design journal - wyndham gateway proposal

7/31/2019 Design Journal - Wyndham Gateway Proposal

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Elizabeth Hillier358446

Architecture Design Studio: AirSemester 1, 2012


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Suciently advanced technologyis indistinguishable rom magic

Arthur C Clark

Hazards o Prophecy: The Failure o Imagination

FRONT COVERImage courtesy Shawn Knolhttp://www.todayandtomorrow.net/2009/04/28/errouid/Ferro uid, otherwise known as liquid magnet, is made o nanoscaleerromagnetic particles that react to a magnetic feld.


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CONTENTS

Advancing Architectural Discourse

Parametric Design

Scripting Design

Project: Cut

Reverse Engineering

Responding to a Brie

Development o Ideas

EOI: Wyndham Gateway Project

Responding to Feedback

Further Refnement

FabricationPhotography

Final Presentation

Reection

Part I: Expression o Interest4-9

10-13

14-17

18-23

24-27

28-31

32-35

36-39

Part II: Project Proposal40-47

48-55

56-59

60-65

66-69

Part III: Learning Outcomes70-73


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Situated above the streets o Manhattan, the New York HighLine is built on an historic reight line. This public spaceallows pedestrians to move over the city and its trafc inpeaceul park surrounds.

I was intrigued by Georg Simmels views on the eect thaturban spacial conditions may have on human behaviour,where the perception o city lie is consciously dulled dueto the citys multitude o sensations. The High Line is anantidote to this by somewhat acknowledging the act andproviding a reuge or its inhabitants.

The obviously much-loved greenery is complemented byrusty steel columns that support the structure and has beendescribed as one o the most innovative and inviting publicspaces in New York City and perhaps the entire country. Paul

Goldberger (National Geographic).

I hope to achieve a similar human interaction with myapproach to the gateway project.

Architecture as an urban experience

The New York High Line


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Frank Gehrys architecture has prompted much discussionand argument in modern architectural discourse. Would oneclassiy his buildings simply as large works o art? Do hisoutlandish orms get in the way o other, more importantaspects o architecture? Some argue that architectureshould not be a representation o a style or asthetisism asthis can bring about a lack o utility.

As the orms created by him are so dierent to those seenin everyday lie, the viewer cant help but become involvedin it - as though invited to make sense o the strange shape.

According to Gehry, all elements o this building representsomething, whether it be the colours o wine owing romthe roo, or the silver wrapping that covers a cork.

Architecture as a sign

City o Wine ComplexFrank Gehry

This particular example is contributing to the discourse modern architecture.

Being so literal in my design would defnitely be a moobvious way o making a connection with the site. Such approach may also be more suited to the project as I aaiming to create more o a sculptural piece.


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Personal Project

Headspace StudioVirtual Environments

This abstract headpiece was constructed o cardboard butdesigned in Google Sketchup. It was interesting to considerthe program as something that could create a 3D objectin the real world as I had never completed a abricationprocess such as this.

Although capable o producing 3D models, Sketchupis merely or computerization o an existing design asthere are no parametrics involved. This is as opposed tocomputation, which creates a design out o parametersrather than someones personal taste.

It is advancing architectural discourse in its own right asit has created an easier orm o communication between(advanced) proessionals and (lay) clients. The program isavailable or ree, it is quick to use and can create simpleshapes in order convey the basics o an idea. This isunique as the design development stage has become morethorough.

The act that it is available or ree as well as in a proessionalcontext, has broadened the spectrum o potential designersat dierent skill levels.


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Responding to a brie

Wyndham GatewayEOI

These design methods and ways o thinking will be utilizedwhen putting orward a proposal or the Wyndham CityGateway project.

As the structure is to become an icon o the area, theremust certainly be a degree o story-telling and the use oarchitecture as a sign. However, it is important or thedesign to not be too literal. The sculpture will reectthe growth o the region as well as emphasizing it as adestination o the arts.

There is also a need to acknowledge the design as somethingthat will not be accessed or experienced directly by itsaudience, given its position between two major roads. Thestructure will have to be somewhat monumental in orderto make an impression over 30-40 seconds, as commutersmove past at 100km/h.

