mid semester journal submission

DHANIKA KUMAHERI

ADSAIR

We live in a very exciting time of change.

As a young architecture student developing design thinking and design skills , this period in time offers us fantastic adventures, oppor-tunities, dreams, visions and ideals. Essential-ly, the revolution of computational and digital

tools has lured us down the rabbit hole, to the magnificent Wonderland, full of untapped resources and unexplored possibilities. It is also the cocaine of the self-proclained avant-

garde architecture, so far pleasing only a significantly small portion of the international

stage, but causing an ongoing addiction for research and progress for its cause. It is

the purpose of this semesters design studio to focus on, and contribute to, this ongoing

architectural discourse, and to do so not only through meaningless form-finding, but more

importantly in developing mastery in design-ing with these new tools where creaitivity is not instant but traceable and runs through

the whole project.

What this studio will not be, essentially, is

...an onanistic self indulgence in a cozy graphic environment. Endless repetition and

variation on elaborate geometrical schemata with no apparent social environmental and

technical purpose whatsoever.

-John Frazer, in M.Burrys Scripting Cultures-

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deFininG architectUreaS a diScoUrSe

wk01.01 case for innovation

Defining architecture has been a focus and rather, a hobby for many architects since it is so open ended and hard to define

It is the true aim of this design studio, in the use of new computational tools and design thinking, the Expression of Interest Document, and also the Wyndham City gateway project, that whatever results spring in the end - will contribute to the great and ongoing architec-tural discourse. A step forward.

the goal

Ian McDougal, AND Lecture series 2012diagram 1 &2 summarized from lecture 1 : Un-derstanding the Course : Architecture as DiscourseWilliams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. 8 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

diagram 2. The strife to advance architecure as a discourse: to push boundaries forward

with individuals performing as a whole.

diagram 2. A summary of what it means to

advance architectural discourse.

architectUre aS art

How architecture as art has advanced the architectural discourse

Architecture as art, in this case - as an expression of a design intent that have the power to evoke a feeling, emotion or as-sociation, and produce significant effects to its consumers, has been an ongoing contribution to the architectural discourse.

The pylons of the Karnak temple (figure 1.1)are seen as a canvas for artwork. It is adorned in hieroglyphs and represent a barier, a gate to the inside of the temple,which is a representation of the realm of the gods. The reason why they are so tall inheight is to intimidate the unworthy. The same idea of decoration to achieve an elevated state of being, and the manipulation of height is later used, more than 1500 years later, by a British architect called Sir John Soane, in the adorning of the walls in his home. The towering height and the chaos of artworks were conceived to be a trick to overwhelm, and to cause a sense of reverity and vertigo. One can see that even though Sir John Soane borrowed a piece of an idea from Karnak temple, that he also duly added his own intake to it.

And this is what it means to contribute to an architectural discourse. It is to look back upon what has already been done, reflect upon it, and reproduce it in a way that both reflects the zeitgeist of the time as well as offering some-thing new that will broaden the meaning of architecture and give the opportunity for someone else in other parts of the architectural profession to replay the process.

fig 1.1 (top). Karnak Temple, Egypt.

fig 1.2 (bottom). Sir John Soanes House in London. (now Sir John Soanes Mu-seum).

The previous works shown earlier were great works of art. However, it is undeniable that they are also out of date. It is mandatory that architec-ture as art reflect the zeitgeist, the soul of the current age. And right now, the age demands for something contemporary, dy-namic, a parametric manifesto.

architectUre aS SiGnHow architecture as sign has advanced the architectural discourse

Once we have established that architecture could be an artform, the question that follows is Beacuse it is subjective, then how do we interpret it?

It is precisely this quality in architecture that allows it to be defined also as a sign.

Architecture is the most dominant and prevalent form of art. However, there is something slightly problematic with this view. Reading architecture merely as a conception of a genius artist, an offspring of ideas that are aesthetically grand and pleasing is nothing but an incomplete view of ar-chitecture, even though this is the most common view of ar-chitecture from the general public. Architecture seen in this way also neglects the needs of the masses and becomes no more than a visually aesthetic privilege for a select people in the top architectural hierarchy (Williams, 2005: 105-107)

wk01.02 case for innovation

And like them, we are certain that architecture ought to function on the level of a sign, as well as anything, and actu-ally- that as signs, they are open to multiple in-terpretatons. The mean-ing of architecture was therefore not single, authoritarian and closed, but multiple, democratic and open.;

-Richard Williams, 2004-

wk01.02 case for innovation architectUre

aS Urban eXPerience

Looking at architecture as an urban experienc does not subject buildings or any other architectural elements below the power of urban planners, or the city as a whole. It is mereley acknowledging the fact that architecture dissolves into nothing more but an accumulation of ex-periences, emotions, memories, activities, and necessities within an urban fabric.

