design journal final submission

Luke Madden, 359911ADS3: AIR

Design Journal

CONTENTS

ContentsPart I. Expression of Interest I.1. Case for Innovation I.1.1. Architecture as a Discourse I.1.2. Computing in Architecture I.1.3. Parametric Modelling I.1.4. Case for Innovation: Conclusion I.2. Research Project I.2.1. Scope of Possibilities I.2.1.1. Input/Association/Output Matrix I.2.1.2. Surface Interactions I.2.1.3. Reverse-Engineered Case-Study I.2.1.5. Assembly Methods I.2.2. Research Project ConclusionPart II. Project Proposal II.1. Project Interpretation II.2. Project Delivery II.3. Project Presentation II.4. Project Proposal ConclusionPart III. Learning Objectives and Outcomes: Final III.1. Personal Background and Learning Objectives III.2. Learning Progress III.3. Learning Outcomes III.4. Future Work

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The expression of interest detailed in this design journal relates to the Wyndham City Gateway Project.

In short, the aim of this project is to produce a “gateway” monument to be placed in viewing range from the highway. The project is intended to be viewed from moving cars, and must be designed to

respond to these conditions accordingly.

This section of the journal will showcase the learning undertaken in order to gain skills and com-petencies relevant to the design process. Specifically, it looks at existing projects which have used

techniques that could be used in our design process.

Case for InnovationDesign Journal INTRODUCTION

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Architecture as aJournal Entry 1 D I S C O U R S E

1. Palm Islands satellite image.

At first, I found architectural discourse a dif-ficult concept to understand. But after doing some background reading, I’ve come to see it as being a philosophical but similar con-cept to architectural innovation. The projects discussed here are somewhat atypical to the current architectural zeitgeist because they (arguably) show a way of thinking that goes a step further than conventional design, or they follow a completely new way of doing so.

The first project I have chosen is the Palm Is-lands, Dubai. This project is of great interest to me because I find the concept of creating a space, in this case, using reclaimed land, to be an idea which is very different to other building and planning practices. The Palm Islands are not the only area to use this idea, of course, with other examples being seen in Monaco, the Neth-erlands and Hong Kong. What sets the Palm Is-lands apart however, is the form that they’ve been created in. While I can’t subjectively say that the Palm Island are more aesthetically pleas-ing than other examples of land reclamation, it seems as if they have been designed with many fewer restrictions bearing on their outcome. By this, I mean that it seems like their was probably a much higher budget and a much larger space to work with, as well as more freedom to focus on the overall design of the space, rather than the efficiency with which that space was filled.

DEVELOPER: Nakheel Properties.LOCATION: Dubai, UAE.DATE CONSTRUCTED: 2001 - present.

P R O J E C TI N F O R M A T I O N

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3. Earthscraper concept model.

The second project is rather unconventional, designed by BNKRArquitectura. Unlikeother large scale projects,it is built into the ground,thus earning the title, the“Earthscraper”. Whilebuilding into the ground iscertainly not a new idea, as manybuildings already have below groundfloors, but to construct a 65 floor buildingstraight into the ground really is somethingcompletely different. Of course, with such anextraordinary idea comes new issues, such aslight and ventilation, as well as any issues thatmay arise during construction, such as ensuringthe stability of the surrounding ground and findinga safe method to excavate the earth from that deep,especially when it is such a massive amount. However,different issues can develop at the beginning of any newparadigm, but as the concept further develops, a new wayof thinking also develops with it which, historically speaking,allows the potentially new paradigm to become reality.

2. Earthscraper concept drawing.

ARCHITECTS: BNQR Arquitectura.LOCATION: Mexico City, Mexico (planned).DATE CONSTRUCTED: Not yet constructed.


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Lastly, a personal project that also deals with advancing architectural discourse. The project I have chosen is some-thing I produced in my first architectural design studio, which required that we design a discovery centre for Her-ring Island. The result of my work was something which did not focus on the spaces within those structures, as my thoughts were that the outdoor spaces were the key area, and the the indoor space supported it. Accordingly, the idea of using the created space to support the natural space (it should also be noted the while this is not a new idea, it is not a particularly commonly used one) can be viewed as a potential direction for architectural discourse.

5. Rough site plan of Herring Island.

6. Rough concept image of Herring Island.

1. http://upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Sztuczne_wyspy_w_Dubaju.png/617px-Sztuczne_wyspy_w_Duba-ju.png2. “The evolving Arab city: tradition, modernity and urban development”, Yasser Elsheshtawy, p246.3. http://www.dailymail.co.uk/news/article-2048395/Earth-scraper-Architects-design-65-storey-building-300-metres-ground.html4. http://i.dailymail.co.uk/i/pix/2011/10/12/article-2048395-0E57066400000578-620_964x568.jpg5. http://i.dailymail.co.uk/i/pix/2011/10/12/article-2048395-0E5705F600000578-848_964x800.jpg6. http://www.ecomagination.com/earthscraper-concept-takes-sustainable-design-underground

In relation to the Gateway Project EOI, these projects all serve very different purposes. But what they have in common is that they all put a unique twist on conventional design. By de-signing new buildings and structures using un-conventional methods and forms, architectural discourse is advanced, giving rise to a myriad of

styles and interpretations of existing concepts. In order for a project such as the Gateway Proj-ect to to be well received, it must be innovative in order to attract the viewers attention and re-main engaging. This is exactly what the project brief requires, and so of course, must be designed with a sense of innovation in mind.

