final submission 391931

studio airstudio air

_alastair dugdale

391931

05 ARCHITECTURAL DISCOURSESTUDLEY BOATHOUSE + ELBPHILHARMONIE HAMBURG + BEEKMAN TOWER

08 COMPUTING IN ARCHITECTUREKUNSTHAUS GRAZ + PORT AUTHORITY GATEWAY + INTERNATIONAL TERMINAL WARTERLOO STATION

10 PARAMETRIC MODELLINGINTERNATIONAL CONFERENCE CENTER

12 MATRIXDIGITAL SOFTWARE RHINO + GRASSHOPPER

18 REVERSE ENGINEERING 1SPANISH PAVILION + EXPLORATION + FABRICATION

24 REVERSE ENGINEERING 2AIRSPACE TOKYO + FABRICATION

28 REFLECTION PRELIM CRIT + EOI CONCLUSION

PART 1: EXPRESSION OF INTEREST

My design is a Boathouse and was based around a cubist form, using subtractions of shapes to create viewing points and interlocking spaces. The subtractions of shapes frame the spectacular views of the Yarra River and Studley Park. My design also revolved around accessibility for high contours, through a long walk-way that enabled the people to engage in the surroundings, as it was situated in a parkland beside the Yarra River. I believe my design enhanced the peoples experi-ence of the site and also enhanced social interaction. My design engages with the contours of the land, communicating the connections between the landscape and urbanism.

STUDLEY PARK BOATHOUSE DESIGNAlastair Dugdale

2011

_architectual DISCOURSE

studio airstudio air 391931 _alastair DUGDALE


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The Beekman Tower is an example using com-puter technology to develop a design into a more complex geometric form, further then what can be achieved by hand made design. Frank Gehry has created a unique angled facade, that stands out from the surrounding towers. The use of hand crafted paper models have been developed to more complexity through the computer aided technology. The design has departed from the rigid structure of the surrounding buildings facades and instead presents a curved organic facade that captures light in its curved forms to create interesting shad-ows. The outcome of this process is more complex then Gehry could have created with just his hand models, and therefore allows Gehry to experiment with form work and outcomes quicker then before.

BEEKMAN TOWERFrank Gehry, Gehry PartnersManhatten, New York, 2012

DEVELOPMENT OF COMPLEX FACADES

Through the advancements of computer technology in archi-tecture, architects have now got the opportunity to develop there designs into more complex forms, quicker and more efficiently.

1. Tallest Residential Tower in The Western Hemisphere- Beekman Tower, New York By Gehry, Gehry Photos, momoge.com: Architecture-Home Design-Furniture, (http://momoge.com/tallest-residential-tower-in-the-western-hemisphere-beekman-tower-new-york-by-gehry/beekman-tower-new-york-by-gehry-photos-1/)2.Beekman Tower photos/sketches: Courtesy of Gehry Partners, Sketch photo’s Coutesy of e-architect, (http://www.e-architect.co.uk/new_york/new_york_by_gehry.htm3.

The images show the transition from Gehry’s first sketch to the

computer generated design.

ELBPHILHARMONIE HAMBURGHerzog & de Meuron

Hamburg, Germany, TBC

1. Herzog + de Meuron’s Elphilharmonie Concert Hall Tops Out, Bridgette Meinhold, 05/28/10, Elphilharmonie, Photo’s by Oliver Heissner, (http://inhabitat.com/herzog-de-meurons-elphilharmonie-concert-hall-tops-out/)2.the building’s 37metre high plaza is situated where the brick warehouse intersects the glass structure, herzog & de meuron: elbphilharmonie hamburg nearing completion, designboom, image © designboom, 2000-20012, (http://www.designboom.com/weblog/cat/9/view/21115/herzog-de-meuron-elbphilharmonie-hamburg-nearing-completion.html)3.Exterior right view, herzog & de meuron: elbphilharmonie hamburg nearing completion, designboom, image © designboom, 2000-20012, (http://www.designboom.com/weblog/cat/9/view/21115/herzog-de-meuron-elbphilharmonie-hamburg-nearing-completion.html)4. designboom, herzog & de meuron: elbphilharmonie hamburg nearing completion, 2012, visited 30/5/2012, (http://www.designboom.com/weblog/cat/9/view/21115/herzog-de-meuron-elbphilharmonie-hamburg-nearing-completion.html)

INTRICATE FACADE & SURROUNDINGS

Considering the surroundings is important when creating discourse about a design. Connecting with the fabric of a city and its culture, either with a design that encapsulates the culture or a design that sets itself apart from its surround-ings, is also a strong design development.

The design for the new music theatre on the harbour of Hamburg, is a great example where the architects have considered the surround-ings and positioned the theatre where it creates the most presence. The result makes the building an immediate focal point for passing by boats and people, and thus becomes a symbol of the harbour and Hamburg itself. The building has also contributed to the culture of the Hamburg city, becoming a new leading arts theatre, which has also contributed to its popularity and attention during construction.