It is interesting to explore the situations when an indi-vidual stops perceiving the city as an agglommeration of buildigs, but instead as a series of experiences shaped and made by these precise arrangementm styles, ad design of buildings or other archietctural elements.

it describes the point at which debate cxpands from consideration of buildings alone, to consider the psychological (and indeed other) ef-fects that an ac-cumulation ofbuild-ings might have.

Architecture as a sign is highly related to its asso-ciative powers. Throughout history architecture has been used to show power, represent a politi-cal stance, represent a particular social groups presence, ethnical identity, or cultural identity.

For example, skyscrapers have long since broke through from its initial meeting its space-cost efficiency. Different from its earliest predeces-sors of proto-skyscrapers like the Life Insur-ance Building in New York, built in the 1870s. They are now architectural signs of modern civilizations, a proof of technological and en-gineering superiority, financial power, design and cultural prowess and stature of a nation.

This is what it means to look at architecture as signs. Looking at architecture as a sign means looking at architecture and its mean-ing and impact in the publics eye. In order to properly interpret architecture and the mean-ings behind it, one must look at its context, its predecessors, its design drivers and con-straints, and its designers and consumers.

This is how looking at architecture as a sign con-tributes to the architectural discourse. Interpre-tation of a single architectural entity will not be achieved without extensive discussion that will touch upon other ares in teh subject. It contributes to the discourse because interpretations of ar-chitecture rely on archietctural symbols and ges-tures, which have different meanings over time. Therefore, looking at architecture as a sign con-tributes to teh architectural disocurse because it is equivalent to iuterpretinga constantly changing language, that are influneced by the changing so-ciall, political, cultural, nd historical environment

Architecture has to have that capacity for people to project their own understand-ings and beliefs into them , in a sense, the public must be allowed to appropriate a bit of the interpretattive aspect of archi-tecture. If not, architecture is meaningless, if not architecture cannot communicate and therefore is deatched from its main consumers, rendering it disfunctional and unloved.

INTEGRATION TO EOI AND WYNDHAM CITY GATEWAY PROJECT

With the interest of contributing to the architectural discourse, the proposal EOI and the final pro-posal for the Wyndham city gateway project should encompass all three defintions of architecture. The final proposal will present the gateway as art, sign, and urban experience. It must have a pleasing artistic appeal, be s vessel or machine of Wyndham city identity that people can interpret and ap-propriate with thir own interpretations and understandings, and most importantly stress the urban experience of driving through it.

Why contribute to the architectural discourse in the Wyndham city gateway project?

It enriches your project. Its the most effective way to make your project be discussed and remembered. It gives your project a timeless quality. It gives your project life beyond its intended time.

We are taking a step to advance and influence the ideas and practice of others in the field of archi-tecture, which in time, or in the future also may inform our work in return.

Contributing to the ongoing 'idea machine' that has been a tradition for as long as architecture existed.

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conclusion

The Blur Building

The Blur Building by Diller + Scofidio, is almost liter-ally no building at all. It was a temporary pavilion for the 2002 Swiss exposition, in the 3 lakes region of Switzerland. It was unique in that the primary mate-rial used in the building was water vapor, pumped up from its site, in the middle of Lake Neuchatel and shot out of 31500 water vaporizers so that the entire struc-ture appeared as fog lifting off the lake or an impos-sibly low cloud. A smart weather system reads the shifting climactic conditions of temperature, humidity, wind speed and direction, and processes the data in a central computer that regulates water pressure.

Upon entering the fog mass, visual and acoustic refer-ences are erased, leaving only an optical white-out and the white-noise of pulsing nozzles. Blur is an anti-spectacle. Contrary to immersive environments that strive for high-definition visual fidelity with ever-greater technical virtuosity, Blur is decidedly low-def-inition: there is nothing to see but our dependence on vision itself.