Overall, the installation will be welcoming, using its spacewithin the site to create a strong image or Wyndham.


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Parametric

Design

Unique innovations presentedby contemporary computational

design techniques

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Parametric Design

Adelaide OvalCox Architects

Rhino plugin, Grasshopper, was integral in designing the newgrandstand or Adelaide Oval. In what would have otherwisebecome a tedious manual task, Cox Architects easily adjustedparameters in the program to best provide or patrons o thestadium while also meeting cost.

As mostly all designs begin on paper, the step to computer

aided design is that o computerization. Once the generalorm and design intent has been established, the fner detailsare to be fgured out on the computer. In the case o theAdelaide Oval design process, the Grasshopper plugin wasutilized or refning and optimizing the design as opposed totruly orm fnding.

With the capacity to then export these fles in great detailand in a number o ormats, Cox was able to communicatewith engineers in a language amiliar to them. In thisdialogue, structural engineers were then able to eed back

into the design process and make recommendations on whatwas more efcient or fnancially viable.

The use o parametrics literally cut months o the dratingprocess, as well as saving a lot o money. I I was to testthis practice in my approach I could have a more intimateunderstanding o how my object would be created in the realworld.

The recent addition o comput

to the repertoire o means o co

munication has expanded acce

to inormation and opened up design process or more people

become involveKalay: Architectures New M


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An organism is so complex a

thing, and growth so complex

a phenomenon, that or

growth to be so uniorm and

constant in all the parts as

to keep the whole shape

unchanged would indeed bean unlikely and an unusual

circumstance. Rates vary,

proportions change, and

the whole confguration

alters accordingly.DArcy Thompson

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Parametric Design

Greg LynnExplorations in orm fnding

Parametric Design

DArcy ThompsonExplorations in orm fnding

In DArcy Thompsons book On Growth and Form he outlinesconnections he observed between biological orms andmechanical phenomena. He coined this Evolutionary Design,and I see many links between this theory and the opinions oBranko Kolarevic.

The use o parametric modelling allows us to fndorm by means o mathematical limitations and guides,

as opposed to just the individual taste o the architect.Proessor o Architecture, Greg Lynn, has established this as

a true possibility through his works o biomimicry calculationsin generating architecture.

As seen with the Korean Presbyterian Church, orms havemaniested themselves with the instructions o a program created

by the man, rather than being designed by the man directly.

This is not to say that there is no taste in the design o thebuilding, as a certain design aesthetic is still implemented through

the creativity o the architect regarding certain geometries andmaterial selection.

Is it possible or a computer to defne what is aesthetically pleasing?

Can scripting lead to beautiul design without any human input?

These are questions that may lead to even more advanced computationaltechniques, although the result o which will always be subjective.


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Greg Lynns Presbyterian Church

Light penetrates to varying degrees


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To really progress in architectural design, we must not just

replace the pen with the computer. A generation o lay

computer uses are simply utilizing algorithms or scripts

that are well established by the program or have been done

beore.

There seems to be a tendency to swarm towards a

particular approach such as generative design using

genetic algorithms.... Stock standard program unctions

and plugins or variables such as sun paths have well-wornprocesses and are no longer advancing the way we design

our buildings.

The challenge is to move away rom this and know the

program so intimately that you are acting as your own

plugin. We must push the possibilities o existing

programs in order to actually progress.

What else can be explored as NEW parameters or an

algorithm?

Scripting can reer

higher level programming

as a means to produ

manuacturer-independe

digital design capabilitBurry: Scripting Cultu

Scripting Cultures

Mark BurryProgramming Architectural Design

It is not always obvious when a building has b

created using this generative scripting. S

processes are sometimes used or more sim

calculations regard

DetaiSpace distribu

Material ecie

These aspects are not always obvious and may o

be considered as an extra understanding o

design - Oering multiple levels o interpretat

HOWEVER //


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Although it is not a contemporary example o generative

design. The Philips Electronics Pavilion expresses dierent

ways o approaching design ideas. Designed by Le

Corbusier in 1958, he was excited to have the cutting-edge

technologies o the Philips Company at his disposal. He

designed the interior o the building and enlisted the help o

his protege Iannis Xenakis or the exterior.