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Computing inJournal Entry 2 ARCHITECTUREContaining both creative and practical compo-nents, architecture remains on the cutting edge in both worlds. Architecture can vary and draw inspiration from art movements at the time, but it

is also affected by modern building practices and advancements. In the modern age, the result of this is that any design that can be thought up and manipulated digitally canbe fabricated in real life.

One such example is Hangzhou Olympic Sports Center in China, designed by NBBJ Architects. It was inspired by the geometry of a nearby river delta, and Grasshopper was used in order to ra-tionalise the geometries into a workable form. It features a large number of petal-shaped truss modules which enclose the stadium. Many dif-ferent variations were created in order to be able to evaluate and find the best possible archi-tectural solution.In terms of parametric modelling, however, it went beyond the facade of the structure. Para-metric techniques were also used in order to determine the seating layout in order to ensure the best possible view from each seat could be realistically achieved. The result of modelling both of these elements parametrically was the changing one would immediately cause the other to adjust to the new conditions.

2. Render of the Hangzhou Olympic Sports Centre.

1. Plan and elevation views of the parametrically designed shell of the Hangzhou Olympic Sports Centre.

ARCHITECTS: NBBJ Architects.LOCATION: Hangzhou, The People’s Republic of China (planned).DATE CONSTRUCTED: To be completed in 2013.


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Accordingly, it can quite clearly be seen the parametric modelling can push the boundaries of what is possible in design. It allows an entire new level of detail, as well as allowing the de-sign process to become much more of a holistic one. This is a very important step forwards be-cause it now allows designers of all types to see

exactly how specific changes will affect their de-sign without needing to redesign it themselves. This ability for a model to be generated digitally as opposed to be needing to be drawn is quite powerful and is what allows designers to take on much more challenging forms, such as the Son-O-House, designed by NOX Architects.

3. Son-O-House.

1. http://www.nbbj.com/#work/projects/hangzhou2. http://1.bp.blogspot.com/_cPhUnOPYCFE/S2tyn3agbLI/AAAAAAAAAa4/9WoV_sxtLao/s1600/Hangzhou_DD_Parametric_Concept.jpg3. http://3.bp.blogspot.com/_cPhUnOPYCFE/S2tyXw56kcI/AAAAAAAAAaw/XrQUBA-Q9xI/s1600/Hangzhou_DD_Rendering_Night%28C%29.jpg4. http://lunachen.files.wordpress.com/2010/08/screen-shot-2010-08-23-at-1-37-19-pm.png5. http://www.arcspace.com/architects/Son-O-House/6. “Architecture Now!, volume 3”, Philip Jodidio, p445.7. “Art & D: Research and Development in Art”, Andrew E. Benjamin and Joke Brouwer, p163.

ARCHITECTS: NOX Architects.LOCATION: Son-en-Breugel, Nether lands.DATE CONSTRUCTED: 2000-2004.


Of course, it must be noted that these technolo-gies have not come about solely to complement architecture. These techniques and ways of de-signing can be used for virtually any kind of three dimensional object which is to be fabricated or constructed, such as that described in the Wynd-ham City Western Gateway Design Project. Ac-cordingly, assuming parametric modelling is used as well as supporting fabrication techniques, this form of project would have virtually no limita-

tions other than those defined in the brief. Not only this, but these techniques could aid the de-sign process. Accordingly, the design process for the Gateway Project could be greatly influenced by such techniques, as it could greatly aid in the initial generation of ideas, as well a being used as a design tool, rather than just a way of vi-sually displaying an already designed structure. Parametric modelling would undeniably be very useable and useful tool for the Gateway Project.

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ParametricJournal Entry 3M O D E L L I N GContemporary scripting and programming is becoming much more prevalent in architecture today. It offers the capability to design beyond that which can be drawn by hand to much great-

er precision. It also facilitates the creation of much more radical and unconventional designs, as the forms that it can create are not limited by the constraints of a human mind.

1. Form experimentation.

Christoph Hermann is a London based designer who has done a lot of work in generative and parametric design, including graduate research.One project in particular, that he has developed, was called the ‘Mutant Museum’, a design for a building which at first appears to be a very standard, almost classically influenced building,

which gradually is warped into a flowing, dynam-ic and organic form at the other end.According to Hermann, the design philosophy was to create a form which “evolved” from a single cell into system where each element, or “cell” relies on what is in its immediate vicinity to create and entirely cohesive structure.

2. Developed form.

DESIGNER: Christoph Hermann.LOCATION: N/A.DATE CONSTRUCTED: Theoretical design.


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This design philosophy has been translated very well into the design, to the point where it is al-most a literal description of the resulting form. Accordingly, it can be said that this resultant form is a very successful interpretation of the design philosophy.

