualities of living of a countryside and a coastal area. However, most people are not aware of Wyndhams proximity to industrial zones. Most people are also not aware of the high level of AIR POLLUTION that are polluting Werribee and Wyndham. This high level of air pollution degrades the standards of living around the area and thus - interferes with the condition of WYndham that the city council is so keen to advertise. Pollution is an extremely important issue

in Wyndham that everybody decides to overlook.

Pollution in Wyndham is generally cause by the smokes coming from it oil refinery plants. Looking at these magnificent structures full of steel tubes and combustion engines, we realized that these factories lead a double life throughout the day. While it looks menacing, dirty, uninvit-ing during the day, at night it transforms into a magical display of an entirely different realm, with its mesmerizing lights and steam coming off it. Relating back to our design, we also aim to envision this magical

transformation during day time and night time in the gateway.

FORGOTTEN DIMENSION : THE INDUSTRIAL OIL REFINERY PLANT AND ITS DUAL WORLD

EXTERNAL / FORMAL MONUMENT

THE CLICHE

INTERNALIZING THE MONUMENT

THE CRITIQUE/CHALLENGE

industrial oil refinery arearesidential area

The 3D voronois bounding box contains these fins inside a box, which is perfect to represent our design ambition of critiquing the cliched tradition-al monument and to internalize the experience of the monument. This 3D model will be constructed with a clear but slightly tinted and less translucent

panel to conceal or mask the visual surprise inside the gateway.

Daytime and night time view of Qenos Olefins, the biggest oil re-

finery plant in Werribee.

WK.09 WK.09

The oil refinery process is a process of transforming a certain raw material through a series of filters and kilns in the distillation column to produce a series of byprod-ucts that has a hierarchical order of usage. Naptha and gasoline for example, are worth more than heavy oil. In the same way that the filters in the distillation col-umns work, we aim to utilize the panels and fins of the gateway structure to process and distil the visitors of Wyndham to produce a series of sequential emotional response. However, we will be using these panels and fins as a representation of a local phenomenon - the air

pollution.

oil refinery system as a design analogy

CRUDE OIL

vISITORS

DIS

TILL

ATIO

N C

OLL

UM

N

WYN

DH

AM

GAT

EWAY shock

comprehension

curiosity

contemplation

gasnapthagasolinekerosenedieseloilheavy oilresidual

BYPRODUCT EMOTIONAL RESPONSE

discourse

FILTERS FILTERS:POLLUTANT

We will distil the visitors by polluting them inside teh gateway, an environment loaded with visual pollution, both as a critique towards the pollution in WYndham city, and also as a critical answer to the brief. We are de-livering an exciting, immersive, iconic experience and at the same time critiquing the local element of pollution

that has been widely overlooked in Wyndham.

VISUAL POLLUTION : A DETAIL

10weeK

const strategyphotosdetail photos

WK.10

C O N S T R U CT I O N

TRANSLATING THE 3D MODEL INTO FABRICATION MODE

As the 3D model is made up of panels that does not have any thicknesses, adjustments need to be made to prepare the 3d model for teh rationalization process before unrolling the surfaces and fabricating them with laser cut-

ting technique.

ORIGINAL 3D MODEL ADJUSTED 3D MODEL

By offsetting the thickness of the panels twice in each direction, a 3D model that represents the real life angle and dimensions is

achieved.

Even though in the 3D model the joints in the panels appear seamless and self supporting, once it is adjusted to fit real life criterias problems with the realities of real world construction and materials begin to emerge. It became clear that in order to maintain the perfect angles, some of the edges of the panels need to be bevelled or milled by a 3-axis milling CNC machine in real life. BUt for the purposes of this studio, the 1:50 and 1:100 physical model shall be joined with glue gun, which has the viscocity to accomodate teh angular joints between

perspex sheets.

Clear laminated perspex were chosen as the mate-rial for exploration and building a 1:100 and 1:50 physical model. The rea-son being perspex sheets best represent our design intent of having a trans-lucent material that can when arranged according to our 3D voronoi design, could create a visually polluting effect and has an entirely different char-acter during night time.

FABRICATION MATERIALS

PROBLEMS WITH JOINERY

REAL WORLD CONSTRUCTION STRATEGIES: PRECEDENTS

Even though we chose to build the physical model with laminated clear perspex, we envisioned the final design to be made purely out of a single main material : load bearing structuiral glass. With recent developments in structural load bearing glass, it has be-come safer and more versa-tile, giving designers more and more bright sunlit spaces without the necessary struc-tural elements that get in the

way.

The design for Apple retail store in Shanghai employs a revolutionary use of pure structural glass, unframed, and without any structural

aesthetic flair unat-tainable with more conven-tional mate-rials, says Steve Thomas, PE, a principal at Optimum De-signs Inc., Los Angeles (www.

Michael J. Louis, PE, a senior principal for na-tional engineering firm Simpson Gumpertz & He-ger (www.sgh.com), with a growing list of manufac-turers competing for at-

A POWERFUL MATERIAL

left image. The new Apple retail store in downtown Shanghai, finished 2012. Made purely out of structural glass and steel fastener com-ponents, standing over 16 meters tall.

below image. The glass entrance to the underground Apple retail store followed by a spiral staircase made of

supporting elements. As an end result of this innovation, a seemingly unhindered clear view of both the interior and the exterior of the structure is

achieved. Full beauty of glass, unhin-dered by its structural ele-ments, can now be seen. Its refractive, reflective, and trans-lucent qualities can now be achieved almost flawlessly in a structurally sound load bear-

ing application.