As Xenakis was a composer, he used his in-depth knowledge

o music as an input or the design o his orm. There

is correspondence between musical generative systems

and the ormation o mathematical series, probabilistic

theory and algorithms in other design disciplines. Being

under the guidance o Le Corbusier also resulted in a large

mathematical infuence. The architecture has a heavy

grounding in mathematics and is draws it curves rom

hyperbolic and parabolic shapes.

I will not make a pavilion or you

but an Electronic Poem and a

vessel containing the poem; light,

color image, rhythm and sound

joined together in an organicsynthesisLe Corbusier

Scripting Cultures

Philips PavilionLe Corbusier and Iannis Xenakis


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Representing the roots o a plant, these strips or tubes

o lights begin in the underground station and eventually

ollow a path that escapes the building.

This design was conceived by Makoto Sei Watanabe and

although it was made possible by utilizing an existing

program, Watanabe adjusted this to his requirements.

Rather than purely enlisting computer aided techniques

or relying on his own minds capacity to generate design

ideas, Watanabe has combined both.

What has come to be reerred to as controlled

unpredictability, he has created the rule that produces thedesired eect - as opposed to simply allowing a complex

script to reach an unknown conclusion.

Scripting Cultures

Iidabashi SubwayMakoto Sei Watanabe

http://mit.edu/dcardoso/www/projects/stochastic/paper/stochastic.pd


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Para-

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Project: CUT

Using Grasshopper to

explore inputs, associationsand outputs


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Utilizing Grasshopper

A MatrixInputs, Associations and Outputs

The surace can be DIVIDED to create a

grid o UV points

NUMBER SLIDERS used to adjust number

o points in the rows (u) and columns (v)

Speciy CIRCLES on these points

Create a rectangular plane in Rhino

This is then reerenced as a SURFACE in

Grasshopper

The circles on the grid are CULLed

according to a BOOLEAN pattern

(true, true, alse)

The IMAGE SAMPLER is used as an as-

sociation between the inputs and outputs

In this case, the radius o the circles is

relative to the brightness o the image

U and V sliders can be adjusted to makepattern more or less obvious

Slider is also combined with a

MULTIPLICATION to adjust outputs o image

sampler (radius o the circle)

The circles can be changed to a POLYGON

Slider used to adjust number o sides

(in this case I have set it to 3 to create

triangles)

Polygons are then ROTATED relative to

their DISTANCE rom attractor POINT

(Those urther rom the point will turn to a

greater degree)

INPUT

ASSOCIATION

OUTPUT


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By REBUILDing the original plane in Rhino, it

is possible to adjust the control points to warp

the surace

As the pattern is still sitting on the horizontal,it is then aligned with the NORMAL o the

surace (the polygon ollows the tangent o

the curved surace)

While this changes the angle o the polygon,

the shape still doesnt ollow the curve exactly

We then PROJECT the pattern onto the surace

and then BAKE it to be utilized in Rhino


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MATHS FUNCTIONS


Further ExplorationsInputs, Associations and Outputs

These cuts have been made based on mathematical

unctions. The unctions in this case have two variables and

represent the sin, cos, and tan o x. As this is representative

o angles, the x value has been remapped to a domain

around the value o pi (3.14)

REMAP is used to give a set o numbers a dierent domain

DOMAIN species the upper and lower extremes (can use

sliders i you want this to be variable)

CURVE ATTRACTOR

The technique used to achieve this eect is CURVE CP. The

component nds the closest point - the shortest distance

rom grid points to any point on the reerenced curve.

These distances are then remapped and used as the input

or the radius o circles.

There are many ways in which parametric design can be

approached. When considering data inputs, these can

become the driver or a design, or simply a constant that is

then manipulated through various associations or adjusted

by the outputs.

Sin(x) Cos(x)

Tan(x) Sin(x)*Cos(y)

Inputs that source data rom text les are very versatile as

they can interperet many variables, such as sound waves,

environmental actors and customized lists.