This whole orchestrated effect creates architecture that fully and wholly immerses you. So much, in fact, that you forget where you are, what you are doing, and everything dissolves into emotions and feelings of ap-prehension and excitement.

Diller + ScofidioYverdon-les-Bains, Switzerland - 2002Progressive Architecture Design Awardexhibited in : Swiss Expo 2002Featured in: Ted Talks http://www.ted.com/talks/liz_diller_plays_with_architec-ture.htmlhttp://www.dsrny.com/

This building advances architectural discourse

in art because it chal-lenges the notion of

immateriality and form-lessness, something not

discussed in architec-ture, but mostly in other

forms of artworks, and challenges the basic

concept of what can be seen as an architectural MASS. It made the real

(the building) appear unreal.

case study #1

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Probably the single most compelling aspect of the project is its role as a changeling, and also the weightless aspect of it. The Building also provokes the consideration of the role of gravity, the weight of our buildings in teh distant future that begin to escape the bounds of the earth.

""perhaps one of the really interesting things about the building Is that it makes people think about environmental experiences and strategies, and maybe those sort of strategies will become fashionable.

B.W. Parker, pRACTICING ARCHITECT IN NEW YORK

"MARY HANCOCK, COURSE CHAIR FROM OXFORD BROOKES UNIVERSITYTHE BUILDING DOESN'T SUGGEST NEW CONSTRUCTION TECHNIQUES. IT PROPOSES NEW WAYS OF THINKING ABOUT ARCHITECTURE, OPENING UP OUR MINDS TO WHAT ARCHITECTURE CAN BE. MORE AND MORE, PEOPLE ARE REALIZING THAT ARCHITECTURAL DESIGN DOESN'T JUST INVOLVE JUST BRICKS AND STICKS AND STATIC FORMS, THAT IT DOESN'T NEED TO HAVE SPECIFIC BOUNDARIES.

"USMAN HAQUE. PRACTICING ARCHITECT, BRITISH ARCHITECTURAL INTERACTION DESIGN FIRM

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IT ALSO MAKES US QUESTION WHERE LIES THE DIFFERENCE BETWEEN ARCHITECTURE AND NON ARCHITECTURE. IT GIVES YOU THE FEELING OF BEING PART OF A CONSTANT METAMORPHOSIS.

EVA AFUHS, ARTISTIC DIRECTOR OF THE 2002 SWISS EXPO "

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integration into eoi

One aspect that makes the blur building very forward-leaning and contribute im-mensely to the architectural discourse is that it CHAL-LENGES a widely held idea that have been taken for granted: what a normal building looks like and what constitutes an acceptable architectural mass. The EOI will note this idea of chal-lenging and redefining a sim-ple and widely known idea.

A more important design logic from the blur building is the notion of ARCHITEC-TURE AS AN EXPERIENCE that is immersive and domi-nant, and is strong enough to wipe out all preconcep-tions of space and common understandings of architec-ture. Like the blur building, this intention will have to be achieved visually, and also will employ materiality and theatricality that will be best achieved through the use of computational means.

A very crucial aspect of the blur building, which is directly relevant to the Wyndham Gateway Project Brief is the fact that it suc-cesfully created an archi-tectural effect that ripples even years after its com-pletion date, where aca-demics, the public, profes-sional architects alike still continue to discuss these atmospherical achieve-ments of the blur building. This is a true measure of contribution to the archi-tectural discourse. , and also a design goal for both the Wyndham city coun-cil: to have a monument of their own which will be remembered as a sig-nificant contributor to the architectural discourse, that will be remembered and discussed. The Blur building manifests that yearn from an archietc-tural piece that wants to be remembered forever, as a piece that has success-fully pushed the boundar-ies of architecture forward.

connection to wynd-ham gateway broject

brief

Brod / The Ship / La nave: A Floating Pavillion for Croatia at the Venice Biennale

a project of the Ministry of Culture, republic of Croatia

Architects: Saa Begovi Marko daBrovi igor Frani Tanja grozdanipeTar Mikovi SiLvije novak veLjko oLui heLena paver njiri Lea peLivan ToMa pLeji goran rako Saa randi idiS TuraTo pero vukovi Toni arni

Exhibited at : 12th international architecture exhibition, Venice Bienalle 2010. People Meet in Archi-tecture, August 29 - November 2010, directed by Kazuyo Sejima

