journal final submission

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J O U R N A L A r c h i t e c t u r e D e s i g n S t u d i o 3 A

IR

P e r s o n a l J o u r n a l E x p r e s s i o n o f I n t e r e s tT U T O R : J a s & A l i s o n

C O N T E N T S3 Introduction

PART 1. CASE FOR INNOVATION

4 Week 1 - Architecture as discourse

8 Week 2 - Computational Architecture

12 Week 3 - Parametric Design

PART 2. RESEARCH PROJECT: EOI

16 Argument and Criteria

17 Precedents

20 Reverse - Engineer Case Study

28 Matrices

37 Experiment Through Fabrication

47 Conclusion

47 Reflection

49 Feedback and Revision

PART 3. PROJECT PROPOSAL

58 Wyndham Gateway Design Project: Introduction

61 Wyndham Gateway Design Project: Project Exploration

70 Wyndham Gateway Design Project: Project Outcome

86 Conclusion

87 Feedback and Revision

PART 4. LEARNING OBJECTIVES AND OUTCOMES

90 Final

92 Reference

ADS AIR 2012 WEEKLY JOURNAL | 396292 STELLA TJANG | 2

I N T R O D U C T I O N


Nowadays, architecture has moved in to all digital and scripting design that en-ables all the architects/designers to be able to create their imaginary ideas.

The following pages will talk about topics that are related with the Journal Assign-ment for Architecture Design Studio 3. All of the topics will be mainly discussed about what I think about Architecture in broad definition. Furthermore, this jour-nal also contains all the projects that are related with the my expression of interest, although some of it is not my own per-sonal projects. This journal will then an-swer about the Wyndham Gateway project based on my group and my own expres-sion of interest.

C A S E F O R I N N O V A T I O N

A R C H I T E C T U R EA S A D I S C O U R S E W

E E

K 1

P A R T 1.

MIND THE GAPPERSONAL PROJECT20th Century of Architecture SubjectStuttgart Winter University

This project was created in response to the problem faced by hous-es in Stuttgart, where the gap between houses are 3.5m. The gaps are designed for the public to be used as meeting place for the neighbours. In conjunction, we realised that there are no public ar-eas within the neighbourhood to facilitate communication between neighbours, except for cafes and restauants. Therefore, the aim of this project is to turn the unused and empty space into something useful and interesting. It consists of 4 levels, a playground on the ground floor, 2 comon rooms and a rooftop with no partitions. Since we developed the idea of public as an open area, we do not wsh to use any partitions to create boundaries.

The design itself is supposed to be sustainable. The double-glass and wood frame windows are used to give a shadow effect, so that in summer there will be no direct sunlight and the double-glass win-dow helps to trap heat and provide warmth during winter.

This project tries to portray the idea of how architecture is able to fully utilise empty space and turn this space into a more functional/prac-tical environment for people who live nearby, In similar view of the Wyndham Council’s Getway Project, the design result has to respond to it’s surrounding environments and relate with the conditions faced.


PETRONAS TOWERSCesar Pelli

Kuala Lumpur, Malaysiacompleted in 1998

When people think about the Petronas Towers, they will think about Ma-laysia. Therefore it can be said that this building is an identity of Ma-laysia. It is built with the idea of simple Islamic geometric squares that creates a shape of eight-pointed stars, which then rise in height towards the pinnacles. On the other hand, Malaysia is also famous for being an Islamic country and this symbol means unity within unity, harmony, sta-bility and rationality. In addition, it has been a discourse about the record that it is the tallest building during 1998-2004 and the tallest twin towers in the world (Andrew Kroll 2011).

With this example, it is best said that architecture is often used as the identity of something (in this case: identity of space). The structure or the design of the building always responds to the surrounding areas. Fur-thermore, it can be used as the identity of architects, since they use ar-chitecture to express their ideas and styles towards certain patterns. For example: Frank Gehry is famous for the smooth-flowing-steel surfaces, BIG with the innovative and imaginative design, Richard Meier with the columns, glass facade and the definition of public-private space, etc.

ARCHITECTURE AS AN

IDENTITY


SKY TERRA TOWERJoanna Borek-ClementTokyo2009 eVolo Skyscraper

PROBLEMSOLVING

Sky Terra Tower was designed to cope with the prob-lems that happen in urban areas. As it becomes more congested, it is hard to find green spaces around the city where it is more likely to find tall buildings that blocks the sun rather than parks. Joanna use the idea of the shape of neuron cells and then developed it into these eye-popping skyscrapers that can facilitate with public parks, amphitheaters, fields, public pools and bathhouses (Bridgette Meinhold 2009).

People may think that this project is impossible to be happened. However, now architecture comes to the point where anything is possible and architects are forced to think in imaginative and innovative way. Ar-chitecture is no longer a complimentary point for the building, whereas it works with the system to solve the problems in the society.


C O M P U T A T I O N I N A R C H I T E C T U R E W

E E

K 2

Stack Pavilion is a non-modular construction sys-tem, cut and assembled from flat plywood sheets that the pattern of the structure and the logic of assembly become the design of it. With the inno-vation of digital fabrication, CNC (Computer Nu-merical Control) wood router and CAD Program, this digital design is able to transform into a real object. In addition to that, stack is a continuous semi-solid mass that sticks the interior and exte-rior spaces together (Lidija Grozdanic 2011).