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DATA-DRIVEN EXTRUS

DATA-DRIVEN ROTA

The extrusion method works in three dimensions as is pulls

the pattern out o the page. This means it moves along the z

plane in reerence to the darkness o the image. To nd the

inverse I used a negative o the image.

Mad Max is a relevant input as the iconic lm was shot along

this same stretch o road.

Based on a grid, these circles are then rotated out o position

by the ROTATE component. A number slider is adjusted to

change the degree o rotation along the plane.

Although this is a very interesting eect it would not

necessarily be a realistic cut, as there are many overlapping

lines that would produce a dierent outcome.


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Reverse

EngineeringApplying Grasshopper skils

with a design objective


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Reverse EngineeringSpanish Pavilion, Expo 2005

Designed by Foreign Oces Architects or EXPO 2005

in Japan, The Spanish Pavilions acade is constructed

o a hexagonal tesselation, repeated across its steel

rame.

This exercise required us to eectively re-

build a design with techniques available to us in

Grasshopper. Although a regular hexagonal grid is

easily generated as a Grasshopper component, it was

dicult to control the rotation or warped appearanceo individual parts.

We experimented with multiple attempts that achieved

varied success.

Subdivided surace and reerenced each point with

its own plane. Allocating a polygon to each point,

their planes were rotated. Repeated process with

Polygons o a smaller radius.

A similar rotated plane was applied to a regular hex

grid. Extra set o polygons allocated with smaller

radius. These were then exploded according to a

graph component.


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Ater these unsuccessul attempts, we needed to analyse

the design detail more closely. As the moti is constructed

o a repeated tesselation, it was necessary to adjust a ew

points in the original set o six hexagons. In some cases

however, adjusting one point required the replacement

o three vertices, as it was the point at which threeindependent hexagons met.

The main processes learnt and undertaken in this rebuild

were that o sorting, culling and moving individual points

in an existing grid. These points then replaced the original

vertices on the hexagon and were re-joined with a closed

polyline.

It was most important to rst gain control o

these individual points, then it was only a matter

o moving these along the desired vector.

Once this had been completed or one polygon,

another was located and adjusted along the

same path.

Once the initial hexagons had been adjusted to

the desired shape, they were then Oset to a

small degree, to create an identical polygon o

a smaller size.


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As we had created a tesselation, this moti

could be repeated any number o times to

create the large-scale pattern.


Reverse EngineeringSpanish Pavillion, Expo 2005


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Responding

to a Brie

Explorations responding tothe Wyndham Gateway

Project


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Application o BrieInputs, Associations and Outputs

With a need to apply a growing skillset to a real-world

situation, I began using more relevant inputs in my design

explorations. A population density map o Melbourne has

been chosen as an input through the image sampler. It is

interesting to look at the areas o Weribee and Wyndham

compared with the rest o the city. As this data is dated

2006, I would like to nd a more recent map to gage thegrowth o the area.

>> Size o polygons relative to bright-

ness o the sourced map

Polygons spin at an increased degree the

urther they are rom Wyndham!


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>> Data-driven rotation used to displace

points within the urban area. This could

represent movement and activity.

Cropping the original map allowed me to

ocus on the immediate area o the site

and use population density o Wyndham

and Weribee. To obtain a more graduated

dierence between populated and non-populated areas I adjusted the source

image.

I think the use o triangles is also

interesting as they could represent the

expanding boundaries in every direction.

There were many iterations in this

process that proved to be unsuitable or

consideration as they were either too

populated or unrationalized. In the case

o the latter, many cuts crossed overone another creating an uneasible design

solution.


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Developing

Ideas

Combining cut with orm


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Working with the ideas we had generated rom inputs

o GROWTH and data maps, our group was interested in

ways o expressing this through orm also. Interested in

concepts o CHANGE OVER TIME, perceived volume and

illusion, we experimented with planar orms and how they

would be perceived rom dierent angles.

Our aim was to create an intrinsic link between the cuts

and orm, with the possibility o developing somethingANIMORPHIC.

The idea o MOVEMENT was also a driving actor behind

our concepts, exploring how a static orm could potentially

have more o a DYNAMIC appearance.