The intricate facade has an interesting pattern of individually molded glass sheets, that have openings to represent the gills of a fish and the adjacent ocean, (designboom, 2012). Therefore the facade relates to its surroundings and links the cultural aspects of the harbour and Hamburg, through the new wave ocean inspired glass sheet facade design.

Creating discourse is a vital aspect of the Wyndham City Gateway proj-ect, engaging with the surroundings in a typological and cultural man-ner has been effectively demonstrated by the architects Herzorg & de Meuron. Taking this technique and applying it to the development of the design process, will benefit the outcome of the Wyndham City Gateway.

In relation to the Wyndham City Gateway project, the process that Frank Gehry has taken can benefit the design outcome, because it can take a simple hand drawn/made design and develop it further into a more relatable outcome, more complex outcome and a more efficient outcome faster then without the computer aided technology (Grasshopper and Rhino).

studio airstudio air 391931 _alastair DUGDALE 06


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_computing DESIGN

The complex building forms of the International Terminal at Waterloo Station, where a direct example of how complex forms can be created and repeated along a plane using parametric modeling. The advantages are, a much faster explora-tion of design through assigning values to the individual arches and changing the values to create infinite possibilities in contrast to the rigid confines of manual exploration.

INTERNATIONAL TERMINAL WARTERLOO STATION

Nicholas Grimshaw & PartnersLondon, UK

1993

“Parametric Design calls for the rejection of fixed solutions and for an exploration of infinite-

ly variable possibilities” (B. Kolarevic, 2003).

The Kunsthaus Graz is an example of computational advance-ments in architecture allowing a facade that has no set design and is forever changing. The BIX lighting media installation on the facade (See FIG 4.1) allows an image/pattern to be projected onto the surface of the buildings facade and the architects have made the facades pattern created by lights to change into pic-tures that are comprised of circles. This design is engaging with the surroundings and has created an experience through digital media, and a viewers perspective of the design. The design of a facade that a projects animation type images onto the exterior panels, will create discourse due to its innovative presenta-tion. Through engagement in a visual sense, the viewer and the surroundings will be directly effected by the design and will therefore create attention for Wyndham City. The use of imagery and a changing facade is an innovative approach that interests me and has been effectively executed in the facade of Kansthaus Graz, through a image that is made up of a series of shapes. This approach to design will also draw attention to Wydham City through its innovative and new design that’s has been identified as a main attribute the council wants to develop into the project.

Digital Modeling software such as Grasshopper has allowed architects to explore the potential outcomes of patterns and im-ages of the facade much faster then before and to input simple transformations to create complex outcomes. The programs allow multiple functions and transformations of a design without starting from the beginning, it instead allows the programer to design through history and choose specific stages of the design to explore or discard. This advancement has allowed a programer to advance in a design much faster and therefore develop the outcome further and therefore more complex than ever before, (B. Kolarevic, 2003).

KUNSTHAUS GRAZ, ART MUSEUMPeter Cook + Colin Fournier

Austria 2003

(FIG 4.1)

I have recreated a surface that is influenced by the facade of the Kunsthaus Graz and is made up of circles that follow an image through an image sampler in Grasshopper.

Greg Lynn’s proposal for a protective roof and lighting system, was designed through the use of dynamic simulation, which he used computer technology to visualize the “gradient fields of ‘attraction’”. He visualized the attraction in relation to the site through movement of vehicles and pedestrians. This use of computer software to relate movement and forces to the visual design outcome, is a very ef-fective technique, because it will produce an outcome that is relevant to the specif-ics of the site. In relation to Lynns design the outcome will be relevant to attraction and therefore be attractive as it has taken points of attraction into consideration of the design.

The consideration of vehicle movement and attraction, is relevant to the Wyndham project as the site is on a highway. Mapping the movement through the site and specific attraction points as the vehicles pass through, will be vital in positioning , scale and position of the main features of the design.

PORT AUTHORITY GATEWAYGreg Lynn

New York, U.S.A, Competition, 1995

ADVANTAGES OF COMPUTER TECHNOLOGY IN ARCHITECTURE

Computational design has allowed the architects to explore the possibilities of a changing facade, in contrast to the rigid confines of architecture before computational advancements.

The use of animation software in architecture, has allowed architects to generate dynamic simulations of natural forces, to map and/or cre-ate a forms for architectural purposes. Dynamic simulation “takes into consideration the effects of forces on the motion of an object or a system of objects” (B. Kolarevic, 2003)

Parametric design advancements has enabled architects to explore the parameters of a single design into infinite possibilities never possible before. The assigning of definitions and values to the parameters, outputs different possibilities at a much faster rate. Therefore allowing the archi-tect to create much more complex designs at a faster rate.