Many designers had now moved to digital fabrica-tion in order to minimize time, cost and to maxi-mize the result.

FreelandBuck ArchitectSussex, United Kingdom

STACK PAVILION


RILEY SUNRISE

PROJECTiONEDesigned for Riley Hospital for ChildrenIndianapolis, United States2011-2012

“... software tools - allows humans to control intellectual forces manvvy times more powerful than

human minds to design and construct ...”Angus W. Stocking


Since it is designed for children hospital, the ar-chitect uses children as their point of view for the project. Vibrant colors and ‘pixel’ shape are cho-sen to capture the attention and demontrate their aim, which is to encourage and lift their spirits. On the other hand, since it is a 3D variation, the graph-ic will visually change, as the viewers walk and it will give different result each time. It is designed in Rhino with Grasshopper plug-in and fabricate manually, it is possible to change the images and symbols through different variations until it meets the specification (PROJECTiONE 2012).

Computational techniques in design are an inno-vation breakthrough that really helps the design-ers. Not only in terms of cost and time, it is also allow the designers to explore it further with dif-ferent variations. Digital techniques allow design-ers to create something that cannot be made be-fore.

In addition, digital fabrication helps people to minimize the construction time and cost; although sometimes for certain materials the price will be more expensive. The combination between digital modelling and fabrication will give innovative out-comes that Wyndham city’s looking for the Gate-way Project. Furthermore, I am trying to follow how the architect use the children point of view as their main element in the design in the Gateway Project, which is Wyndham as the main inspira-tion.


P A R A M E T R I CD E S I G N

W E E

K 3

McGill School of Architecture

CONTEMPLAY PAVILION

ContemPLAY Pavilion is a multi-generational ar-tifact that gathers the ideas of contemplation and playing in a single clear gesture. It is inspired from the Möbius strip and constructed with triangular truss (combination of plywood and steel). On the other hand, the combinations of these two mate-rials produce a simultaneous Moiré and parallax effect. As the public approaches and engages with the pavilion, they will see new interference pat-terns are continuously created and destroyed due to the Moiré effect of the overlapping layers.


To maximize the Moiré effect, a space frame within the layers is needed. It is optimized and resolved by using digital parametric modeling.

The team used grasshopper, Rhino and Solid-Works to explore how much space frame is need-ed to get the best effect as well as to maximize the use of materials. On the other hand, CNC Cutting and CNC Laser were used in the fabrication.

Towards the EOI, this project represents the idea that I am looking for, combining complex pattern and movement. Since, the users of the Gateway Project will approach it from different directions and speed, therefore they will see various result from the project. The purpose of using digital modelling also helps to work within the budget and play with different components to get the best result.


R E S E A R C HP R O J E C T

Expression Of Interest

P A R T 2.

A R G U M E N TPatterns have been used throughout human history as a means of communicating indirect informa-tion and representing creative ideas. The recent development of digital design tools has enabled the extension of the design of patterns to achieve further development. Parametric and performance based digital design tools have also enabled the design of patterns to be responsive to practical/environmen-tal/function needs, seen in the precedents. Patterns are being harnessed not just for their symbolic/representational/aesthetic qualities but also to advance the functionality of space.

Our design for the Wyndham City Gate Project seeks to harness the innovative and inspiring qualities that digital design techniques contribute to pattern creating an eye catching piece that engage with mo-torists as they pass by Wyndham City on the freeway.

PERCEIVE FROM DIFFERENT ANGLESIn order to perceive it, we decided to explore using different shapes and sizes to achieve different re-sults as shown in the matrices table. We found that the best outcome for this criteria was using same sized shapes and positioning them differently. As changing the views from the different angles is the main point in this exploration, we started out by moving it manually through grasshopper, and later on progressed to a setting specific point using the attractor point association and a vector to achieve the flowing results

ATTRACT/DIRECT VIEWSAnother criteria for the gateway project is the important element of using depth. As drivers would be passing by the freeway, we wanted them to perceive the striking image structure directly, instead of it just being a plain 2D surface. Therefore, we explored the use of extrusion in the matrices to produce varying heights to form the one image that would be attractive. After much consideration, we thought that directing the viewer to a certain angle would be more significant than having different angles and making it more complicated so as to prevent them from getting to distracted.

CREATES MOVEMENTTo broaden our perspective on the gateway project, we came up with the use of repetitive element and the distortion of form to further develop our design, The matrices show that with repeated use of a cer-tain shape and position them close together and adjusting the form, we were able to create the effect that we want.


E O I

CRITERIA

P R E C E D E N T SE O I

GUGGENHEIM MUSEUM | Frank Gehry

top: ENERGY DANCE | Rae Douglasbottom: CONTEMPLAY PAVILION | McGill School of

It becomes the most discuss about, since it is breakthrough in terms of the complexity of the design and how they manage to use the compu-tational design technique in order to achieve the result.

From these two precedents, it can be seen that they use similar concept as Moiré and parallax ef-fect. We assumed to achieve the result it is pos-sible by overlapping the lines. The visual field is modified and interrupted by the interference cre-ated by motion of layers. The important aspect that we try to look from these precedents: new inter-ference pattern that are created and destroyed.