Publications: An interview with Leo Modcrin, project comissioner http://www.domusweb.it/en/video/leo-modrcin-croatian-pavilion-arsenale/

Videos of The Ships details, elements and constructionhttp://www.veengle.com/s/Croatia%20Pavilion.html

Official websitehttp://www.pavilion.hr/index.php

Official Publication:http://www.pavilion.hr/download/book.pdf

case study #2

This architectural piece ad-vances architectural discourse because it challenges the idea of whats unreal by taking the concept of an illusion, that does not have mass or form, and translating it into actual built space. This approach, in a way has that same power to critique our mundane, everyday concepts. Again the meaning of architecture is pushed even further as these space-less concepts of illusion becomes an actual 3 dimen-sional space.

Croatian par-ticipation at the 12th International architecture Exhi-bition at The Venice Bienalle were made up of three com-ponents, a floating pavillion sailing all the way across the Adriatic sea from Croatia to Ven-ice, an exhibition detailing the design process of the col-laboration between 15 internationally recognized Croa-tian archietects who designed it, and a oublication of the project distributed to visitors at the venue.

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image above. cad drawings of wire meshes that form the croatian pavillion, later on stacked on top of each other to create the illusion of a building.

background image. interior view with a mesmerizing opti-cal effect of the Croatian Pavillion

I wanted an exhibition and was proven wrong, I wanted the project to be named the ship, and was proven wrong. tis not about the ship, it is about the cargo. In every single step of this project I was proven wrong, and I think this is why this project is a complete success in the end.

It should not be read as a buIldIng, It has no scale. the project at-tempts to avoId the terror of the vIsual, to Include other senses and In that way brIng archItectural space to recognItIon. sensory propertIes lIke the sharpness of the elements that emerge by cuttIng, the wInd that you feel penetratIng the structure all that Introduces you to some form of topography that Is not created through three spatIal dImensIons, but emerges on the complex scale of welded wIre mesh.

t o n c I a r n I c- croatIan pavIllIon archI-tect

leo modrcin

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This effect of materializing the immaterial (the concept of il-lusion) could only be achieved by fabricating some form of VISUAL or OPTICAL effect. The Croatian pavillion is made from cheap building substance, it is accesible to everybody, and yet still manipulates the percep-tion and world of the viewer into a new world where every-thing falls short of their expec-tations.Views will be altered, and unexpected experience will be made possible.

connection to wynd-ham gateway broject

brief

There is an idea of sharpness of vision in all conventional types of built architecture, which was challenged in teh Croatian pa-villion. To approach the Wyn-dham city gateway project, we aim to critique ordinary, cliched monuments that rely on sharp-ness of vision and its sculptural

or realistic form.

Whats most relevant to the Wyndham gateway project is

that the Croatian pavillion was intended to be a cargo hold-

ing the identity and reputation of the country. Because it sails from to different places, this

piece of architecture becomes a diplomat, an ambassador of the countrys identity. And a similar idea could be implemented to Wyndham. We propose that the gateway design shall be a

representation of the new Wyn-dham spirit.

- a resilient urban creature for tongzhou -

The pur-pose of this experimental work is to inves-tigate alternatives to substantiate the capabilities and potentials of computational design into more meaningful levels through experimentation on high density redevelopment for transforming Tongzhou, a new suburban district in outside the 5th ring road of Beijing, into a new city center in order to release some of teh population burdens of the old city cenetr. The brief aims to challenge current urban design typologies are fre-quently conceived of as autonomous and static modules for living within the city, that are incapable of allowing change and adapting to change, dialogue, and response to shifting relaities and conditions over time. These models quickly become obsolete and ineffective. In contrast, cities not planned as one-offs, but rather which grow organically in response to varying needs and invisble forces, demonstrate a richer urban out-come. Yet many of these systems still lack a level of organization, flexibility and adaptiveness. Cities, especially in China seem to be designed to continually become less valuable up until the time of demo-lition and rebuilding. By focusing on alternatives for high-density residential design this studio questions whether urban design methodology can become 5-dimensional and address multiple parallel solutions evolving over time. MethodologyThrough IRRESOLUTE DIAGRAMMING, invisible and visible forces or parameters occuring on the site through irresolute, intentional dia-grams. These open ended, dynamic diagrams fluctuate in time and sdisplay ranges of possibilities, Their digital / parametric set-ups allow for interactive and responsive indexing of open-ended parameters by using varying, imprecise, undetermined, input parameters.