1.Port Authority Gateway, New York, 1997, GREG LYNN FORM, © Franc Centre, ARCHILAB, 29/5/2012, (http://www.archilab.org/public/1999/artistes/greg15fr.htm)2.Last day at Warterloo International, flickr- from YAHOO!, 29/5/2012, (http://www.flickr.com/photos/7421008@N08/2308843290)3. Warterloo Inernational, 13th November 2007- the end of a Eurostar era, flickr- from YAHOO!, 29/5/2012, (http://www.flickr.com/photos/26503210@N00/2038057151)4. Diagrams of Warterloo Station, Kolarevic page 19, Kolarevic’s “Architecture in the Digital Age: Design and Manufacturing”, POSTED BY Arielle Sprat, Architectual Design Blog, (http://ariellespratt.blogspot.com.au/2010/03/kolarevics-architecture-in-digital-age.html)

1.2.Last day at Warterloo International, flickr- from YAHOO!, 29/5/2012, (http://www.flickr.com/photos/7421008@N08/2308843290)

DYNAMIC SIMULATION

PARAMETRIC DESIGN



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The complex geometry of the buildings facade, has been in-fluenced by the ocean, replicating the soft surfaces and forms created by the forces of the ocean. The design philosophy is to “reflect the promising modern future of Dalian and its tradition as an important port, trade, industry and tourism city” (coophimmelb(l)au, 2012). They want to create a design that is not as formally “pictographic” but an “associative” design, is relation to the site surroundings. The notion of an asso-ciative design is evident in the facade of the building and its association with the ocean through following organic forms. The design expresses the use of contemporary scripting and programming through its intricate and complex geometries, that are complex without the aid of scripting components. “If Architecture wants to survive as a discipline, it needs to engage the culture of innovation and computing” (M. Burry, 2011) I believe that the design has expresses the formal use of computing software in architecture. The quote expresses the need to incorporate computing into design for it to succeed in the future.

INTERNATIONAL CONFERENCE CENTERCoop Himmelb(l)au

Dalian, China2008-TBC

The design philosophy is relevant to the Wyndham City project, as it ad-dresses a major point, to reflect the promising future of Wyndham City, as the fastest growing municipality in Victoria. The project of by Coop Himmelb(L)au has used an associative technique to produce a facade that reflects the oceans forces, which is a really effective design technique. This idea of an associative technique would benefit the Wyndham project as it would give complexity to the design rather than the pictographic view that would be well explained as a deign but would be to simple. The use of association also can be explored in more possibilities as it gives more scope for computer script-ing exploration. The formal use of computer technology can help me pro-duce more possibilities and therefore develop my ideas and design further.

_case for INNOVATION



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1. Coophimmelb(l)au, 2012, Dalian- Architectural Concept, Coophimmelb(l)au-Wolf D. Prix & Partner ZT GmbH, visited, 14/5/2012, http://www.coop-himmelblau.at/ 1. Coophimmelb(l)au, 2012, Dalian- Architectural Concept, Coophimmelb(l)au-Wolf D. Prix & Partner ZT GmbH, visited, 14/5/2012, http://www.coop-himmelblau.at/



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ATTRACTER POINT & ARBITRARY POINTS

BOOLEAN PATTERNING

The effect created by the attracter point is very interesting, creating emphasis by grouping shapes around the points specified. The applica-tion of different shapes and more attracter points has created a series of grouping triangles, which draws attention to those areas in congestion and also creates a visual sense of depth in the arrangement.

EXPLICIT GRIDS

Using the boolean patterning input, one is able to create the hexagonal shape and alter the size of the opening in relation to an image sampler. The use of Grasshopper has allowed one to tell the software to change the size of the opening in each hexagon shape in relation to the gradients of the image put into the image sampler. Really nice effect of the shaded areas, created by this application, the outcome can be really interesting if applied to another image and to a surface.

This is showing the outcome when one would alter the amount of shapes in each row, as they become more clustered and grouped, they begin to merge into one organic shape. The outcome is interesting as it looks like woven material, but originally the effect of the clustered hexagonal shapes looks uniformed and set out in a grid. A-bit to rigid and uniformed, which detracts from its interesting qualities, that lay in the variety of hexagonal shapes.

MATRIXUSING RHINO + GRASSHOPPER

1. The Brolga » Tamara Kenneally Photography. 2012. The Brolga » Tamara Kenneally Photography. © Tamara Kanneally 1994-2011, 31/5/2012, [ONLINE] Available at: http://www.tamarakenneallyphotography.com/the-brolga/



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BOOLEAN PATTERN + IMAGE SAMPLER

OVERLAPPING PATTERNS

SURFACE NORMALS

FURTHER DEVELOPMENT OF THE MATRIX

Wildlife is a big part of Wyndham city, which I believe should be celebrated through an innovative design for the Gateway Project. The native bird the Brolga, is a vital part of the bird watching culture of Wyndham and the native indigenous cultures that inhabited the area. I am really interested in the patterns cre-ated from the overlapping feathers of the Brolga’s wings. The effects of overlapping patterns are great in terms of lighting, perforations and shadows, which is demonstrated in the Airspace Tokyo facade design by Thom Faulders Studio.

