ads design studio air - final journal

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ARCHITECTURE DESIGN STUDIO AIR HAMISH BARTLETT 388124

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Page 1: ADS Design Studio Air - Final Journal

ARCHITECTURE DESIGN STUDIO AIR

HAMISH BARTLETT 388124

Page 2: ADS Design Studio Air - Final Journal

CONTENTS

Page 3: ADS Design Studio Air - Final Journal

PART I - CASE FOR INNOVATION

INTRODUCTION

ARCHITECTURE AS DISCOURSE

COMPUTING IN ARCHITECTURE ARCHITECTURE IN THE DIGITAL AGE

PARAMETRIC ARCHITECTURE

PART II - CUT PROJECT

CASE STUDY 1.0

CASE STUDY 2.0

PARAMETRIC PROCESS

MATRIX VARIATIONS

STUDY MODEL

MID SEMESTER REFLECTION & EOI

PART III - GATEWAY PROJECT

SITE ANALYSIS

DEVELOPMENT + SITE INTEGRATION

FINAL PRESENTATION

COMPETITION PANEL

Page 4: ADS Design Studio Air - Final Journal
Page 5: ADS Design Studio Air - Final Journal

PART I - CASE FOR INNOVATION

Page 6: ADS Design Studio Air - Final Journal

Introduction

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Page 7: ADS Design Studio Air - Final Journal

Personal Projects

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Page 8: ADS Design Studio Air - Final Journal

Architecture as Discourse

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Page 9: ADS Design Studio Air - Final Journal

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Page 10: ADS Design Studio Air - Final Journal

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Computing In Architecture

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Page 13: ADS Design Studio Air - Final Journal

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Architecture In The Digital Age

Page 14: ADS Design Studio Air - Final Journal

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Parametric Architecture

Page 15: ADS Design Studio Air - Final Journal

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PART II - CUT PROJECT

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Argument For Responsive Parametric Architecture

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CASE STUDY - 1.0

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Articulated Cloud - Ned Kahn

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CASE STUDY - 2.0

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Da Vinci Tower - David Fisher

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PARAMETRIC PROCESS

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SYSTEMINPUT OUTPUT

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Matrix Variations

1

2

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3

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We combined the elements of the first and second to generate an idea that possessed the two major design elements of both the articulated cloud and the Da Vinci tower. It has a facade that is moulded by the wind, and each level can rotate independently of one another as a wind turbine w o u l d , t h u s a l l o w i n g i t t o potentially generate electricity. The idea was fabricated in order to test it’s effectiveness under

simulated wind conditions. The images on the right show this model and it’s ability to allow d i f f e r e n t l e v e l s t o r o t a t e independently of one another.The model succeeded at being a potent ial e lectr ic generator however despite the incorporation of elements from both precedent studies, the design failed as a road side attraction. The design was somewhat under-thought and too much of a direct application of

multiple elements into an equation t h a t p r o d u c e d a c h a o t i c structure. We realized that we had to focus more on the aspect of creat ing an exper ience for motorists. We also conducted studies of the site and realized that there are few power consuming complexes nearby. This lead us to completely alter our interest and design intent.

Study Model

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“FAILURE IS SIMPLY THE OPPORTUNITY TO

BEGIN AGAIN, THIS TIME MORE INTELLIGENTLY “

HENRY FORD

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With that in mind, I decided to step away from my original design intent.

I am interested in the use of Responsive Parametric architecture. The ideas that can be generated through responsive parametric architecture are exceptionally dynamic and can respond to variations in environmental conditions such as light and wind. It seemed appropriate to design a dynamic sculpture that would respond kinetically to the strong prevailing winds on the site, as the rapid changes in shape that could be seen in such a sculpture would be symbolic of the social growth within Wyndham itself. The

movement of components due to wind, combined with an organic structural form, creates the illusion of marriage between natural and manmade elements.

The aim is to bring them together to create an experience for motorists that conveys the rapidly changing populous that is Wyndham, through the use of dramatic yet consistent changes in color and volumes of space. The ever-changing forms that the structure can take will create a constantly changing experience for it’s consumers. This will allow greater appreciation for the project as an art piece in its lifetime.

Design Intent

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PART III - GATEWAY PROJECT

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MELBOURNEWYNDHAM

SITES

N

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The site is relatively flat and has several highways passing through it. The only major considerations which could influence our design were the directions of traffic to and from Wyndham as well as the strong North/South prevailing winds. The images on the right show these in re la t ion to the available sites. The image on the left shows the relation of the sites to major cities/towns.