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Design Development

PrecedentsArchitecture as sign and illusion

Guangzhou Opera House

Zaha Hadid

Guangzhao has been an industrial and trade city up untilpresent, with the aim o the project to create a building that

represented the increasing culture o Guangzhou Wyndham,

like Guangzhou is currently increasing in culture and the

Gateway needs to show this. The Gateway is the rst thing

people will see when driving into Wyndham and thereore

must create the right impression o the area with its sense

o monumentality.

Nigel Peck Centre or Learning andLeadership

John Wardle ArchitectsThe sign is an abstracted unolding world sphere. The orm

o this is particularly interesting as it appears to change

as one walks past it. Like this sign, the gateway is aimed

at symbolizing Wyndham and signiy entering/exiting

Wyndham.

Nuit Blanche Festival InstallationRobert StadlerThe installation appears to change depending on what angle

is it viewed rom. Relating this to the Wyndham project, the

aim is to create a moment o animorphism, where seeming

random cuts align to create the appearance o a consistent

image.

Extracted rom ABS website: http://www.abs.gov.au/ausstats/abs@.

ns/Products/3218.0~2010- plane.

>> URBAN ICON

>> DYNAMISM

>> ANIMORPHISM


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Design Development

ExperimentationCuts relating to orm

Two distinctly dierent cuts were applied to suraces depending on their orientation, with an idea that point o view will

determine the peroration seen, as well as a seemingly dierent orm.

Multiple cuts were chosen and applied to dierent suraces to gain an understanding o what had the greatest eect.

Low lighting was then applied to achieve the shadows, appearing to manipulate how the orm was perceived.


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Expression

o Interest

Wyndham Gateway Project


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Expression o Interest

Wyndham City GatewayProposal

>>The interesting shadows created by

the dynamic orm and cuts create a perect

subject or postcards and advertising

schemes.

In approaching the Wyndham Gateway project, we aimed

to produce a monumental landmark as well as providing

an experience or passers-by. With ideas o illusion,

movement and the infuence o urban growth, w achieveda successul combination o orm and cut.

Bringing these ideas together, we created a sculpture that

provides many contrasting viewpoints and interpretations.

On approach to the site, a signier o Wyndham is clearly

seen as a dominant gure in the landscape. This seemingly

one-dimentional orm could be viewed as a welcome,

crown or ka-pow!

Once the commuter has moved to the side o the sculpture,

it appears fat, and what looked to be random cuts, align to

orm a consistent penetration through the orm. Although

this is momentary, the eect will create a special even orthose who see it.

Once moving away, the commuters may notice a quite

dynamic object that continues to extend as each angle

changes.


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Approach: Monumental entrance

Experience: Growth (exponential)

Past: Movement

Our aim to express a change over time is successulgiven the three distinct viewpoints and is made even more

special by the animorphic alignment o cuts.

>>Imagery o the sculpture translates well

in a logo context. Used to identiy Wyndham

in ocial documentation, promotional

material or local communications, it is

simple yet bold and attractive.

The combination o orm and cut also inspires mult

levels o interpretation. While the viewer admires

experiences the sculptures orm, there is urt

opportunity to understand the triangular cuts and trefection o the growth in Wyndhams urban density.


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Expanding on eedback gained in the crit we

concluded that the design needed to become

more monumental through creating a less

specic orm. Given the large size o the site,

there is considerable scope or either repetition

or extrusion o the existing design.

Other adjustments under consideration are thato developing an experience that is more than

feeting. There is the possibility o creating

multiple experiences or an elongated eedback

rom the structure.

Further development

Expanding an ideaWyndham City Gateway

>> Growing the structure to reach over theroad was one o the rst steps taken in creating a

continued experience and ully utilizing the site.


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New Elements

Combining conceptsSketch ideas

Ater repeating this new orm, we

adjusted alignment and width o the

bands to create a more dynamic

structure.

Interested in the idea o creating an

element o continuity, we explored

extrusions and perorations throughout

the panels. Placed at the eye height

o passers by, these elements will

provide a separate experience rom

that o the monumental sculpture seen

on approach.

With ideas o natural growth suchas veins or tree roots, continuous

extruded lines would multiply as the

car passes.