Another way of evaluating the outcome in re-lation to the design philosophy is that it was perhaps short sighted, or too literal in translat-ing the concept into a design. The design could have explored many other interpretations of this philosophy within the same design, yet has been constrained to the one specific way of thinking. The final form of the design, however, appears to have thoroughly explored the possibilities of this interpretation in terms of generative and para-metric design. The level of detail which has been produced demonstrates a very close understand-ing of the abilities and limitations of parametric modelling.

The use of parametric and generative modelling, such as this, has the potential to produce as very well informed designed for the Wyndham City Western Gateway Design Project, especially if their is a strong and well thought out philosophy behind the design. By taking into account the proper variables and working with suitable op-erations to help shape and generate the design, the architectural response to the brief can be satisfied in a very creative and innovative way.

3. Other variants which were explored.

1. http://www.christoph-hermann.com/wp-content/uploads/2011/10/emergent-design-mutant-museum-christoph-hermann-03.jpg2. http://www.christoph-hermann.com/parametrtic-architecture/digital-growth-evolution-mutant-musuem/3. http://www.christoph-hermann.com/wp-content/uploads/2011/10/emergent-design-mutant-museum-christoph-hermann-04.jpg4. http://www.christoph-hermann.com/wp-content/uploads/2011/10/emergent-design-mutant-museum-christoph-hermann-01.jpg5. http://farm4.staticflickr.com/3265/3193135219_15b6bf8ffc_o.jpg

4. Seeds of Change Gateway.

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By examining projects such as these, a different perspective of design can be seen. Having the ability to approach a design issue from a different angle is a very useful skills because it can reveal any short-comings of a design, but also highlight the strengths of a design. A design can be led in a completely different direction if it is viewed from a different perspective, which gives the potential

of turning the new design to a more promising direction

From here, we need to start examining techniques that can be used in the design process.

Case for InnovationDesign Journal CONCLUSION

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Utilising the skills and competencies learned so far, this section of the journal focuses on the appli-cation of skills used in existing projects which could potentially be used in our design process.

Exploration of software capabilities and limitations is also showcased in this section, as it is impor-tant to have a degree of mastery of a program in order to use it to its fullest potential in the design

process.

With a high level of competency, it is possible to use these programs as more than a way of show-casing this design development, but also a tool which can help further the design process.

Research ProjectDesign Journal INTRODUCTION

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Input/association/outputJournal Entry 4 M A T R I X

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INTERRACTIONS

1. This form was created by making an array of spline object between two double curved NURBS surfaces.

In modern architecture, form and shape are important. However, surface and texture treat-ments also form an important part of the design process, as the outer surface of the building has the potential to be such a visually distinguish-ing element. Parametric modelling is a very useful tool in this situation, as it has the abil-ity to generate surfaces that have have details on a range of sizes, and done so in accordance

with a logical sequence of functions. The result-ing form is free from any inconsistencies caused by human judgement, as well as producing a surface with a much higher number of opera-tions that have been applied to it than would be possible with the generative capabilities of a computer. The image above depicts a form which has been generated parametrically, and is ultimately the result of a surface treatment.

SurfaceJournal Entry EXTRA

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As can be seen from this image, complex forms can be created as the result of experi-menting with surface interactions. In prac-tice, forms such as these are most commonly used when creating building facades. One such built example is Zaha Hadid’s Guangzhou Op-era House. As can be seen in the below im-ages, the internal partitions of this building have been cut to create permeable surfaces.

These forms can have multiple functions applied to them, as shown in the image below. This im-age on the adjacent page depicts a surface which has had a radial grid formed from the lower left hand corner of the surface. The location of the points defined on this grid have then been used to create circular objects, the radius of which

is defined by an external input. In this case, a light intensity of a black and white image has been used to provide values for the radius. Fi-nally, the resultant form was then extruded, with the extrusion height varying directly with the radius of the circle, which also mean that it was varying directly with the external image.

2. Internal view of the Guanzhou Opera House.

3. Internal view of the Guangzhou Opera House.

4. Internal view of the Guangzhou Opera House.

ARCHITECT: Zaha Hadid.LOCATION: Guanzhou, People’s Re public of China..DATE CONSTRUCTED: 2003-2010.


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5. Parametrically defined object formed by experimentation with surface operations.

While the interactions such as these can cre-ated from such processes can certainly produce interesting results, they do not fall within the pa-rameters of the “Cut” assignment, as the forms they produce can not be produced in reality from standard cut operations on a single sheet. An ex-ample of a form that created from simple cut operations in shown to the right. 6. Parametrically defined grid using a curve attractor.