Using a an image sampler and boolean patterning I have successfully recreated the overlapping feathers of the Brolga, through shapes that follow the gradients of the image in the digital software Grasshopper. There is an interesting effect of clustered shapes (circles), that follow the feathers overlapping pattern. The variety of circles in relation to size and placement is also very interesting with random shapes and clusters forming, that create interest.

Interesting variety in size of the circles, and the introduction of overlap-ping patterns has created more clustering of shapes. Also through the overlapping patterns, one can change the size and the amount of shapes shown which has produced depth in the middle image.

WILDLIFE


SURFACE NORMALS

I then wanted to use the overlapping patterns and apply them to individualized surfaces,which produced interesting outcomes. The application of the varied randomized circles created shades and grouping where the surfaces bent and warped. I really liked the overall outcome of the application, and I believe it has attractive qualities and intricate aspects where the circles overlap and group together.

Nice effect of the pattern wrapping around itself, creates depth and again this overlapping affect of shapes that inter-sect and join together. The result is interesting and visually looks like the bubbles in the ocean. But not something I would like to explore further.

SPANISH PAVILIONForeign Office ArchitectsJapan, Expo 2005

The array of selected hexagonal shapes, repeated over the facade of the Spanish Pavilion, is a good concept and has potential to produce very in-teresting outcomes. I believe the architects of the Spanish Pavilion could have used this technique more effectively, by introducing more variety in shapes to create greater depth in there design. The design outcome of the Spanish Pavilion is a strong representation of Spain through the colours, but still has a melodic repetitiveness to the facade design.

Through the introduction of variety in the shapes design and size could have added more complexity to the facade and thus a more interesting design to look at. The Introduction of an image sampler portrayed in the images on the left, map a variety of sized Hexagonal shapes (Influenced by the Spanish Pavilion), to a image. The result is a complex array of varied hexagonal shapes, which portray the image with further detail if needed by changing sizes in Digital software Rhino and Grasshopper.

_reverse ENGINEERING

1. DJCAD &VCUQatar, Spanish Pavilion Expo at Aichi, Japan, CULTURAL KIOSK, 29/1/2012, (http://djcadteam4.wordpress.com/2012/01/29/world-fair-events/)

The exploration of mapping interesting and complex shapes to an image is a concept that I would like to explore further. I believe in the context of the Wyndham City Project, the interesting pat-terns can have a eye catching effect on the passing by viewers. This although can only be represented at a large scale to be able to portray the detail to passing by vehicles, due to the distance the design will be from the road/ the speed that they travel at.


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APPLICATION OF SYMBOLISM

We wanted to explore the use of symbolism that relates to Wyndham City and its heritage, to create an image that would best represent Wyndham. We explored the use of symbols used by the indigenous people that inhabited the area, and apply it to images mapping the gradients of the image and creating detail. The outcome is good with the symbols varying in relation to the image, but would have to be applied at a large scale for the vehicles to actually distinguish the image from the road.

__exploration of CONCEPT



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BOOLEAN PATTERNING + EXPLICIT GRIDS

As a group we wanted to firstly explore the shapes using boolean patterning, with the size of the opening within the hexagon shapes to vary in relation to the image that was sampled. The result was great with the shapes varied and making an interesting pattern. The application of a explicit grid to the pattern created clusters of the shapes that where uniformed and to rigid.

__exploration of CONCEPT

I have explored the use of light in these models, using the light to shine through the cut perforations to illuminate the pattern on a surface. The cuts where an enlargement of the experiment that used varying hexagonal shapes that map and image on a surface. The outcome of this model has produces a hexagonal pattern on the surface. With the backing light the model is very vibrant and the perforations are easily distinguishable. Which is a good concept that could be brought into the Wyndham City design proposal. The backing light makes the perforations glow and the shapes stand out in contrast to the dark paper. This ef-fect is very effective it distinguishing the perforations, which is needed at the large scale in the Princes Freeway site.


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I have replicated the Spanish Pavilion’s hexagonal pattern onto a surface and cut out the shapes, creating perforations. The pattern is an enlargement of the experiments I was doing, creating an image through a selected 3 types of shapes. The pattern is very simple and regular inn design. Would have been more complex if additional elements where added or perhaps overlapping panels to create a series of intertwining shadows. I still liked the variation in size of the shapes, that look to be scattered in a random abstract manner, truly though forming a larger detailed image.

In conclusion I believe the Spanish Pavilion does contribute some influ-ential concepts of arrangement, shapes and variability. It has influenced the group to experiment with shapes using Grasshopper software, to develop patterns using individualized symbolic shapes. The outcome is interesting as the detail when up close is a much more exciting then the larger image created by the varied shapes. Although in the context of the Wyndham City Gateway project, the viewers will be travelling at 100 km/hr, and at a far distance from the design. Therefore there will be no one examining the proposal in detail. But it is evident with the back-ing light that the patterns created can be distinguishable and vibrant.