>> Dierent possibiliti

how these options woul

abricated.

VERTICAL GROWTH // trees

HORIZONTAL GROWTH // veins

EXPONENTIAL GROWTH // cells


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In order to acheive the growth

in irregulaity o our orm, weimplemented the use o a Grasshopper

plugin FLOWLINES. This component

provides a simulation o magnetically

charged points and adjusts the

surrounding curves accordingly. By

increasing the charge o these points

with a number slider, this example

also displays a link with growth as

the progressive arrangement o

curves can be interpereted as cells

multiplying.

>> A sketch o a more rened idea

and the detail o ribs to be viewed at

eye height.

New Elements

Flow Lines PluginUtilizing Grasshopper

>> Number o curves and charge

points can be adjusted as an input

to this component.


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Curves created with Flow Lines were baked

and size was inverted to achieve desiredappearance o Growth. Once adjusted to

sizes consistent with our design they were then

spaced and re-scaled according to projected

lines orm a point. In simulating the viewpoint

o approach on the road, we created a orm that

appeared as one mass but in act is broken into

parts

New Elements

Developing the ormAnimorphic


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Three panels were abricated in order to prove

the success o the animorphic orm.

Ways in which this could be improved is

eliminating the any non-morphing panels and

ensuring that the expanding arches do not

move too ar rom the side o the road. We must

ensure the height allows or sae passage o

trucks as well providing a continued experience

or commuters.

New Elements

Fabricating an IdeaAnimorphic


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2.7mm Plywood was laser cut andglued together to create the model.

Although it is beautiul, we were

advised against producing our nal

model in this way as it is not indicative

o the true construction method.


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FurtherRenement

Expanding and rening

original design


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Renement

Defning InputsLocation Driven

Directly building on our previous design attempt, we continued to

utilize and develop our skill with Grasshopper plugin Flow Lines -a component that allowed us to create 2D equipotential lines. By

gaining a greater understanding o the required inputs and what

they could achieve, we customized our own script.

By reerencing the points o key locations, we were then able control

the amount o charge each o these points had. As seen in the

diagram below, this can be easily controlled by a simple number

slider. The charge up until this point can not be seen, unless

we provide additional reerence points that dictate the position o

curves around the charge points. These curves create a closed looparound the set and provide us with many varied shapes.

>> The CHARGE POINTS or our

Grasshopper script were determined

by the locations o Geelong, Wyndham

and Melbourne.

GEELONG

MELBOURNE

WYNDHAM


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With this knowledge, we set out to create a set o curves that

would reerence each location. As the commuter is travelling

rom the direction o Geelong these are the rst charge points

be increased, thus warping the curves towards that location

To create the desired emphasis, the charges o Wyndham and

Melbourne are minimized or this set.

The steps are repeated or Wyndham and Melbourne, with an and outer curve selected or each. These curves will provide

basis o our design and we require an inner and outer layer to

create depth.

Renement

Obtaining CurvesLocation Driven

The set o curves were then converted intoarches by splitting them with a common

ground line. They were also rescaled to

achieve consistent heights and widths.

WYNDHAM

GEELONG

MELBOURNE


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Once we had achieved our desired set o base

curves, we had to rescale the arches to t

within the boundaries o the site. A width o

approximately 30 metres was required to span

the road, and a minimum height o 6 metres to

allow or passing trac. These were then loted

to create a fuid structure that morphed at the

desired points.

Renement

Composing the FormA Design Matrix

LOFT

DETAIL

CUT

A series o extruded curves were then added to

the internal surace o this structure. We named

this element the veins as they were in keeping

with the organic nature o the design intentand they are present throughout. This detail

provides an added experience or the commuter

as they are placed at the eye height.

With our tunnel complete, we then divided

the structure into strips. This was in order toachieve the appearance o individual roots

rising out o the ground (as explored in earlier

iterations). This approach also allows or a

greater experience o the immediate surrounds,

providing views o local scenery.


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Renement

Problems EncountereRationalizing

The application o veins to the structure was a

lengthy process that had much room or error.