1. http://www.torabiarchitect.com/parametric_array/images/double_nurbs_surface.jpg2. http://www.architectmagazinea.com/cultural-projects/guangzhou-opera-house.aspx3. http://artsiefartsy.files.wordpress.com/2011/03/guangzhou-opera-house-012.jpg4. http://static.dezeen.com/uploads/2011/02/dzn_Guangzhou-Opera-House-by-Zaha-Hadid-Architects-14.jpg5. http://static.dezeen.com/uploads/2011/02/dzn_Guangzhou-Opera-House-by-Zaha-Hadid-Architects-5.jpg

Through the use of parametric modelling tools, such as the Grasshopper plugin for Rhino, it is possible to very quickly generate a number of potential solutions to a design problem, as it is possible to alter each parameter and have that influence be carried across to further parame-ters sequentially to produce the final form. This enables a “breadth first” approach to approach-ing a solution via “problem solving”. Because it is possible to generate a number of initial, unre-fined responses to a design problem very quickly, it is easy to perform an initial evaluation of these solutions in response to the design goals for a

project and narrow down potential design routes.

Once again, this could be a very useful tool for quickly generating a number of initial solutions to a design problem. By using this approach, the time it takes to choose a suitable design to fur-ther develop can be greatly reduced. Further-more, the vast number of initial solutions pro-duced can also open up design possibilities that would have been otherwise not noticed, leading to designs with further enriched details and more appropriate designs.

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The Gantenbein Vineyard Facade was designed by Gramazio & Kohler Architecture and Urban-ism in 2006, in Switzerland. The use of paramet-ric modelling allowed the creation of a facade which responded to the needs of the client in more than just an aesthetically pleasing sense. As can be seen in the facade, the bricks have been arranged in such a way that they form the image of falling grapes. The sizes of these grapes were worked out and modelled under specific condi-tions such as simulated gravity, and also done in such a way to allow optimal light permeation into the inner chamber.

The aim of this entry is to consider any of the conditions used when attempting to reverse engineer the facade of this project. As a brick facade that uses a repeated element over and over, there is a limitation on the level of detail that can be produced when attempting to recre-ate an image. It can be though of as each brick representing a pixel on a screen, where the reso-lution of the image is determined by the sheer number of bricks it is being spread across. How-ever, a further limitation is that instead of hav-ing the potential the produce different colours, each brick in the facade instead can be rotated to produce a different shade of the same colour, based on how much light is spread over the face of the brick, in a built setting. Lastly, the bricks can also be offset from the wall to create shad-ows on the facade (but it should be noted that they can not be offset particularly far without compromising the stability of the wall).

By attempting to reverse engineer this facade, these conditions all need to be able to be freely altered. This would have also been a concern when this facade was originally designed, as the entire premise of the facade relies upon very specific conditions being met (more specifically, light permeability).

1. Internal view of the facade.

2. External view of the facade.

3. Close up external view of the facade.

4. Construction internal view of the facade.

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CASE-STUDYReverse-engineeredJournal Entry 5

Accordingly, there are three main parameters that can be altered to affect how the image in the facade is presented: the “resolution” which is created by the number of rows and columns in the facade, the degree of rotation of the bricks, and finally, the extent to which the bricks are offset from the wall. In order to experiment with these variables, a basic set of components including “Unit Y” and “Move” are added to a function that uses an existing surface from Rhi-no. The core of the function is a divided surface, which can be either referenced from Rhino or created in Grasshopper, which then uses a fur-ther piece of geometry to create an array. Ele-ments of this array are then rotated based on an image in terms of brightness.

The images to the left depict experimentation with these parameters. The first image depicts the creation of the wall, without having the bricks offset or rotated.

The second image depicts the wall with rotation applied to the bricks to match the brightness of the image inputted through the image sampler.

The third image depicts the wall with an offset applied to the bricks to match the brightness of the image inputted through the image sampler.

Finally, the fourth image depicts the wall with rotation applied and an offset to the bricks based on an image sampler, but scaled back to a more subtle and structural viable extent.

Despite the fact the this facade is made from a single repeated element, it is still possible to arrange it in very creative ways, especially with the precision of parametric modelling.

1. http://www.gramaziokohler.com/web/e/projekte/52.html2. http://www.gramaziokohler.com//web/includes/popup.php?file=http://www.dfab.arch.ethz.ch/data/bilder/02_Web/036/060823_036_Dokumentation_Ralphfeiner_006_WE.jpg&Copyright=7&lang=e&closeText=click%20to%20close3. http://www.gramaziokohler.com//web/includes/popup.php?file=http://www.dfab.arch.ethz.ch/data/bilder/02_Web/036/061116_036_Baudokumentation_RalphFeiner_001_WE.jpg&Copyright=7&lang=e&closeText=click%20to%20close4. http://www.gramaziokohler.com//web/includes/popup.php?file=http://www.dfab.arch.ethz.ch/data/bilder/02_Web/036/061116_036_Baudokumentation_RalphFeiner_002_WE.jpg&Copyright=7&lang=e&closeText=click%20to%20close5. http://www.gramaziokohler.com//web/includes/popup.php?file=http://www.dfab.arch.ethz.ch/data/bilder/02_Web/036/060721_036_Baustelle_FG_032_WE.jpg&Copyright=6&lang=e&closeText=click%20to%20close

5. Unaltered facade.

6. Facade with rotated bricks.

7. Facade with offset bricks.

8. Facade with rotated and offset bricks.

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AssemblyJournal Entry 6M E T H O D SThe task for this week final-ly called upon the paramet-ric and generative modelling skills which have been gradu-ally picked up throughout this course, as well as testing the applicability of the information considered in prior entries of this journal.