FABRICATION

SPANISH PAVILION

AIRSPACE TOKYOThom Faulders & Hajime Masubu-chi/Studio MTokyo, Japan, 2007

The facades design outcome that the architect Thom Faulders, is very complex and interesting, this is due to the application of layered patterns. The layering of the ‘web’ like sheets has produced a design that interacts with light, producing shadows in the day from natural light and at night with the interior backing light, making the facade look like its ‘alive’.

The influence of the architects facade design was to mimic the existing vegetation on the site. The overlapping sheets of foliage like perforations, represent the effect created when light is projected through overlapping vegetation, (B. Pell, 2010). I believe the architect Faulders has success-fully portrayed this effect, and I also believe it would be an interesting concept to explore.

The use of overlapping patterns in this design makes the facade project its outer facade layer at the viewer. This idea of the design jumping out at the viewer makes it very bold interactive with the surroundings.

_reverse ENGINEERING

In relation to the Wyndham City project, the design needs to grave the passing by pedestrians attention. An interactive design like the Airspace Tokyo facade, would be an interesting concept to produce shadows and lighting that project onto the highway, thus interacting with the passing by vehicles. Or just purely projecting itself out at the viewers, through backing lights and complex overlapping patterns.

1. Sean Ahlquist, DSC_0056.JPG, airspace tokyo, Picasa- Web Albums, 27/7/2007, visited on 30/5/2012, (http://picasaweb.google.com/lh/photo/jup0w5h08_9iyHvbLZw82Q)1. Ben Pell, ‘Airspace Tokyo’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 86 - 89


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The model has been created to test the effects of light through overlapping pat-terns, influenced by the Airspace Tokyo facade design. The model consists of two flexible panels with large perforations, all individual in shape and size. The varied perforations create interest in the design as it doesn’t simply conform to the rigid regular design aesthetic, but instead a more abstract expression of geometric shapes.


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The patterns are overlapped and light is applied, producing great results. The overlapping shadow pattern is a lot more complex and interesting to that of the Spanish Pavilion. The organic shapes add a natural aesthetic to the design, which is evident in the thin shadow lines. The images taken portray the way the overlap-ping pattern scatters the light and creates an effect much like the effect the light has when it is passed through tree foliage.

In conclusion the Airspace Tokyo facade design has influenced my group to explore the idea of overlapping panels, to create more com-plex designs. Through the use of overlapping the panels, we could create more effective plays on light, if the panels are perforated. This is portrayed in the images, where the shadows will be more complex and interesting in design. The need to eye catching designs, can be created with a good lighting system and interesting overlap-ping perforations. This concept would be good to explore in the final design for the Wyndham City project.

FABRICATION

AIRSPACE TOKYO

__expression of interest CONCLUSION__reflection from preliminary CRITIQUE

The preliminary critique was useful as it helped our group start to develop a greater understanding of what we should further expand-ing on to create a successful design outcome. A positive aspect was

that we had a clear understanding of the path we wanted to take, although we had a lot of ideas that we had to refine and condense

in order to have a design that worked. The concept of imagery was successful in the examples of perforations and the shadows created once overlapping patterns where applied. Another aspect that worked well ,was our understanding of the site in its broader

context and how we wanted to link the proposal to the broader surroundings. The use of natural forms and perforations influenced by the native Brolga Birds wings was successful in relating the site to the large expansion of wildlife and bird watching in the area. We

want to incorporate this concept into our design.

The idea of relating the proposal design to the heritage of the site, through indigenous symbols and practices, was not so successful. The idea had its positives but the overriding notion of uninten-tionally offending the indigenous cultures, is not what our group wants the proposal to create. We don’t want the design to offend anyone, but in-stead welcome people to the site and therefore we have to be careful when incorporating indigenous references.



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Our group has developed a proposal for the Wyn-dham City project, that addresses the needs for an eye catching design, innovative design and a iconic

design to develop attention to Wyndham City. The proposal uses the associative technique of imagery

through the use of panels that are placed onto the hill in between the highways towards Melbourne

and Geelong. The panels will be design in an inno-vative way to create interest rather then a standard

precast rectangular panel. The panels will make up a larger image from a distance, by the lining

up of the forms at a specific view from the drivers perspective. The idea of a number of sculptures

forming to make a larger picture is an innovative design that will capture the drivers attention whilst

they drive through the site.

The proposal will be inspired by the natural wildlife that is abundant at Werribee and the surroundings.

Incorporating forms inspired by nature links the proposal to the surroundings of Wyndham City and

therefore makes a greater connection to the site and its surroundings.

The proposal will incorporate the idea of the “bigger picture” that through experiencing Wyndham City people can understand the great possibilities Wydham city offers, once you escape the confines of Melbourne. This no-tion of growth is illustrated in the growing forms that create a wing shape that is influenced by nature. Therefore Wyndham City will benefit from our design and innovative thinking that will inspire the motorists to enter

Wyndham and see the “BIGGER PICTURE”.