a personal group project for aa beijing

winter school 2012

scenario bifurcation 1

scenario bifurcation 2: popula-

tion growth

scenario bifurcation 3: stagnant

growth

scenario bifurcation 4: densify

scenario bifurcation 5:baby

boom

growth node

growth corridors


In this project where the outcome of the parametric model is not a built entity, but more like a designed system that is open ended and adapts to change, the interest that is relevant to be implemented to EOI would be the same use of computational tools to create a system of designing that is more resillient to different changes through time and will not be quickly rendered obsolete in comparison to other projects that will spring up in the future. This will be done using computational tools to design an architectur-al spectacle that focuses more on the experience of driving through it, and not so much on the form on the outside.

connection to the wYndhaM GatewaY ProJect

Most of the comissioned built monuments that belong in the same category in Melbourne are sculptural pieces that are dependant on the impression of its exterior form. These outward getsure froim the monument, relying much on its form and scultptural ges-ture quickly makes them ob-solete and out of date within a short period of time. In rela-tion to our EOI, it is therefore in our agenda and our goal to challenge what has already been done, and repackage the delivery of the proposal in a newer and provoking way that has never been done before: the committee will not get another monument. There are already so many monu-ments around Melbourne, they will get AN UNFORGET-TABLE EXPERIENCE as their new gateway.

We pursue the parametric design paradigm all the way... systematic, adaptive variation, and dynamic parametric figuration cocnerns all design tasks from urbanism to the level of tectonic detail, interior furnishings and the world of products... addressing the demand for an increased level of articulated complexity... parametricism is the great new style after modern-ism. Postmodernism and Deconstructivism have been transitional episodes that ushered in this new, long wave of research and innovation.

-Patrik Schumacher-Parametricism as Style: Parametricist Manifesto

week.02week.02 COMPUTATIONAL INNOVATIONS

BAROQUE DETAILING: REDEFINED

A SEARCH FOR PURE ORNAMENTATION

Michael Hansmeyer. A New Order. neo-baroque collumn prototype.

2010

Official Website: http://www.michael-hans-

meyer.com/projects/columns.html?screenSize=1&color=1

Exhibitions:featured in Gwangju Design Bien-

alle, Gwangju, 2.9 - 23.10.2011 Self-Structure: Column

Protoype at Le Lieu du Design, Paris, 30.9 - 17.12.2011

We are familiar with the use of generative grammars, L-sys-tems or other recursive procedural frameworks, such as Roland Snooks swarm based models that references natural processes or organic structures. What is extraordinary about the work of Michael Hansmeyer is the fact that Hansmeyer does not seek to reference the same processes as analytical tools to investi-gate nature. Instead, Hansmeyer is directly interested in creat-ing an outcome purely for the purpose of synthesizing and producing ornamentation. In his latest, and most famous work, his structures make reference to the foundational discourse of the architectural order of columns. And yet, his approach is not intended to add criticisim or to expand or modulate this discourse in any way - he does not intend to seek a modified new order, but rather is interested in its ornamentability.

The fact is, such shapes and such details would be too much to design and comprehend, too complex to process in the human brain. Contemporary computational cultures has provided designers with new fabricatable geometries that is redefin-ing our concepts of ordinary spaces and geometries everyday. With this high level of intricacy and complex geometries,It also redefines our senses, the way we respond to our environment, the way we comprehend architecture, and the way we interact with it.

michael hansmeyer: a new order

"The shapes of Michael Hansmeyer present themselves, as ornamented columns, very self-confidently as the produces of artificiality - even though there is a strong touch of alien organicity proper to them.''- Vera Buhlmann

week.02 COMPUTATIONAL INNOVATIONS

1. Michael Hansmeyer. A New Order. neo-baroque collumn prototype. 2010

2. Michael Hansmeyer. A New Order. neo-baroque collumn prototype. Close up zoom

9x. 2010.3. Michael Hansmeyer. A New Order. neo-baroque collumn prototype. Tangibility. 2010.4. Michael Hansmeyer. A New Order. neo-baroque collumn prototype, on display at

Gwangju design Bienalle, 2011.