In the early stages of form de-velopment, we came to a collec-tive decision of wanting to have a very basic and somewhat ab-stracted representation of the transition from built up urban areas to slightly less densely populated suburban and coun-try areas, as a step towards de-veloping an EOI proposal.

There were multiple initial definitions which were to be explored, and among the more notable was something which basically created a variable number of curves in a row, which could each be altered mutually exclusively. The input for each curve was a mathe-matical function. While this did allow for quite a lot of freedom with the design, it was difficult to smoothly transition from one curve to another, and was ulti-mately concluded that it would not be suitable for further de-velopment. However, the idea of extruding curves, rather than points, became a key approach to our final design.

1. Fabricated model casting shadows.

This entry focused on the fabrication of this model alone in order to emphasise where we focused our de-velopment. Our opin-ion was that a prom-ising form must be established before developing surface detailings, and so they were worked on separately.

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3. Frontal view of fabricated model.

2. Shadows with alternate light.

For the final definition, we first created a surface and divided it into points, and then extruded points based on two overlap-ping images. However, rather than making extrusions at each point to produce individual el-ements, the points were con-nected in columns to produce extruded curves. The point of this was to allow the fabrica-tion of a model with a series of progressively changing profiled curves, rather than a model with a consistent surface. We chose this approach in order to create the impression of a very stripped back and refined form where nothing is hidden.

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Upon completion of the section of the journal, it can be said that a solid foundation of knowledge has now been gained and utilised to develop and starting point for preparing a design to be submit-

ted for the Wyndham City Gateway Project Expression of Interest.

The skills learned and applied over the duration of the completion of this journal are directly ap-plicable to the brief of the Gateway Project. They will enable to only the representation of forms, but

also their generation. In this way, parametric modelling can be used a a design tool.

As can be seen from this journal, parametric modelling can be used from the very start of the design process where the definition is created up until the final touches of the design, and even for

fabrication.

This marks the end of the Expression of Interest section of the journal. This means that we are now able to advance beyond the researching phase of the project, and start heading towards a final

design.

Research ProjectDesign Journal C O N C L U S I O N

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With the Expression of Interest and background research covered in the first two parts of this design journal, this section related more specifically to the Wyndham City Gateway Project. It covers the progression of our previously discussed concepts into a fully fledged design proposal, as well

as documenting how it came to be as it is.

The Gateway Project needed to be a proposal which responded to the Wyndham area and reflected this influence accordingly. Our design, the Rhythm Gate, draws inspiration from two close by and and very important places to Wyndham: the You Yangs (mountain ranges) and the Melbourne city skyline. We predicated our design around the use of their profiles as a symbolic reference to the

fact that Wyndham is between them both in location and character.

To provide a short description of the Rhythm Gate:- It is a series of 20 arches

- Each arch features a perspex profile that is sightly different from the last- Start to finish, the profiles change from the shape of the You Yangs to the Melbourne city skyline

- At 100km/h, it is approximately .8 seconds between each arch- This consistent time between each arch is how the name, the “Rhythm Gate” came to be

We felt that the Rhythm Gate responded to the design brief in a very accurate and creative manner as well as fulfilling our own personal design objectives.

Project ProposalDesign Journal INTRODUCTION

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ProjectJournal Entry 7INTERPRETATIONRESEARCH TECHNIQUESAny project, in an field, is almost guaranteed to have revisions made to it. After pitching an initial concept, feedback from this pitch can be used to further the development of this concept and to change it as necessary.

Our project was no different, and the feedback we received suggested that we needed to rethink how the input parameters would be read in the final form of our design. Accordingly, we took note of this feedback and decided to re-design our Grasshopper definition, but to do it in such a way that it still fulfilled our design objectives.

The core of this re-worked Grasshopper defini-tion was a “re-build curve” component, which, as the name suggests, rebuilds a curve based on a number of input parameters. We used this func-tion to generate a series of curves which were used as the middle section of a series of arches. Stated explicitly, it generated profile curves. This definition enabled us to respond to the brief

with a parametrically generated form.Figure 1 shows the rebuild function and how we applied it. The first curve is a traced outline of the You Yangs and next three are that same curve rebuilt with ten, twenty and fifty steps, re-spectively. By varying the number of steps used in each arch, we were able to make it seems as if the profile of the You Yangs was morphing into that of the Melbourne city skyline.

However, this aspect of our design process could be re-applied in a similar matter in order to solve other issues, such as structural form and surface treatments.

In terms of structural form, a curve can be gen-erated to follow a surface and rebuilt with the number of line segments being used to form this curve being a variable. In this way, it can be ad-justed until it reaches a desirable outcome which solves issues in the structure such as bridging a gap in the shortest possible distance.

1. Profiles of the You Yangs being rebuilt in 10, 20 and 50 steps.

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Figure 2 shows how this can be applied to structure. In this example, the rebuild curve has been used to re-calculate how a beam supporting an irregular panel could be made with as few elements as possible.