MOCA @ LBC | Thom Faulders

YUFUTOKU RESTAURANTS | Isso Architects Co. , LTD

PARAMETRC FAçADE FOR PUSHKINSKY CINEMA | Synthesis Design + Architecture The façade show two layers of different patterns, with the second layer are tilted down. The front layer shows the warped undulating lattice struc-ture that reveals and hides the context of the layer behind, allowing certain images to be seen when one moves around the structure.

Similar condition with the Gateway Project, they engage with the motorists that will be the viewer as well. We believed that they use attractor point and extrusion techniques to create the movement, so different resulty will be perceived from differ-

Compared with the Energy Dance and Contemplay Pavilion, this precedent has different input (linear façade) to create similar outcome. The other as-pect that we also look into from this precedent is using different position of lighting: backlight and front light to add more value.


EOI | R E V E R S E - E N G I N E E R

C A S E S T U D Y

AIR SPACE TOKYOThom FauldersTokyo, Japan2007


W h y w e c

h o s e i t?

- Different distances generate different views by overlapping the layers- Incorporation of the notion of movement into a still structure- Patterning as the new contemporary technique in architecture

We chose to study the case on the Airspace Tokyo as the patterning on the façade is layered in a way that it could be used to change one’s viewing aspects. Firstly, the façade is made up of layers of voronoi patterning creating dynamic visual effect of porosity, allowing for things to be seen and others to be blocked. We would like to use this concept by exploring overlap pattern in a way that it will change the view from different angles. As the voronoi patterning in Airspace Tokyo has different layers, it could be possible to change the pattern and direction of the layers and incorporate a different type of technique. This means that if line patterns were used, it would produce a different effect to that of the voronoi, which create an effect commonly known as the Moiré effect where overlaying patterns would look like it is moving, varying the views from certain angles. Therefore, we are trying to explore the notion of movement into a still structure. Hence, as patterning has become widely used in contemporary archi-tecture, we would like to integrate it to the Wyndham Freeway, combining ideas of speed and motion to layering of patterns.

How does it add to our precedents re-

search or helped in the development of

our specific Grasshopper technique?

Similar outcome with different views

In our project for Wyndham, we are incorporat-ing the same idea from Airspace Tokyo, which is achieving similar outcomes of layering and pat-terning to portray privilege views. From our prec-edents research, we believe that creating some-thing that can be viewed from different angles whilst showing formal expression through the manipulation of light and shadow changing over time would be a desirable outcome. Therefore, through Grasshopper, we have created some defi-nitions that would meet our criteria.


M A T R I C E Sp e r s o n a l - g r o u p - s e l e c t e d

E O

I

O U T P U T

ROTATION


O U T P U T

E X T R U S I O N


Boolean patterning + Attractor point + RotationUse polygon component, instead of circle

Surface grids + Attractor point + RotationAlter the points on the surfoce + loft

Surface grids + Image sampler + RotationAdd loft

Boolean patterning + multiple maths function + RotationUse two different shapes: circle and triangle

Using surface normals + Attractor point + Maths Function + Rotation


Overlapping pattern + Multiple maths function + ExtrusionUse two different functions + Cap

Using surface normal + Maths function + ExtrusionChange the function + Cap

Surface grids + Image sampler + ExtrusionChange into polygon component (triangle) + Cap

Arbitrary points + Using sets + ExtrusionChange into polygon component (triangle) + Cap

Surface grids + Maths function + ExtrusionAdd surface divide components + Cap


Until this stage of exploring the definitions, I used two output components (extrusion and rotation). I was quite confused as what to expected for the results, therefore I was playing around with the components until I found the shape that looks interesting and fit with the criteria.

Perceive from different angles


For this part, we started to categorized the matrices that we have according to the criteria. In this sec-tion, we were aiming to achieve different views from different angles. Here, we try with different shapes and forms to get different results. Later on, we realized it is best to use same sized shapes and posi-tioning it differently; in grasshopper we move it manually. From the trials, we decided to set on attractor point components to get the results above.

Attract viewers


For this criteria, we are looking to create the notion of depth to attract the viewers by directing their views to certain point. As drivers would be passing by the freeway, we wanted them to perceive the striking image structure directly instead of it just being a plain 2d surface. Therefore, we used extrusion component most of it, to produce varying heights. After several explorations, we realized that directing the viewer to certain points is more effective rather than having different angles. We also make it less complicated, so the viewers will feel less distracted.

Exploration of matrices to create movement


We tried to create movement through the design (matrices). Therefore, to broaden our perspective on the gateway project, we came up with the use of repetitive shapes and the distortion of form to further develop our design. In addition to that, we make use of light to create interesting shadows in the struc-ture. The results show, with repeated use of certain shape and positioned it with certain distance we can achieve different notion of movements when viewed from different angle.

Combinations


Through our explorations, we realized that by integrating all techniques that we had tried, we could achieve more. We used hexagonal shape, since it can be multiplied using the hexagonal grid in grass-hopper to create a facade like structure. Therefore, it is easier to make changes in the number of the row and column, followed by using attractor points and extrusion components in order to direct and extrude it according to the points. In addition, hexagon shape also allows us to play with the shadow. We chose these definitions to be tested for further research.