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"The mastering of hi-techengineering software is ultimately used to produce ornate architecturaldecoration." - Mark Burry

Contemporary computational cultures has also challenged the separate, traditional ways of deigning and fabricating and instead translated them into one process that informs and complements each other. Itoffers a more competitive edge in terms of generating forms that are never seen befoe int real-life. Michael Hansmeyers collumn has redefined the concept of ornamentation by treating ornamentation not only just as something that is applied on top of a surface, but rather, a complex organic blanket of undulating topographical forms that create and form the surface of these collumns.

Hansmeyer has redefined ordinary traditional ornaments: floral, geometrical, life-like illustrations of the ordinary. Instead, he has introduced that ornamentation could be something highly organic in form, and so complex and so beautifully fab-ricated that people begin to question the abilities of computa-tional design in a positive light.

The calculation of the cutting path for each sheet takes place in several steps. First, the six million faces of the 3D model are inter-sected with a plane representing the sheet. This step generates individual line segments that are tested for self-intersection and subsequently combined to form polygons. Next, interior polygon are deleted. then a series of filters are used to hollow out the slice to reduce weight.

This method is similar to contour-ing objects, and is very popular with fabricating complex organic/blobby shapes in architectural models.

Whats important about this, in terms of the EOI, is the assurance that computational and fabrica-tion tools are capable of handling such complex desiging and fab-rication of forms. The contouring method alllows for complex undu-lating forms and surfaces that has the potential to create particular experiential qualities of being within a space, and as this relates top our main design theme, is something we could explore in more depth in the coming weeks.

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manufacturing

5. A new Order. Initial intersection with line segments

6. A new Order. Formation of Polygons7. A new Order. Polygon Filtering and

vertex adjustment8. A new Order. Interior offset/ hollowing

out

week.02 COMPUTATIONAL INNOVATIONS


CONCEPTUALLY

For our Wyndham city gateway project, we are interested in how contempo-rary computational cultures could redefine forms and ornamentation to cre-ate a groundbreaking piece that ignites specific experiential qualities. We will implement a similar contouring apporach to get a rich but not neccessarily complex outcome, to enrichen the drivers experience when passing the site.

The gateway proposal will also be selective in the use of materials so that it will evoke a similar sense of curiosity and wonder, which is an important aspect relating to the demand for an eye-catching, inspiring, and enriching experience.

TECHNIQUES

Instead of 3D printing, which has limitations in scale, Hansmeyer employed the technique of slicing and contouring to produce a very detailed and or-ganic 3D object. For the purposes of further explorations in future, a similar technique might be employed to work on complex rationalizing and reproduc-ing complex surfaces and making it fabricatable.

A frOzeN PIeCe Of MUSIC

Anisotropia, the design for the new Busan Opera House

wk03

contemporary scripting design philosophy

This project started with an interesting notion of music and architecture, and how similar they are to each other. However, unlike his earlier predeces-sor Iannis Xenakis, who composed music for pre-ex-isting spaces and designed spaces to be integrated with specific music compositions and performances, Christoph Klemmt took this idea of merging archi-tecture and music into a further level. With his design for the Busan Opera House, Klemmt reconfigured a musical piece that he wrote and through the use of computational tools, translated it into a faade that wraps the entire opera house in a corresponding harmony of architectural and musical composition.

Klemmt has once, and for all, frozen music into architecture.

Klemmts initial design philosophy revolved around the differences similarities between architecture and music and how he could merge the two. One of the most ap-parent differences between the two is that architecture eventually manifests itself in form and mass, whereas music is without mass. Despite these differences, he was interested in similar experiential qualities that mu-sic and architecture share. At a fundamental level, both architecture and music are art forms that have the ca-pacity to evoke and express emotional response. From a technical perspective, they are both made up of tech-nical or individual components or members that join together to make a coherent composition of elements.

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(top left) Busan Opera House. rendering of great hall. Cristoph Klemmt, 2011.

(bottom left) Busan Opera House Rendering of main theatre hall. Cristoph Klemmt. 2011.

(bottom right) Busan opera house floor plan. Cristoph Klemmt. 2011

Architect:Christoph Klemmt

Completion date: unknown

Published in:Design for Busan Opera House Competition entry

http://orproject.com/bu-sanoperahouse/

http://thecreatorsproject.com/blog/orproject-turns-music-into-architecture

British forum for ethno-musicologyhttp://www.bfe.org.uk/2.html

featured in:AA Beijing WInter School 2012 for computational design

They also share a similar way of design rep-resentation. Both of these disciplines rely on visual graphics, drawings and annota-tions to communicate, replicate, and visu-alize their design, and both have their own codes, systems and rules of representa-tion. The last, and probably most important similarity that Klemmt explored was time. Klemmt was interested in how both disci-plines occupy the dimension of time, and it was through this very method that he suc-cessfully translated sound into space. In a way, Klemmt transformed the time compo-nent in his music into an architectural space.