The solution is much more ob-vious when using it as a tool for surface treatment. As a curve can exist on on plane or three dimensional shape, it can be used to generate a variety of cuts, indents, score, etc. on a surface. Accordingly, the ben-efits of solving these issues be rebuilding the curve, as men-tioned above, are generally delivered in the form of a very efficient and easily documented setup.

Figures 3 depicts this usage in terms of surface alterations. In this example, a curved shape may need to be used for a cut in the cladding of a structure or the formwork of a slab of ce-ment. In order to assure preci-sion in site, the curved form can be broken up into a number of smaller straight lines which can individually mentioned in some kind of itinerary. Five elements only are used on each side of the rebuilt curve in order to make it more noticeable, while more could be used in profes-sional application to ensure a smoother finish.

2. Red line: structural beam, black lines: panel outline.

3. Red line: rebuilt curves, black lines: original curves.

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ProjectJournal Entry 7INTERPRETATIONCONSTRUCTION PROCESSThe sequence of images shown in the following pages depict a general method through which the Rhythm Gate could be constructed. As the Rhythm Gate consists of a fairly regular frame, many of the components that form each arch are able to be fabricated to off-site, resulting in minimal work to be completed at the site of construction.

Step 1 involves the pre-fabri-cation of elements off site. This includes the Pratt trusses used on the sides of the Rhythm Gate as well as cutting the trans-forming profiles into the corten cladding and perspex panels.

Step 2 consists of setting the pad footings into place on ei-ther side of each arch. Once they have cured to an accept-able amount, the main truss structures can be fastened to what was set into the footings.1. Elevation and perspective view of the Pratt trusses used.

Step 3 is the assembly of the re-maining structure. This means fastening the universal beams which connect the sides of each gate as well as any further fix-ings for the perspex panels.

2. Elevation and perspective view of the pad footings used.

3. Elevation and perspective view of the completed structure.

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4. Elevation and perspective view of the completed structure with the perspex panels and corten cladding installed.

Steps 4 completes the main component of the form of each arch by setting the perspex panels in place and covering the the exposed structure in each arch in corten cladding.

Step 5 puts the finishes touch-es on the arches by installing lights into the perspex panels, the solar panels to power them and any further electrical wir-ing to facilitate them.

Lastly, I have also included a diagram labelling the elements of an arch in more detail below. It explains the structural com-position in terms of materials.

And thus, the construction pro-cess is completed. As previously mentioned, this design would be relatively easy to construct despite the face that there are 20 arches to be constructed. This simplicity on construction is just another advantage of the Rhythm Gate that makes it a suitable choice for the Gateway Project.

By breaking it down into these steps, it can be seen how simple the construction process for the Rhythm Gate could be. By us-ing pre-fabricated elements and modern technologies such as laser cutting, the becomes significantly less difficult.

LATERAL BRACING

DOUBLE GLAZED GLASSRE-INFORCED CONCRETE BASE WITH PAD FOOTINGS

UNIVERSAL BEAMSTEEL PRATT TRUSS

CONSTRUCTION DETAILS

NOTES - TO BE CLAD IN 1mm CORTEN PANELS ALL COMPONENTS PRE-FABRICATED, RESULTING IN MINIMALISED CONSTRUCTION TIME - LED LIGHTS TO BE INSTALLED AT POINTS ‘A’ & ‘B’, POWERED BY SOLAR PANELS PLACED ON TOP OF ARCH

A

B

5. Construction details diagram.

DESIGN EVOLUTIONThis set of images show changes we made to the computerised version of our design. As seen in the first section of the journal, our form has changed drastically while the concept behind it has remained the same.

As shown throughout the rest of this design jour-nal, we have been through many different itera-tions in our design. Each major stage is depict-ed as an image in this section. The first stage, as shown by Figure 1, was when we were still experimenting with image sampling and data driven extrusion. While it produced interesting results, it didn’t produce something that could be viewed as a “gateway” on the side of the road.

Figure 2 shows the direction we took to rem-edy this. This form was interesting to view while moving, but not not accurately reflect any of the inputs we used, and subsequently, did not result in a readable form. The step we took to resolve this was rework our definition using the knowl-edge we gained from this first, but ultimately unsuitable attempt at responding to the design brief.

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ProjectJournal Entry 8D E L I V E R Y

2. Further develop from straight extrusion to circular extrusion.

1. Initial form based on image sampler extrusion

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4. Refined rebuilt profile curves displayed in a supporting structure.

3. Reworked definition to better show inputs using rebuld curve component.

We restructured our definition, without alter-ing our concept or goals to respond to this is-sue. Figure 3 depicts the results of this rework, the beginning of our work with the rebuild curve function, which we continued to use to create a series or morphing profile curves.

Figure 4 shows the final stage in the develop-ment of our design. It shows one of the twenty arches the constitute the Rhythm Gate. This fi-

nal stage exhibits one stage of the morphing of these parametrically defined profile curves set into the frame that showcases it.

And so, while the continued iterations to or de-sign may have radically changed the form, it can be seen how it was necessary in order to produce the best possible outcome. The outcome is some-thing that responds strongly to the design brief as well as our own personal objectives.