E X P E R I M E N T T H R O U G H F A B R I C A T I O N

E O I

Front Perspective

EXPERIMENT 1

SQUARE GRID + ATTRACTOR POINT


We used overlap square grid with at-tractor points attach to achieve our cri-teria. We decided to put each layer in certain distance to make the effect more obvious. As the attractor point arranged the square grid into different position in each layer, we able to direct the view and achieve the notion of movement. Yet, we feel that this experiment will not really work, since after trying with various distances, the results still not obvious enough and not as desirable as what we had hoped to achieve.

The photos of the models show where the attractor point is located as there is a difference in the positioning of the squares.

Front Perspective

EXPERIMENT 2

CIRCLE GRID + ATTRACTOR POINT


Here we try to use different shape to see if it is working or not. The combina-tion of circle grid and attractor point is more clearly than the square grid, thus the viewer can see the effect straight away. Compared with the first experi-mentation, we realized that the size of the squares was too small and it is restricting the full viewing purpose. Therefore in this experiment, we modi-fied and widen the cuts for the circles so that the change is more obvious.

EXPERIMENT 3

EXTRUDE SURFACES ACCORDING TO ATTRACTOR POINT


From the experimentations, with the idea of ‘privilege points’ it is best to achieve it with hexagonal grid that is extruded to a point. While the first and two experiments, square and circle grid, the results are not really fulfill what we are looking for, the square were too angular and the circles also could not fully achieve a proper view, allowing one to see through. Although with the attractor points our group man-age to direct the views, yet the results are not obvious enough for the motorists to understand it within seconds.

The conclusion that we have come up is by using hexagonal and ‘linking the holes up’ with extrusion component, creates these tube-like forms. We used hexagons as they were in between squares and circles in terms of how angular it is. Although we felt that having two separate planes to cause a visual effect was interesting, the privilege point was not obvious though.

With this, the privilege point was now more obvious. We made use of attractor points to determine where the tubes would extrude to, thinking of attractor points as the final view motoriests should have while looking at the project.


C O N C L U S I O NTHE SUCCESSFUL TECHNIQUE:Using hexagonal grid and extruding it ac-cording to the point.

WHY?Firstly, by extruding the hexagonal shape according to the point allows directing the view effectively. Secondly, it is success-fully shows different view from different angles. Lastly, it engages with the motor-ists easily and not distracts them.

Our group chose this method and will use it for further development in the fi-nal design for Wyndham Gateway project. We believed that this method would give us more opportunities to create different forms and developing it further more.

R E F L E C T I O N


From the past weeks, I learnt a lot about digital computation. At first, my point of view about this new technology is it will help us / architects / designers to create our / their imagination and make it pos-sible to make. Hence, through the pro-cess of learning from the basic and start creating the design and model, in some point I realized, that this technology can somehow prevent myself from creating the design that I want with the limitation of knowing the program. With rhino, I found it easy to use, while Grasshopper - the scripting tool - is hard to understand. For some people that can understand script-ing, it will be very useful and interesting to use. We can play with the variables in order to achieve the final that we want.

Although with the digital technique, it helps a lot during the fabrication process, I do not need to spend much time in mea-suring, cutting and gluing all the pieces and the best thing is I can get the model that I want with perfect result through Digital Fabrication. Through the research, analyzing, exploring, and fabricating I realized that sometimes my initial ideas might not be the final ideas and need to be improved,

On the other hand, the concept of privi-lege points still need to be developed and related with the site condition and how it will be applied. Type of material and how it will be fabricated also need to be con-sidered.

F E E D B A C KR E V I S I O N

Expression Of Interest


revised P R E C E D E N T S

MOCA @ LBCThom Faulders StudioSonoma, California

Part of the finalist in the competition for the Mu-seum of Contemporary Art at the Luther Burbank Center, this project responds to the drive’s per-spective from the road. The approach of this proj-ect is similar with what my group is looking for. As a façade, they use abundant layers of metal tubes to create different visual movements from differ-ent points of view. To relate it with the Museum of Contemporary Art, they placed initials of the place with attractive color that can be fully understood as the drivers drive pass. On the other hand, my group also wants to engage with the motorists that will be the users.


CORALStudio AisslingerPresented in Milan2009

From the name of this project, it is obvious that they use coral as their inspiration for the lamps and the chairs. It is formed by a multiplication of solidified felt hexagonal sub modules. Related with the Gateway Project, this project has simi-lar outcome that my group is trying to achieve for, which is looking through certain point(s) to see dif-ferent view; instead of using just one point as what this project does, my group is trying to put certain points to really direct the users to see something (Rose Etherington 2009).


Similar technique with the Yorkshire Diamond Pa-vilion but different outcome, Yufutoku Restaurant also use overlapping technique. They manage to use sets of flat strips with different depth accord-ing to the curves. Regionally, different patterns of light spill through the façade from the interior, allowing a gradual change of character at dawn (Koichi Torimura 2009).

The technique for the façade makes the restaurant not just another a ‘soba’ noodle soup, it makes the restaurant more special with the addition of this façade. As people walk pass this restaurant, they will see different gradient of the curves.