Site Analysis

Site A Site BSite C Direction to WyndhamDirection of Prevailing Winds

N

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At the end of the first precedence study, We were able to determine that the f rame and pane l arrangement would not be as engaging when motorists drive past it. (as the time traveling through the site is extremely short.) It is not long enough to allow the consumers to fully appreciate the beauty of the project. We had to find a way to integrate a moving component s i m i l a r t o t h a t o f K a h n ’ s

Articulated cloud that would be far more engaging and one that creates a direct experience for motorists. This lead us to create a suspended panelized component that would face motorists, and be suspended from above. A panel had to be designed to be near frictionless, and more effective at moving rapidly under variations in wind conditions, when joined to a supporting structure.

Design Process

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This idea to allow a series of suspended panels to engage a motorist directly also created the problem of devising a structural system to connect the site to this moving component. We wanted to design something that followed curvatures seen in nature and created the illusion that our project grew out of the earth. (in order to further emphasize the growth within Wyndham itself). We looked at several biological systems including the cell cycle and the graphs of cellular mitosis and size regulation in yeast. The graph that represents this process of cellular growth revealed a promising base shape for our project’s structural form.

Cell Size

Time

Cell Growth And Size Regulation In Yeast

Mitosis

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Frequency

Curvature

Linear Sine Cosine Exponential Logarithm

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The grass-hopper matrix on the left s h o w s e x p e r i m e n t a t i o n s o f c u r v a t u r e s u s i n g d i f f e r e n t m a t h e m a t i c f u n c t i o n s . T h e selected curvature of the graph was explored and abstracted along side a second grasshopper-generated curve to create a perfect structural form that could b e r e p e a t e d a l o n g a n appropriate length of the site. The two were combined to create a series of fins that varied in size but

each had a long enough base to b e g r o u n d e d t o t h e e a r t h adjacent to the road. It also has a section that could hang over the road allowing the panels to ripple while facing the motorists. The variations in fin size also allowed us to create dramatic yet consistent changes in volumes of space. The diagram on the following page shows the parametric modeling process used to achieve a final structural form

Curve from Graph

Curve from Grasshopper Matrix

Building A Frame

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Curve

Curve

Divide Curve

Divide Curve

Line Split Curve Move

North Boundary Line

South Boundary Line

INPUTS

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Interpolate Rotate Loft Extrude

Isocurve Divide Curve Interpolate

Extrude

Fins

Wires

Panels

SYSTEM OUTPUTS

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Page 47: ADS Design Studio Air - Final Journal

The image on the left shows the resulting structural framework from the above design process. It’s materiality was then explored. Reinforced concrete fins would be used. Each with a steel spine that would also connect to the adjacent panel curtains. A near - frictionless aluminum panel was then designed to work with the framework. (Images on the right). This design would achieve our design goals however we felt that something more was needed to further emphasize the themes of dynamic change and the illusion of a marriage between nature and man-made components. Wh also wanted to create a variation in the panels to work alongside the variations in volumetric space experienced by motorists.

Materiality

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In order to create a connection to nature, we aimed to color the panels in such a way that we could create the effect that the frame has refracted sunlight into the ent i re co lo r spect rum. Essentially creating a rainbow above the motorist as they drive t h r o u g h t h e s i t e . C o l o r i s unders tood to be a h igh ly influential element in almost all facets of design, with various colors gaining equally varying

responses.. Therefore a variation in color would be appropriate for creat ing a var iat ion in the consumer’s experience. At the speed at which a motorist travels through the site we understood t h a t a r a p i d l y c h a n g i n g e x p e r i e n c e w o u l d f u r t h e r emphasize the dynamic change through our sculpture. (Motorists will experience roughly 9 different colors per second).

Introduction Of Color

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The location chosen was best fit for the project as it allowed motorists to and from Wyndham to directly experience it. Also the panels are at 45 degrees to the North / South prevailing winds which in theory should create a similar ripple effect as seen in Ned Kahn’s Articulated cloud, while allowing the motorists to face the panels throughout the journey through the structure.

Site Integration

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Direction Of Prevailing Winds

To Wyndham

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South Elevation

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East Elevation West Elevation

50m

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Physical Model

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Rendered Model

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COMPETITION PANEL

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