The structural load bearing glass will be perfect for not only ensuring the successful delivery of the our design con-cept, but also ensure its struc-tural stability and safety. It is a material that will satisfy both beauty and pragmatic needs.

right image. Diagrams of the newly patented

apple retail design store entrance. It is made of 12 identical bent cold

formed structural glass panels.

A POWERFUL MATERIAL

WK.10

C O N S T R U CT I O N

Structural glass is the statement of innovation, clarity, and sense of beauty beyond pure materialistic thinking. It shows that this company cares about details, and strives for the best it can offer to its customers.

REAL WORLD CONSTRUCTION STRATEGIES: PRECEDENTS

1. can be safely engineered to accomodate loads acting upon

it.2. Versatile application

3. Proven reliable track record4. Availability

5. Most importantly, fits the intended design outcome.

Christian L. Stutzki, PE, PhD, Stutzki Engineering Inc., Milwaukee.

ADVANTAGES OF STRUCTURAL GLASS

1. Relatively expensive tech-nology

2. High maintenance issues and costs.

3. Condensation issues4. Movement/seismic joints

issues.

DISADVANTAGES OF STRUCTURAL GLASS

left image. Undulating

canopy ourside Brooklyn Academy of Music, US.

Precedent for making a struc-tural complex undulating glass

canopy which is similar to what is needed by our design

intent.

image below. Modulation studies and offset analysis

were undertaken for a cold - bent curved glazing structural

facade using computational physics generator tools such as

kangaroo.

bottom image. real life struc-tural steel cleats that are

used in commercial projects may have to be utilized in real

life for our project.

REAL WORLD CONSTRUCTION STRATEGIES: PRECEDENTS

Information on structural steel galss taken from AIA Standards : Building Design and Construction Network website

USING ARDUINO LIGHTING

Arduinos are smart program-mable chips that can be cus-tom programmed or scripted to control including comput-ers, lighting configurations, and even simple robotic ma-chines to create interactive ob-

jects/environments.

ARDUINO APPLICATION IN REAL LIFEArduinos are now commonly used in a wide range of things, from the mundane LED shopfront running texts, toys, to complex biomimicking

parametric installations. Arduino has the unique abil-ity to take a data input from one source: e.g kinetic move-ment, video feed, audio tones, etc that could change as the intended subject interacts and changes this input, and com-bining it with a scripted pro-

HOW ARDUINO WILL HELP OUR DESIGN

gram from processing programs such as firefly and grasshopper, Arduino will process this in-teraction and give feedback to the interactor in

possibly a different form or gesture.

Arduino Publications :Documnetary on Arduino : http://designplaygrounds.

com/tv/arduino-the-domcuemtary/Firefly+Arduino research network : http://www.firefly-

experiments.com/links/Lift architects (arduino and other interactive projects):

http://www.liftarchitects.com/

Arduinos are definitely a viable option to explore for further design research for our night lighting scheme. WIth the help of arduino, a system of motion sensors could be installed at specific points inside the gateway that will detect cars passing through them. Then, through firefly, a script could be written to control the configurations of the light show at night, so that teh light show will not be some imposed show designed by the designers, but rather,

something that the drivers design for themselves, unknowingly.

This will create a sense of intrigue and curiosity as the lighting configurations will most likely not be predictable by the drivers and visitors or will appear to have a seemingly random configuration.

images above : applications fo arduino : piano without piano,

responsive parametric skin

WK.10

C O N S T R U CT I O N

CONSTRUCTION DETAILING DIAGRAM

attached LED lights to a LED control pan-el which allowed different configurations of dynamic light moving through the strip of led llights.Fixed below the structure.3D model divided into 16 different sec-tions to simplify fabrication process

1 2 3

4

5

6

7

8

1

2

blue perspex pan-els (3mm) as outer shell walls.

3

blue perspex panels (3mm) as outer shell roof ( in reality might have tio be fabricat-ed by several different components as it is impossible to span the whole length with-out jeopardizing the structural integrity)

4

clear perspex panels (2mm) as main material for all the visual pollutant fins.

5

triumphal arch where cars shall pass unobstructed.

6

panels secured together with metal ce-lats bolted into both sides of the per-spex and fabricated accordingly with each angle of each connections points.

7

example of a connection point that will need to be reconsidered to be fab-ricated using a CNC 3 axis machine.

7

11weeK

WK.11

F A B R I C A T I O N

clockwise from top left image.

1. 1:50 scale model showing joinery points with metal cleats. Glue was used instead of bolts because the perspex sheet is too brittle to hold bolts. However, in real life construction, bolts will be used to secure the cleats.

2. LED light strips embedded into the card-board base of the 1:100 model. (assembled by Tim Nguyen)

3.detail joinery points.

4. Two different kinds of metal cleats fabri-cated by Tim Nguyen

1 2

3 4

s t r u c t u r a l d e t a i l s

p h o t o g r a p h i c s e t u p

1

2

3

clockwise from top left image.

1.experimentation of manual etching on clear laminate sheet as a base for photographing model. Once shone with light from un-derneath, it lights up and creates a glowing effect under the camera.

2. this etching is used to etch road outlines under the model.

3. large sheets of tracing paper are used to diffuse the lighting in the background and soften the lights that fall onto the model

g l u e g u n : j o y f u l p a i nJOYS:

1. dries fast - reduces model making time and efficiency

2. viscous and versatile - easy to apply - allows good time for application

3. the thickness of glue guns actually accomodates the tricky joinery points where the panels butt against each other in odd angles.

4. Easy to clean if glued mistakenly.

PAINS:

1. Hard to control amount to apply to surface

2. needs extreme dexterity to get the edges glued together neatly

3. the elastic nature of glue gun even when its dry acts more like move-ment joints / sealants rather than fixed components