YUFUTOKU RESTAURANTISSHO ArchitectsTokyo, Japan2008-2009


SUGAMO SHINKIN BANK Emmanuelle Moureaux

Tokiwadai, Tokyo, Japan

The first thing that I realized about this building is the eye-catching colorful blocks on the façade. The architect uses 14 different colors that are arranged in a distinctive and rhythmical pattern that trans-forms the façade itself into a symbol. Since the client wants to create cozy and happy ambiance, there-fore the architect creates the façade with simple, bright and colorful theme, as well as the interior. Another interesting point of this building is the white surface on the façade. At first, it may be seen as an ordinary white surface with some black dots, but actually the black dots represent tree motif. They also continue to put tree and leaf motifs in the interior as well, to engage with the idea of welcoming customers with a natural and rejuvenate feeling (Brad Turner 2010).

This building can be used as the one of the precedents for the Gateway project, since they represent what they want to say through innovative and interesting technique. Through the colorful façade, leaf and tree motifs they are trying to portray the motto of the Bank, which is “We take pleasure in serving happy customers”. My group also tries to represent the idea of Wyndham as a municipality city through providing privilege points.


THE YORKSHIRE DIAMOND PAVILION

Various ArchitectsYorkshire and Humberside,

United Kingdom

The project is constructed with a striking exte-rior in the form of inflatable tubes arranged in the atomic structure of diamonds. It is arranged in the form of diamonds, since at night the semi transparent shafts will radiate the light in all co-lours and directions like a diamond twinkling in the sunlight (Rachel Sykes 2009).

I chose this project as one of the precedents, since when they put the diamond in grid and overlap it creates the result that is similar with the tech-nique that my group is looking for. The overlapping grid creates the effect that relates with the move-ment of the viewers. In some particular points, the viewer can see through the panel.

On the other hand, the space within and the ma-terials allow the light to penetrate that give more value to the pavilion. During the day, it is just a pavilion with diamond grid, but at night it is twin-kling.


ECO-PODSHoweler + Yoon Architecture and Design LabBoston, United States of America

Ecopods is a conceptual structure that is designed to cover an unfirnished building with modular pods growing algae for biofuel. The purpose of this structure is to raise the awareness about the potential of micro-algae, a bio-fuel that can be grown vertically (Sarah Housley 2009).

Similar with our intended design, this project also combine natural environment with manmade en-closure and use it as part of the surrounding area. Although this project seems quite impossible; with the robotic arms that will re-arranged each pod, yet I believe with the development of technol-ogy, this concept will become a real strucutre.


CRAZY VERTICAL GARDEN BILL-

BOARD PARKEFGH Arch Design Studio

Rosario City, Argentina

The intention of this design is to give the riverside urban space both a horizontal and vertical uplift with a crazy green wall. The billboard consists of a honeycomb concrete structure that is packed with a soil-less growth medium that will hopefully sprout a bevy of lovely green plants. It is also used as an interactive space for children (Tafline Laylin 2011).

Similar with Ecopods, Billboard Park also uses artificial material as the habitat for the natural environment. The difference with our design is this project, which is now under construction, is functional for people who live there. While our project, is in the middle on the Freeway and it will be used by the living organisms of the ‘wetlands’. Now, people more aware with the natural environ-ments, as there are many new architecture proj-ects use it as part of the design.


W E S T E R N G A T E W A Y D E S I G N P R O J E C T

P A R T 3. P R O J E C T P R O P O S A L

I N T R O D U C T I O N

“BRINGING WYNDHAM AT THE GATEWAYS”

Privilege means having the ability to enjoy a special advantage of being unique and individu-alistic. With the richness of Wyndham’s natural landscape, Wyndham is able to provide many natural attractions, especially from their wet-lands. Thus, we aim to feature a symbolic rep-resentation of how special Wyndham is in our Gateway design through conveying two main ideas.

Firstly, by introducing a manmade enclosure for new habitats to develop overtime, it aims to show how the majority of Wyndham’s natural at-tractions are related with its wetlands. Through this, we hope to also engage with the motorists who are passing by the Freeway simultaneously through visual perception. it aims to show how the majority of Wyndham’s natural attractions are related with its wetlands. Through this, we hope to also engage with the motorists who are passing by the Freeway simultaneously.

Secondly, as Wyndham is working towards improving their environment aesthetically, we would like to take this opportunity to create a design that points local residents towards a common goal.

Therefore, our design for Wyndham City Gate-way Project seeks to harness the innovative and inspiring qualities that can be achieved through digital design techniques to create an eye-catching piece.

R E - E N G I N E E R I N GT H E L A N D S C A P E

Following our previous criteria, we decided to edit it by adding more points that are more suited with our final design, such as:

Creating a landscape cluster form that encour-ages the growth of a new habitat, attracting wild-life to nest over time, therefore it will become their privilege spaces. This is achieved through creat-ing individual hexagon spaces that regenerates the natural landscape and thus attracting living organisms to live within them. For example, birds could nest in the hexagonal space as the structure is left undisturbed. At the same time, it will also

attract views of the motorists who drive pass it. The repetition of hexagons that are joint to one another also creates a visual perception as one approaches.

Reshaping the landscape, we would like to re-engineer the landscape so that the sculpture morphs with the fabric of the ground to show a change in the landscape.