PART 2: PROJECT PROPOSAL

32 DESIGN BRIEF

34 SITE ANALYSIS + SURROUNDINGS

40 DESIGN DEVELOPMENT

44 STRUCTURAL DETAIL

46 FABRICATION

50 PROJECT PRESENTATION

54 REFLECTION FINAL CRIT

_design BRIEF

Key Considerations in the design brief:01 Iconic Feature

02 Appropriately Scaled

03 Original and Engaging in Form

04 Literal or Abstract

05 Daytime and Night time Viewing

06 Safety, ease of Maintenance, Materials and Longevity

07 Exciting, Eye-catching installation

08 South bound or North bound



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WERIBEE OPEN RANGE ZOO • WERIBEE PARK MANSION • NATIONAL EQUESTRIAN CENTRE • THE MELBOURNE WATER WESTERN TREATMENT PLANT

EYE CATCHING • SYMBOLIC REFERENCE • GROWTH • WILDLIFE • SCALE • INNOVATIVE

Choosing the site was not difficult as we wanted to create a design that was large enough for the passing vehicles to see and to make an impact in the context of its bleak surroundings. The site is very large in size which results in a large canvas for design experimentation. As a group we wanted to make the design large in scale, this was to attract the attention of the passing by pedestrians. Due to the location of the site being situated on a high speed Freeway (Princes Freeway), we considered that the viewers will be travelling at high speeds and therefore have a short space of time to view the Gateway proposal. We had to consider the length of time that the viewer will be able to: 1. View the proposal 2. Experience the proposal 3. Understand the themes and Concept behind the proposal

In the broader scale of the site, we considered the position of the proposal in relation to the direction/directions along the freeway (Towards Melbourne CBD or Towards Geelong-Great Ocean rd), that we wanted the viewers to experience the installation. Due to the Site being situated at the 1st entrance to Wyndham City towards Melbourne it holds significance, in considering this there are a few more exits towards along the way to Melbourne to get to Wynd-ham until you reach the last Exit which has the successful installation Seeds of Change, Designer Thompson Berrill Landscape Design.

As a group we considered the opportunity to link the two installations, Wings for Wyndham and the already existing Seeds of Change, and create a Gateway that made the viewer take the exit to Wyndham at our site, or take the other exits along the way. Linking the Two furthest Exits to Wyndham city together will make the installation relate closer to Wyndham city and its already existing installations and will create an opportunity to design a iconic symbol (linking both Gateways). Lastly the Seeds of Change installation works the most successfully driving towards Geelong-Great Ocean rd, which can influence our direction of the design to work best travelling towards Melbourne CBD (this is also due to the fact that there are no more entrances to Wynd-ham city once to travel past our site, in the direction of Geelong-Great Ocean rd).

INSTALATION IN THE CONTEXT OF THE SITE & BROADER SURROUNDINGS

SEEDS OF CHANGEThompson Berrill Landscape DesignPrinces Freeway, Hoppers Crossing



351. we-ef, Gateway Sculpture, Hoppers Crossing, VIC, Solutions- Floodlights / BI-symmetrical, Visited 4/6/2012, (http://www.weef.de/oneone/www/index.php?weef=2&ug1=10&ug2=1&ug3=140&l

ang=09_au)

Demonstrating the 2 symbolic references to Wyndham city and the surrounding area, both positioned at the main two entrances into Wyndham City travelling both directions. It is evident how both of the designs closely relate but still possess vast differences and innovation

PRINCES

FREEWAY

EAST

WEST

BOUNDW

ESTS

ROADPRIN

CESFREEWAY

BOUND

FROM GEELONG TOWARDS MELBOURNE

FROM MELBOURNE

TO WYNDHAM

SITE PLAN1:500



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We placed the design on the highest point which is 4 metres higher than the vehicles travelling along the Princes Freeway. This is because we wanted the design to have a more overbearing quality to it, making it more eye catching and noticeable. It also allowed the design to be seen at further distances away, which was important, as our group wanted to make the key point where the design took the shape of the Brolga’s wings, to be 300 metres from the start. The point at which the panels align to form the symbolic image, we placed before the exit to Wyndham city, and traveling towards Melbourne. We placed the point before the exit to give the passengers a chance to visit Wyndham City.

POINT IN WHICH THE PANELS ALLIGN

The Design is spread over 100 metres to make the design larger in the context of the site and to make the experience longer due to the speed that the vehicles will be travelling. The experience of the panels becoming a whole image then instantly spreading out in varying height and shape, was also influenced by the Seeds of Change in-stallation. This further cre-ates a link again between the two major entrances to Wyndham City along the Princes Freeway.

NORTH-WEST SITE ELEVATION

PERSPECTIVE IMAGESTOWARDS MELBOURNE & TOWARDS GEELONG-GREATE OCEAN RD

ASCENDINGTOWARDS MELBOURNE CBD

TOWARDS GEELONG-GREAT OCEAN RD

DESCENDING

_development of DESIGNOur design concept was to create a large symbolic reference of Wyndham, that was made up of smaller geometric forms, spread over a large distance creating a longer experience for the fast speeding motorists. The design was to be a single large image at a selected view point along the Princes freeway towards Melbourne. The Image created by the varied geometric forms, was to be symbolic of Wyndham’s thriving wildlife and the fast growing municipality. The design was to consist of 64 individualized panels, all varying in size, but following 3 types that follow the same ratio of height and Width (Shown in Figure 1, 2 & 3 below). The overall effect was for the series of panels to line up and create an overall picture, soon after exploding into an array of various sized panels scattered along the sites rising typology. The notion of Growth will be created through the growing panels sizes following the rising typology.