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ProjectJournal Entry 8D E L I V E R YMODEL PROTOTYPINGThis set of images shows hows these changes were manifested in our physical prototypes and final models. We produced models not only to document our process, but to have a physical construction which we could evaluate against our design objectives as well as those set out by the Gateway Proj-ect design brief.

The changes in these models more or less follow what is described above in the design evolution stage. Figure 1 show the first prototype we cre-ated. As it did not appear to adequately fulfil our own design objective or the design brief, we re-interpreted our definition to form a form which appeared to move alongside you when you passed it. Figure 2 shows this new form. However, it did not reflect reflect the information used to create it well enough to showcase the Wyndham area, and ultimately, the definition used to create it had to be reinvented.

2. The second prototype, create by rearranging the extrusion to be radial.

1. The first prototype we produced

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1. The first prototype we produced

5. 1:100 scale model of our final design. 6. 1:500 scale model of our final design.

4. 1:50 scale model of our final design.

3. The first prototype of our final design.

Figure 3 shows the newly developed rebuild curve funtion, but in this situation it is used sup-ported by and angled cantilever. This was one of the potential frmes that we looked at using, but opted to use something a little bit more regular in order to draw as much focus as possible to the morphing profile curves of the Rhythm Gate. Figures 4, 5 and 6 show the solution we came to. As shown, the focus is very strongly set on the morphing profiles and the outer frams is only there as structural support.

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ProjectJournal Entry 9P R E S E N TAT I O NThis final journal entry shows how we presented the Rhythm Gate in the form of models. As our design took of the majority of sites A and B (spanning approximately 450m), we felt that it wasn’t viable to produce one 1:50 model to portray our design. Instead, we produced a 1:50 model of our design showcasing the final arch of our design with a high level of detail, in addition to a less de-tailed 1:100 model including all of the arches of the Rhythm Gate and a 1:500 model to show how it fits into the site.

1:50 MODELThe 1:50 model includes more details than that of any of the others. It shows exactly how the trusses will be arranged as well as the perspex panels. A basic but functional lighting layout is also included, allowing our model to showcase how the perspex panels will be illuminated.

The first image shows the completed model at 1:50. It highlights the structure of our design very clearly. The corten panels are also drawn into focus as each panel has been cut individu-ally. We felt this was also an important consider-ation when planning this model as we wanted tit to be as realistic as possible for the largest scale.

The second and third images both show the model in a dull atmosphere using the light of the model itself the illuminate the perspex profiles. These images really bring out the effect that we were looking for with the perspex, as it is so bright that it would distract drivers, but it lights up the edges of the perspex profile, drawing at-tention to the shapes that we have produced. While this approach to lighting has produced effective results, we would also consider rear-ranging a set of slightly less bright lights to be in a strip across the bottom of the perspex to produce a more even effect and done so with a less obvious light source.

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1:100 MODELThe 1:100 model was in less detail, but we pro-duced all 20 arches to scale in order to capture the tunnel effect produced by the Rhythm Gate. Due to the size, it was difficult to produce im-ages with clear backgrounds. To confront this, we opted to capture our images in a very neutral setting with varied focus on lighting and avoiding distracting background objects.

The first image depicts a view of going through the Rhythm Gateway, and showcases how the traveller will be able to see the upcoming arches. While the size of the camera limited our ability to get down to a human or car perspective, we were able to bring it low enough to still capture images that give the impression of movement

The second and third images show how the length and continuous effect of the Rhythm Gate, as

well as providing a view of how their scale ap-pears to change as you approach them.

The final four images of the 1:100 model do a similar thing, but draw different elements into focus. The fourth image has focus drawn to the very front, drawing attention to the shape of the profile. The fifth image is focused closer than than model, which invokes a feeling that it is al-most a continuous set, as the neither the start nor end can be seen. Lastly, the sixth and seventh images are from a very similar angle, but again with focus drawn to different places. The dark-ness and very close focus of this image cause the last few arches to fade out of view, once again creating a continuous tunnelling effect, while the seventh focuses on the profile shape cut into the perspex, bringing into mind the intent of the design.

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ProjectJournal Entry 9P R E S E N TAT I O NThis final journal entry shows how we presented the Rhythm Gate in the form of models. As our design took of the majority of sites A and B (spanning approximately 450m), we felt that it wasn;t viable to produce one 1:50 model to portray our design. Instead, we produced a 1:50 model of our design showcasing the final arch of our design with a high level of detail, in addition to a less de-tailed 1:100 model including all of the arches of the Rhythm Gate and a 1:500 model to show how it fits into the site.

1:100

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1:500 MODELThe 1:500 model was intended to showcase how the Rhythm Gate actually fit into the sites mentioned in the project brief.

As previously stated, it fits over sites A and B, taking up the maximum length possible where both sites are accessible. The result of this is that our design is approximately 450m long, equating so a spacing of approximately 22.5 between each arch. It was established so that a car travelling at 100km/h would pass each arch within .8 seconds of the last. This con-sistent timing between each arch is intended to produced a rhythmic effect, which led to its name, the Rhythm Gate.