Incorporates elements of wetlands which are land, water, vegetation and different or-ganisms so that it emphasizes the aspect Wynd-ham’s privileges of having an abundance of natu-ralistic flat landscapes, thus many wetlands


Wyndham Gateway Design Project

P R O J E C T E X P L O R A T I O N

18

SERVICE ROAD

WEST

BOUND

15

14

14

14

PRINCES

PRINCES

1516

EAST

14

BOUND

WESTS

14

FREEWAY

ROAD

FREEWAY

17

From our previous explorations, we decided to use the same technique and to link it back to the proj-ect; we approached it by finding out what is unique about Wyndham. Unique as different from other cities, thus it makes Wyndham special. Wyndham is privileged as a city to have heaps of flat natural ground (wetlands). As it is explained in our argu-ment, we wanted to bring this to the site for the gateway project, creating our own wetland natural environment.

We translated the privilege viewpoints into our project, no longer to frame certain views but using it to enclose a natural habitat. We made several explorations to find the best form that would fit our design intent, by digging the ground - manipulat-ing the landscape. We used the landscape shape as our initial form then slowly change it.

For the final design, we chose site A (highlighted site), since we found that this site has the most uneven landscape, thus we can use the contour for our design. On the other hand, On the other hand, by positioning the sculpture in that site, it will allow the driver to see it from two different di-rections.

L A N D S C A P E E X P L O R A T I O N


18

SERVICE ROAD

WEST

BOUND

15

14

14

14

PRINCES

PRINCES

1516

EAST

14

BOUND

WESTS

14

FREEWAY

ROAD

FREEWAY

17

Since the design will be part of the landscape, we start to re-create the site A by lofting the contour and slowly editing it. We had several aspects that we used in creating the design. There has to be some parts go undergound and the other top, should be high enough for the birds.

The diagram (right) shows how we achieved the final form (curve) from the initial shape. It was changed as our grasshopper definition has some limitation for certain curves, therefore we refer-enced the curve into the definition while changed the curve as well (with points on).

SITE PLAN Scale 1:250


D E S I G N P R O C E S S1. 2. 3.

Initial curves to be referenced on grasshopper

Once the form has been de-rived, we then made use of the form and applied the hexagons on the surface

Scale hexagons to a smaller scale for points to be lofted, fo-cal areas.

4. 5.

6.

Then usign attractor points to manipulate the shape.

Also moving the scaled hexa-gons according to the vector of the attractor points (how deep/far it should go).

Finally, lofting them to achieve this extruded shape. It need to be at least 1-2m deep (depth of the wetland) and the extruded top, deep enough so that birds and other living organisms can feel secure and safe. It is important to make use of the design sculpture as a habitat.


4.2.14

27.2.28

D1

8.2.26

2.1.31

5.3.1635.3.18

18.3.4

22.3.12

28.1.27

14.1.4

d2

26.1.8

8.4.35

33.4.1516.2.5

d3

25.4.8

12.2.22

2.5.17

31.1.2

34.5.39

21.7.

32

27.7.25

38.7.33

36.5.8

18.5

.3

32.5.23

29.7

.13

d6

4.9.37 18.9 .6

15.9.28

24.9.21

41.7.8

d8

12.7.38

28.7.4

1.u1

.23

14u3.26

22.u1

.6

37u3.22

4.u1.31

33u3

.28

17.u

3.20

39.u1

.2

u2

31u4

.22

28u2

,33

9u4.

34

u3

22u2.37

37u4.24

36u4.36

20u2

.17

26u2

.14

34u3

.9

24u3.37

22u3

.31

36u3.36

31u5x

5u5.x

9u5.

x 13u5

x

1

3.

2.

For the second method, we tried to separate each strip and unroll it (1&2). We also used different color layer for each strip as the guide (3). With this method, the fabrication method was much faster and easier.