FIG 1 FIG 2 FIG 3

These 3 panels are varied in size and are individually altered in size and position to create the shape of the Brolga birds wing. We chose the Brolga as the symbolic image, because it is a native bird to the area and links the design to the large expansion of wildlife and bird watching in the Wyndham area. The shape of the wing is therefore made up of 64 panels, that are abstractly positioned to follow the outline of a brolga’s wings.

This image of the Brolga bird native to the Wyndham City area, can illustrate the shape of the wings when opened outward that has influenced our design. Our group has replicated the outline of the wing in an abstract manner which has added a further level of complexity and interest to the design. We did not want to follow the exact outline of the design and conform to the exact dimensions of the wing, but instead explored a more abstract shape. The formal use of Rhino and Grasshopper, has allowed our group to explore many different outcomes faster due to the history component that allows us to ‘rewind’ through our design process and develop earlier components that create a different outcome. Rhino software was the main application, that allowed us to create the winged shape.

THE BROLGA

THE SHAPE OF THE MAIN IMAGE INFLUENCED BY THE OUTLINE OF THE BROLGA BIRDS WINGS

THE NATIVE BROLGA BIRD


41

1. tyto tony, Pity, best action came in solo show, tyto tony- Life in a tropical Queensland wetlands, 3/6/2012, (http://tytotony.blogspot.com.au/2011/09/brolgas-kick-up-their-heels.html)

1. tyto tony, Brolgas (Grus rubicunda) love to kick up their heels, tyto tony- Life in a tropical Queensland wetlands, 3/6/2012, (http://tytotony.blogspot.com.au/2011/09/brolgas-kick-up-their-heels.html)

_development of DESIGN


Using perforations in the design has added another level of com-plexity and interest to our design. The overlapping panels, already have created a very interesting effect, but with the inclusion of perforations to each individual panel, the effect will be enhanced with light casting shadows varied in size and shape over the site. The perforations where influenced by the Brolga Birds overlapping feathers, that comprise there wings. The pattern was explored earlier in the deign process, which we applied to each panel creating a similar pattern of circle perfora-tions.

Using Grasshopper we where able to apply pattern to the panels, much quicker and with a lot more detail then we

could have created using hand made methods. The tedious task taking each of the panels that comprised the overall

wing design and spreading them over 100 metres was much easier with the software grasshopper. Using the

software we where able to select each of the panels in order of height ,and apply them to a 100 metre spread evenly

spaced. The selection process we wanted to be random, which made the progression of height somewhat abstracted

and various. In saying this we still kept the sense of a ascending design, to create the welcoming notion into the

ADVANTAGES OF DIGITAL MODELLING SOFTWARE& PERFORATIONS

ACRYLLIC

STEEL FRAME

CONCRETE FOOTING

GROUND LINE

EARTH

ACRYLLIC

STEEL FRAME

CONCRETE FOOTING

GROUND LINE

EARTH

STEEL REINFORCEMENT

The Site open to weather and wind, and the combination can be devastating on the surfaces of materials. Therefore a coating of Zinc (galvanization) will be needed to cover all exposed steel framing or metallic surfaces. We want to support the panels with galvanized steel framing around the exterior, but we want it to be subtle to not detract from the main panels inside. The steel fram-ing will support the panels with deep footings into the Earth fill of the site. For angled panels there will need to be an additional steel reinforcement to support the angled formes. The need for support is vital in an open site, due to the strong wind loads that can potentially blow over the structure. Therefore also the added perforations help to allow passage of the wind trough the panels.

Considering a material for the inner perforated parts of the pan-els, can vary as the design us very adaptable for experimentation. The perforation swill need to be cut from the material with detail especially at the smaller 1 metre high panels. Considering the aesthetic look of the design also I would like to use steel panels, as it will combine with the steel framing and make the design a whole solid structure. The idea of using one single material will also be cost effective in large quantities.

STEEL

STEEL

The image above demonstrates the level of detail that can be ap-plied to stainless steel panel work and the finish looks great with the framing.

_structural detail DESIGN



451. Natasha Webb designs a refreshing brocade balustrade, 13/8/2008, my Urban Garden Deco Guide- 18 posts

categorized “Outdoor paint/ options to add color”, Visited 3/6/2012, (http://www.myurbangardendecoguide.com/paint_and_color/)



47

FABRICATION

The series of images show the process behind the model. Using an illustrator

file we where able to take the scaled Rhino file and arrange the individual

panels, onto sheets to send to a Laser cutter. We opted to use laser cutting to

create the intricate details that could not be possible at the scale we needed to use. The smaller panels where very intricate and detailed. We soon discov-

ered that out concept was very large which meant that the scale model will

have to be large enough to gain a proper perspective of the design.