As the base structure is a shape that constantlyshits, it was dicult to create a continuous

surace or the veins to sit fush with.

This required individual placement o many o

the veins, which were then loted separately to

the undulating internal surace.

To avoid unolding an element that curved in

two directions it was important to rationalize

the panels between arches. In order to do this,

we used the Rhino command DUPBORDER to

duplicate the new outline o the element and

then re-loted each one individually.

Although this eliminates any curve seen rom

the side o the sculpture, the orm still retainsits fuid appeal as the arches it spans between

are constantly changing.

ARCHES

VEINS

>> We decided against unolding these toabricate as the scored card would not be as

smooth as hand-cut strips.


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Renement

Finalized DesignWyndham Gateway Proposal


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The nal design spans the true turno to

Wyndam as well as the Princes Highway. Using

this site, the drivers o our design are the

locations o Geelong, Wyndham and Melbourne,

which directly reerences the journey o each

commuter.

Using these points, we created individual curves

with the locations acting as charges that grow

and distort the orm along 130m o the site. This

dynamic object is divided into strips, allowing

or a continued view o surrounds, rather than

shutting the commuter in, as a tunnel would.

The gateway is nished with internal veins

that heighten the experience or those passing

through, providing a sense o movement and

continuity along each o the elements.

Hillier, Hodge + Innes

WYNDHAM GATEWAY PROPOSALHHI

As Wyndham grows both as a municipality andas a cultural centre, awareness o it has begun

to fourish, thus creating the need or a long

lasting urban signier.

This design achieves a combination o

sophisticated urban design and innovativecomputational techniques. Created by exploring

the meeting point between place and orm, the

design will enrich the surrounding landscape

through its stylish response to the brie as a

sculptural gateway.


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Fabrication

Realizing the design

through the construction

o physical models


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Fabrication

Construction ProcessDetails

1. 200UB Steel portal ramewith pad ooting.

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

steel portal rame.

2. Steel portal rame is ullyerected, being bolted together

on site.

4. Exterior cladding o steelribs added and are bolted tosteel portal rame.

5. Rigid steel ties at 600mmcentres supports internal metal

cladding load.

6. Aluminium internal metalcladding added, including

external vein details.

As the gateway is located in an open area with plenty o available

space, it is possible or the sculpture to be constructed on

site without the need or large preabricated parts. This is an

advantage as it allows the individual construction elements to

be easily delivered to the site on trucks and minimizes any

interruption to trac during construction.

>> A 1:20 scale construction model that displays the method

o production and composition o the structure.


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11B

10B

9B

8B7B

6B

5B

4F

3B

2B

1B

Fabrication

Construction Process1:100 model

MATERIALS2mm black acrylic sheet250 GSM grey card

embossing metal

super glue

METHODOnce the design had been nalized, each arch was

fattened onto a horizontal plane and labeled as either

the ront or back o each panel.

Nested onto pages that corresponded to the

dimensions o our chosen material - Black acrylic.

Individual elements were then laser cut to achieve

highest accuracy.

In pairs, these arches were glued together with strips

o card, with the width o the card determining the

width o the panel.

Strips o malleable metal were cut to these samedimensions with the added detail o the veins and

then clad the inside o each arch.

Laser cut black acrylic sheet

Moulded embossing metal

Super glue


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>> The use o dierent materials added to the models texturality,

enabling a more realistic representation o the structures appear-ance. It is evident in this photograph that panels without the metal

cladding are ar less prominent.

>> A 1:500 model was also produced to be

placed on a larger site model.

>> The card acted as a

backbone or the structure,

to which the sot metal

sheeting was then applied.


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Photography

Depicting the model

in dierent lights and

contexts


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CAPTURED//

The texturality o our model enabled us to shoot it

in many dierent light conditions to great eect.

As the metal sheeting is airly indicative o how the

sculpture would interact with its true setting o the

highway, natural daylight and dim lighting were

especially telling o its perormance as a gateway.

>> Photomontage o model in context


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As the design does not include any lighting o its own,

it is important to demonstrate that the gateway will

become a eature in the headlights o passers-by.