Method 1

F A B R I C A T I O N


Method 2

U28.27

U26.32

U24.29

U22.23

U27.34

U21.27U21.26

U20.21

U20.14U20.13 U21.15U23.24U22.21

U19.20U19.13

U20.19

U22.27U22.28

U19.D20

U21.22

U19.D12

U20.26

U25.32

U17.24

U17.12

U17.16U17.18

U17.11

U17.23

U24.23U23.22

U16.11

U16.23

U16.17

U22.16

U19.25

U18.17U14.15 U15.14

U19.D16

U16.15

U16.10

U16.22

U13.14

U13.7 U13.8U15.10

U15.9U14.9

U15.22U14.21

U12.6

U12.17

U12.11

U12.5

U14.8

U14

U14.20

U14.13

U10.11

U15.16

U15.21

U13.12

U13.19

U9

U9.14 U11.17

U11.5

U11.16

U11.4

U11.10

U11.12

U8.14

U8.2 U10.3

U10U10.9

U10.15

U9.2

U10.16

U13.20

U7.D12

U7.1

U7.8

U10.4

U9.15

U9.3

U9.10

U5

U5.4U5.6

U5.12U5.11

U8.9

U8.1U7.D4

U7.D8 U8.7

U3.10U3.9

U3.2 U3.4

U35.36

U35.28

U2.3

U29

U33U32

U4.10U4.11

U4.3

U4.5

U23U22 U24

U28U26

U2.1

U2.9U2.8

U12

U16

U20

U17 U18

U35

U1.7 U1.8

U21

U1 U3 U4 U6

D24.U31

D24.19D22.18D23.22

D23.18D24.20

D20.U19

D22.23

D20.U31D20.24

D21.17 D23.19

D19.23

D19.18

D24.23

D20.16

D18D18.17

U2

D22.17

D19.15

D19.20

D21.22

U8 U11

D17.14

D17.18

D19.16

D19D18.21

D20.19

D23.24 U36

U36.30D18.22

D18.15

D23 D24

D18.19

U35.34

U35.29U34.27

U34.28

U36.35U34.33 U34.35U33.32

U33.27

U34U33.34

U33.26

U32.33U31.32

U31.D24

U31.D20

U32.31

U29.35U30.36

U30.24

U30.29U29.28

U31.25U36.29U32.25

U29.24U29.23U27.22

U28.23

U28.35

D9.13

U28.29U27.28

U27U27.33

U32.26

U29.36

D17

D1.5

U24.23

D15

U7.13

D13

D6

D3.7D3.8D3.2

D13.9

D11.16

D9

D7

D11D10

D2D1.2

D6.1

D4.3

D4.8

D2.1

D8.7

D8.11

D13.14

D4.U1

D2.7D2.6

D3.4

D7.10

D6.5

D6.9

D9.5

D8.4D8.3

D2.3

D12.U19

D5.9

D5.1

D5.6

D4

D14

D7.2 D7.3

D7.8 D8

U20.25

U7D7.6

D6.7

D6.10

D6.2

D7.11

D8.U7

D21

U25

U31

D1

U28.22

U1.2

U1.D4

U15

U24.29

D16.19

D20.U25

D17.13

D17.22

D22

D17.21

D16.U19D16D16.20

D16.15

D16.11 D16.12

D13.17

D15.14

D15.19

D15.11

D15.18

D15.16

D15.10

D11.12

D11.8

D11.10

D11.15

D12.U7

D12.U13D12.11

D14.10

D5

U19

D12.16

D14.18D14.17

D14.15

D14.9

D10.7D10.6

D10.9

D9.15

D12.8

U13

U6.12

D22.21

D19.24

D18.14

D10.14

D12D10.11

D11.7D9.6

D9.14

D8.12

U9.8

D14.13

U8.13

U6.5

D1.6

D9.10

D20

D3

U27.21

U27.26U26.27

U26.33

U26.25

U26.21U26.20

U25.31

U29.30U25.20

U25.26

U25.19

U28.34

U24.30

U30

U23.29

U23.17U22.15U21.14

U21.20

U23.28

U23.16

U25.D20

Since the final model consists of many small el-ements, we tried two fabrication methods to find which is the most efficient with the best result. On the other hand, the chosen method can be used for the real-life model construction as well. For the first method, we separated each hexagon and unrolled it one by one (1 & 2). Labelling process is crucial, since the label will be our guide (3).

1 2.

3.

AA

D19.16

D19

D19.23

D19.24

D19.18

D19.20

D19.15

D9.13

D9

D9.14

D9.5

D9.6

D9.10

D2.6

D2D2.1

D2.7

D2.3

D9.15

D10.14

D10.9

D10.6

D10.11

D10D10.7

D15.19

D15

D15.16

D15.14

D15.11

D15.10

D15.18

D11

D11.15

D11.7

D11.8

D11.12

D11.10

D11.16

D21.17D21

D21.22

D23.24

D23.19

D23

D23.18

D23.22D17.18

D17.14

D17.22

D17.21

D17

D17.13

D22.17

D22

D22.21

D22.18

D22.23


Top: Method 1 Bottom: Method 2

Left: Method 1Right: Method 2

Although from the final trial models (photo), there were not much different, yet in terms of the rigidity, method 2 is more successful. It might be because it consisted of individual hexagons; therefore they could support themselves individually. On the oth-er hand, for the connection of the top and bottom part, extra layer should be applied to hold the ten-sion of the curve. In real life connection, method 2 can be used and some tension cables might be applied to hold the sculpture.


R E A L L I F E A P P L I C A T I O NFor the construction in real-life, we were planning to use corten steel for the ma-terial, since it gives the earthy looks that we were looking for. On the other hand, the color also makes it feels that it is part of the environment. It is proved that many landscaping and outdoor construc-tions use corten steel as their material. Although, the insulating patina on corten steel makes it become water resistant, yet if it has contacted with water perma-nently, it will increase the corrosion. To prevent the corrosion, we were planning to seal the bottom part (that will contact with water) with corten steel sealant and it will give plastic-like surface. Additionally, corten steel can be recycled as well.

The hexagons model itself will be pre-fabricated manually then into panels. The individual hexagons then will be carried on-site and. From the trial models, we re-alized that the important part would be the connection of the upper and bottom part. Therefore, it will be fabricate differently from the rest of the hexagons, one panel altogether (individual top + individual bot-tom panels). Then to make it stronger, steel plate will be welded and bolted as well the joining area.


Zinc galanised plate olted to 20mm corten steel sheet.

Welded+bolted using countersunk screws.

Individual corten sheets prefabricated into individual hexagons. Hexagons as-sembled on site.