The detail on the smaller panels was to intricate and small for the laser cutter, so we had to alter the smaller panels for the laser cutter machine. We had to there-fore design for the laser cutter and less for the real life proposal which is not the desired outcome we would have preferred. The fabrication process was still made much easier with the laser cut panels in Polypropylene, which where very easy to take apart and assembled. This cut a lot of the time and errors that could have occurred cutting each panel by hand.

The result was great with the larger panels intricately cut by the laser cutter and the contours precisely cut by hand. The material used (polypropylene) was effec-tive in illustrating the solid black finish in contrast to the slick white contours of the site.

PROJECT PRESENTATION

IMAGES PORTRAYING SUCCESSFUL INSTALLATION DESIGN PROPOSAL

studio air48

studio air 391931 _alastair DUGDALE

49studio air 391931 _alastair DUGDALE studio air

__reflection from final CRITIQUE

studio air54



The initial structural design was to contain acrylic as the mate-rial that was shaped into each individual panel then perforated.

The acrylic material was not a good choice of material due to the damaging effects it has on the environment and the use of plastic material when presenting a concept that was highly in-

fluenced by nature and the Melbourne Water Western Treatment Plant. Therefore I have decided to use steel as the main mate-

rial, which is good as it will link in with the steel framing that holds the panels in place on the site, and it is a durable material once galvanized. The formal use of steel as a material in bulk is

great as it will be cost effective, rather then using many different materials, that will have the same effect.

The reason why we are able to swap the material around, is because our design is very versatile in reference to material.

This is due to the simplistic forms of the design and the pre-cast element of the design.

The outcome of the design was very successful in creating a symbolic reference to Wyndham City, and was also suc-cessful in creating a gateway type installation. The models where good at portraying the proposed effect we wanted the installation to have on the site, and the use of a laser cutter was great in creating sharp and precise dimensions for each individual panel. Also the laser cutting created nice perfora-tions that allowed the light to shine through the panels, therefore creating the desired shadows. In saying this we could have presented a photo montage to illustrate the look of the proposal in the actual site, to give the panel of crits an idea of the proposal in real life scale.

PART 3: LEARNING OBJECTIVES

& OUTCOMES

56 LEARNING OBJECTIVES AND OUTCOMES

studio air56



The task of learning Rhino and Grasshopper software in one semes-ter, was a daunting one, but throughout the semester I have been able to advance in my knowledge and now say that I am confident

enough to use them in future practice. This would not have been possible without the help that was given to me throughout the

semester, by my tutors and the courses online tutorials.

Now at the conclusion of the semester I feel like I have advanced alot in the areas of digital software design, now able to do basic

tasks with ease and even tackle the harder grasshopper combina-tions. Grasshopper was a very useful tool for my groups project, as it cut down time with simple combinations of plug ins, that allowed

us to apply my time to other aspects of the design. Grasshopper was a very complex system when first viewing it. But once I grasped the

initial concept I was able to advance much faster.

I am really interested in the designs I could potentially create using the combination of the two softwares. More so the application of

perforations in surfaces, and the effects that it can create. I believe there are endless possibilities with the combination of the two

softwares. In saying this there can be times where I did lapse into designing in the programs that was heading in no direction and I

believe I would rather develop a design without the use of the soft-ware, then enhance afterwards through these programs.

I am confident I will use these soft wares in the future, as they will allow me to enhance my designs with much faster results then other softwares. The time I will save can therefore let my develop another aspect of the design. Also I want to keep using these softwares because they create fantastic patterns and facade pos-sibilities, which I am really interested in. Before this course, I would have been confronted with the Airspace Tokyo facade design for example and would be amazed at how complex it was. After taking this course I can now understand the processes he could have taken and re-create it using the softwares we have learnt.

My group of Lucy Brommeyer and Vladimir Jokic have been great in also helping me understand the modelling software, through group work we where able to develop our basic understanding of the softwares much faster. Also with group work we where able to develop a design for the Wyndham City Gateway Project, much more effectively.

Parametric design/modelling is now to me a very exciting concept, which I want to explore and advance in my future work.

__learning objectives and OUTCOMES

REFERENCE LISTTEXT + ONLINE REFERENCES

1. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62

2. Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.

3. Coophimmelb(l)au, 2012, Dalian- Architectural Concept, Coophimmelb(l)au-Wolf D. Prix & Partner ZT GmbH, visited, 14/5/2012, http://www.coop-himmelblau.at/

4. Ben Pell, ‘Airspace Tokyo’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 86 - 89

+ All image references are at the bottom of the page that it is on, any other images are provided by Alastair Dugdale

final submission 391931

Documents

gehry photos

gehry partnersmanhatten

beekman towerfrank gehry

computer generated design

courtesy of gehry partners

complex forms

tallest residential

complex geometric form