This image shows how large each arch is in relation to it’s surrounding area, the road, and even draws attention to how the between each arch relates to their size. It allows all of the numbers, figures and rations that our design is predicted on to be more accurately visual-ised and understood.

This brings is to the end of our design process and project proposal. We built on the knowledge established through the research documented in the preceeding parts of this journal to proudce

something that responds to the requirements of the Gateway Project, which we feel we have achieved.

The Rhythm Gate makes an effort to produce a memorable form which is directly related to the Wyndham Area and reflects these qualities in a memorable manner. It is the result of the work of an

entire semester of continual refinements and research, as well as a body of work which displays proficiency in a newly understood area of design.

The Project Proposal section of the journal was a particularly important section as it showcases the application of what has been learned this semester and the work delivered in this section does indeed reflect my level of understanding of the project. With the design section comeplete, all that is left to do is critically analyse how well this proposal responds to the learning objectives of this

subject in addition to critically analysing how these skills will be used in future work,

Project ProposalDesign Journal C O N C L U S I O N

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PERSONAL BACKGROUND AND LEARNING OBJECTIVES

Prior to this subject, I had no understanding of parametric modelling. I knew that it was possible to generate form through the use of specific tools and software, but I had never used anything that ca-tered for more that just documentation purposes. Having no knowledge of the programs and plugins used in this course, this subject was a fairly steep learning curve for me.

The learning objectives of this subject have been both numerous and varied. The main task of this subject required a parametric solution, which required a certain degree of proficiency with the programs used to come to that solution. Accordingly, one of the most important learning objectives of this subject was to gain a degree of mastery of producing parametrically driven solutions as well as the concepts behind them.

As we were pitching our ideas to simulate a competitive environment, we learned to use parametric modelling to generate elements that went beyond shape and geometry, such as surface treatments. This complete resolution of design required a deeper understanding of the concepts of parametric design as well as being creative in their application.

The Gateway Project was used as a vessel for our development. As it was introduced while we were still very new to the ideas of parametric modelling, we were required to continually adjust our understanding of the project, forcing continual reiterations of our work. This process of continued refinement enabled the achievement of another learning objective: successful application of the skills and knowledge learned in this subject.

These are but a few of the learning objectives of the course, described in their most general and inclusive form. While objectives can be broken up into numerous smaller objectives, this raw and all-encompassing form relates much better to the course content of this subject. All of these objectivesv were very important to this subject, and I am proud to say that I beleive I have achieved every single one of them to a high degree.

Learning Objectives andDesign Journal O U T C O M E S


LEARNING PROGRESS

As this course had a fairly steep learning curve, it comes as no surprise that nearly the first two thirds of this course dealt with the skills and knowledge development, leaving only the last third for dedicated application of this development. This was, of course, due to the large amount of content that needed to be covered in this course.

As previously mentioned, I went into this subject with no knowledge of parametric modelling or the processes which enable it. It was slowly acquired over the first eight weeks of this semester, starting with basic Rhino usage and followed by simple Grasshopper operations.

After basic operations, we started using functions which involved more components and conse-quently, functions which were more applicable to our final project. For example, the rebuild function which was introduced at around this time, became the core of our Gateway Project design proposal, the Rhythm Gate.

The last set of techniques we worked on before setting out to produce final proposals were surface treatments. This involved developing an understanding of not only the functions we were working with but having a great enough understanding to combine together to produce an even greater va-riety of results.

The final step of the learning process was to apply the content covered so far to produce a solution the responded to the design brief of the Wyndham City Gateway Project. The particular solution that my group and I produced responded in what we felt was a suitable manner, and in my opinion is a strong indicator of the steep learning progression that has been tackled and overcome in this subject.

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LEARNING OUTCOMES

Like the learning objectives, the outcomes of this subject have been numerous and varied. As this subject set out tasks of very different natures, their outcomes were also very different. They do, however, generally follow the learning objectives previously discussed.

The first major learning outcome of this subject is the new-found understanding of the concepts of parametric design as well as using software to realise this understanding. Successful design and presentation of our final project is evidence of this, in addition to realising another learning out-come in itself as the final project, as the name suggests, was the result of many hours of well thought out design work.

And so, to summarise, I feel that each one of the previously mentioned learning objectives has been realised and met. Furthermore, successful realistion of these objectives indicates that the skills and knowledge gained through this subject will be able to utilised in future work.

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FUTURE WORK

The knowledge, skills and proficiencies gained through this course will be very useful in coming years, for both the remainder of my education as well as my professional career. As previously stated, this subject was my first introduction to parametric design, and without this introduction, my knowledge of design would have a very large gap in it.

While parametric modelling is definetely a very elegant solution to a design problem, it is still only one way of coming to a fully resolved design outcome. It does, however, fit within a set of design tools which can each be called upon when relevant to a design issue. And so, for future work, para-metric design and anything else I have is certain to be used. It is a very powerful tool and I look forwards to the day I can use it in a professional project.

design journal final submission

Documents

project interpretation

project delivery

project presentation

wyndham city gateway

learning objectives

learning outcomes

learning progress

design process