INDIVIDUAL JOINTS BETWEEN HEXAGON PANELS

CRITICAL JOIN BETWEEN CONNECTING PANELS

EXAMPLE OF CORTEN STEEL SCULPTURES


W y n d h a m G a t e w a y P R O J E C T OUTCOMED e s i g n P r o j e c t

C H A N G E O V E R T I M EWe should expect the nature to enve-lope the structure. Corten steel rusts and changes over time from orange rust to dark maroon-ish colour, also degradation occurs with age and time as well. Simul-taneouly, the birds, weeds, creeper plants will take over the space.

P H O T O S O F T H E M O D E LThe following pages will show the images of the sculpture that change over the time and photos of the model. It will show the details of it and the visual perception that can be captured through the model as people see it from different perspectives.


ADS AIR 2012 WEEKLY JOURNAL | 396292 STELLA TJANG |78V

C O N C L U S I O N

THE SUCCESSFUL TECHINIQUE:Using hexagonal grid and lofting it ac-cording to two attractor points.

WHY?Firstly, from previous experiments we encountered problems with extruding hexagons towards attractor points, as they would overlap one another. Thus, in the final design we managed to avoid that by scaling and moving hexagons to the distance we would like to achieve before lofting them. This way, we are able to en-sure that the hexagons will not overlap, as they are manually scaled with a slider. On the other hand, by manually adjust the distance; we can make it according to our criteria (should be deep enough for the living organisms).

Corten steel is used for the material and maintenance is needed (sealant). The construction will be consisted of 2 steps, pre-fabricated individual panels then join-ing it into individual hexagons so it can be brought to the site and assembled on-site.


F E E D B A C KR E V I S I O NP r o j e c t P r o p o s a l

From the final presentation, there were many positive feedbacks about our de-sign and some suggestions to improve it. There were several questions that we need to answer it: Is corten steel suitable for vegetation and is it safe? How to con-nect the sculpture with the ground since the soil is wet? Is it possible to make the design looks more cohesive?

Through our research, it is possible to use corten steel for our project, we will use wood as a liner or the surface of corten steel will be washed with a lime solution, thus it will reduce the acid surface and it will be safe for soil and plant roots. There-fore, we insist to use corten steel.

To connect the ground sculpture with the ground, we will make additional construc-tion with tension ties and pile concrete (see illustration on the following page) to hold the curve shape and firm.

We have managed to make the shape more cohesive, there were some issues that we need to change the curve a little bit so the hexagons will not overlap. We also changed the number of points, only one attractor point, therefore all the hexa-gons will be lofted to that one point.


ADDITIONAL CONSTRUCTION

REVISED DESIGN


P A R T 3.

F I N A L

L E A R N I N G O B J E C T I V E SA N D O U T C O M E S

In the beginning of the semester, I struggled a lot to follow the studio, as parametric modeling is very new to me. It took like two weeks to make me understand about it and have a vision where this studio is going. It is good that University of Melbourne started to introduce the students with this new advance system in early stage. Which I believe, this technique soon will be the ‘it’ tool in architecture world.

On the other hand, this studio also different with my other studios in the previous years. Different studios have different objective about the course, which I think it is good for the students, in the end our own tutors will mark the project; their com-ments and advices are really important. My learn-ing objectives for this course are: to understand and able to apply the design technique (paramet-ric design) in future projects, to understand the background of the project thus can be used as the inspiration and precedents, to learn about various possibilities to approach the intended design, and gain more knowledge about architecture itself.

Through this course, I realized that I learnt so much about new things, especially with digital de-sign techniques. The first few weeks of the course, had to read many articles architectural design with its development in terms of the digital tech-niques. It gave me ideas how to see design from different perspectives and helps me understand more about it.

This course also gave me chance to learn Rhino, Grasshopper, Indesign and Illustrator. It also helps me with the layout and visual presentation skills. I hope in the future project, I can use it and improve it into further context.

Since parametric design was introduced first in my semester, by allowing the students to make groups of 2 or 3 really help me a lot. My group mates and me can divide the task and focusing in our individual strength. I was pleased to have group mates that understand Photoshop and oth-er design tools a lot. I also had chance to learn from her.

My group once confused about the final outcome in the middle of the semester and thankfully the tutor guide us until we were back on the right track. We encountered some problems during the design until the last stages. We need to change to change the idea and start again from the beginning several times, until the tutors approved us to use ‘re-engineering the landscape’. It is quite different from the other groups, since ours is a small-scale sculpture and the concept itself also unique (my personal opinion). After trying different fabrication methods, sleepless night and failures, we man-aged to come up with the final model. I need to admit that this subject is a tough one. Neverthe-less, we can finish it and we proud of what we did.

In the end, this studio really gave me new expe-rience and gives me a fresh start on parametric design. I hope with what I achieved for the past 6 months, I can use it wisely for my future ahead and support my interest in architecture. I will con-tinue to learn about it and pursue my goal.

Admin, ‘ContemPLAY Pavilion - McGill School of Architecture’, Evolo (2011) <http://www.evolo.us/architecture/contemplay-pavilion-mcgill-school-of-architecture/> [accessed 23 March 2012]

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R E F E R E N C E


journal final submission

Documents