NIGHT //


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A long exposure o three seconds enabled these photographs to capture a light moving through the model at high speed -

Indicative o headlights passing through the sculpture


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Final

Presentation

Wyndham Gateway Proposal


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Right 1:200

Left 1:200


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wYNDHAM GATEWAY PROPOSALWyndham grows, both as a municipality and as a cultural centre, awareness of it hasn to flourish, thus creating the need for a long lasting urban signifier. Thisgn achieves a combination of sophisticated urban design and innovative computational

niques. Created by exploring the meeting point between place and form, the design enrich the surrounding landscape through its stylish response to the brief as aptural gateway.

t 1:200

1:200

HHI

Hillier|Hodge|Innes

OUND

PLACED

DUCED

LOFTED

CUT

FINISHED

N

DESIGN

ITERATION

SITE 1:1000

1. 200UB Steel portal frame,

with pad footing.

2. Steel portal frame is

fully erected, being boltedtogether on site.

3. 100mm light-gauge steel

(at 1500mm centres) bracesteel portal frame.

4. Exterior cladding of steelribs added, and are bolted tosteel portal frame.

5. Rigid steel ties at 600mmcentres supports internalmetal cladding load.

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

FINAL CONSTRUCTIONDETAIL 1:50

>> The nal presentation made to the pa

by our team Hillier, Hodge & Innes


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RefectionLearning objectives and

outcomes


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Refection

Learning OutcomesParametric Design

The amount o knowledge and skill I have developedthis semester has been nothing short o phenomenal.Beginning with not even knowing what the term

parametric design meant, to using such techniques

to develop a sophisticated response to a real-world

brie.

During early eedback with my tutor, I expressed my

interest in erro fuid and how I thought it related

closely to the topic o parametric design. Otherwise

known as liquid magnets, it is made o nanoscale

erromagnetic particles that react to a magnetic

eld. I ound it interesting as when a part o the

substance moves within a magnetic eld it creates

a chain reaction through the liquid that then morphs

the orm as a whole. It bears a strange resemblance

to the method o scripting in programs like

Grasshopper, and proved to be the main inspiration

behind my designs. Keen to contribute, my tutor

instantly recommended downloading FlowLinesas a plugin or Grasshopper. It allows the user to

implement components that create 2D equipotential

lines, eectively creating curves according to the

magnetic charges o reerence points.

I ound my experiences in FlowLines to be a greatexample o what was discussed in week threes topico Scripting Design. Like Makoto Sei Watanabes

Iidabashi Subway Station, our group used an existing

Grasshopper plugin and tailored it to our design

intent. As we had a general idea o what we wished

to achieve, yet still wanted the design to work within

the bounds o the programs parameters, it was a

case o somewhat controlled unpredictability. This

created a orm that was unique and organic in nature

something that our own minds were unlikely to

conceive.

Ater weeks spent immersed in the program, I

eel that I not only comprehend the components o

Grasshopper, but am able to combine and manipulate

them with a desired design intent.

>>

Early experiments with the

FlowLines plugin


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Refection

Future LearningParametric Design

As one o my main passions in architecture is in theeld o sustainable design, I see a lot o scope orsuch programs and scripts to be used in the uture.

In the way that Greg Lynns design o the Korean

Presbyterian Church correlates to the amount o

light penetrating the building, there are any number

o variables that can be taken into account. A more

relevant example includes conceptual designs

by Federico Rossi who has designed small units

or the harsh climate o Oman. Such aims are to

increase wall thickness in high temperatures and

create shade depending on the positioning o the

sun. Although this design is purely conceptual in its

current stage, its an exciting look at what might be

possible in uture.

The organic and unpredictable nature o such

designs seem innately natural to me, and i able

to harness accurate environmental variables andinputs, I imagine the possibilities to be astounding.

Through the accumula

o independent variables

a system o relationsh

interdependencies genera

variation o possibilities that

able to adapt to local conditioFederico


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Hillier, Hodge + Innes

WYNDHAM GATEWAY PROPOSALHHI

A collaborative project by

Elizabeth Hillier

Madeleine Hodge

Ellen Innes

Journal words and design by

Elizabeth [email protected]

design journal - wyndham gateway proposal

Documents