Having been successful with transforming something that is intangible into something that is spatially tangible, Klemmt was then faced with the most important question in parametrics and computational architecture : How does one incorporate ones compu-tational concept into built architecture?.

Klemmt does this in a sinuous, philosophi-cal way. By wrapping this frozen music around the building mass, Klemmt created a new symbol for art. He has managed to visualize music into built form, the equiva-lent to making ghosts visible to the naked eye before the age of computational tools. Klemmt hugged and dressed his building mass in this abstract, interweaving waves that not only just represented music, but embodies it. By doing this, he actually took the understanding and discourse of archi-tectural symbolism further. With the help of computational tools, it is now possible to literally manifest a concept that is previously never possible. Klemmt achieved a literal representation of an abstract concept, mu-sic, in an elegant and not so mundane way.

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However, architects still face a challenge in how architecture communicates to the general public. There has always been a gap between most buildings conceptual start-ing point, and the public apprehension of such concepts. The general public concen-sus is that architectural concept and the way public receives them are incongruent. While this incongruency is good in that it lets dif-ferent interpretations and meaning be pro-jected onto the built work, it also poses the question of whether or not an architectural concept behind the building needed to be communicated at all. Should it be an archi-tects job to make sure that his concept, his personal message be communicated to the world? Or should it not concern the archi-tect at all? Does it matter whether or not the public gets it? And most importantly, will the public getthis piece of architecture?

A building that is truly a work of art in its nature, essence, physical being an emotional expression. This being so, and I feel that this is so, it must have, almost literally, a life.

The theme of ornamentation is central to this design. And it is important to approach the intention of this ornamental facade criti-cally. The marriage between architecture and ornamentation has had its significant rise and falls. And the public view on how an ornamentation is received is always changing. Ornamentation also brings a central theme of identity, and with it, is-sues such as place making, or lack thereof.

-Robert Seyfarth

The musical piece that is behind the conception of Busan opera

house facade detail .

KLAvIERSTCK

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It is curious to note that the architect composed a musical piece in German that isnt an actual music for the ears. Instead, Klavierstck I is a piano composition writ-ten by Klemmt based on a twelve tone row which is repeated and altered, in or-der to create complex rhythmic patterns. One can say that this musical piece was created for the sake of how it is meant to appear as a the opera houses or-nament appearance. Once again, this feels unconvincing. Why not choose a musical piece related to Busan, South Korea, as an interdisciplinary twist on site-specificity? Why not take the won-derful concept and use it to enhance the cultural heritage, the cultural treasures and richness of the site and the people? Why not make this architectural concept a driver and beacon for cultural iden-tity of the place? At least then the rea-sons for the origins of the design would fit with the location of the structure.

Sure, beauty by itself can be wonderful to be-hold, but in the case of a purpose-built build-inga cultural center no lessbeauty with a reason is often more satisfying. This project manifests the very meaning of computational architecture and its power to visualize abstract concepts in a novel way. Through the use of computation, the design intent was carefully and beautifully executed: Translating and freezing music into built form. It is successful in pushing boundaries of architecture as a liter-al means of representation, but a question re-mains unanswered. Will computational design contribute to a further death of site specific identity and richness? Will it promote site-spe-cific solutions that are embedded within the heart and culture of the local people? Or will it simply be an empty cocoon of form, waiting for locals toi project a sense of identity to it?

Busan Opera house 3D rendering, perspective view, Cristoph Klemmt, 2011

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INTegrATION INTO eOI

Computational tools have the prowess and ability to materialize concepts that are previously immaterializable.They also have a better control of representing substanc-es that are without real space and volume, in this case, music.

With computational design tools comes the powers of representation and with repre-sentation comes the reading of meaning, discussion, and possibly self discovery.

CRITIQUE TOWARDS THE BUSAN OPERA HOUSE

The architectural field is current use o f the parametric has been superficial andskin-deep, maybe importantly so, lacking o f a larger framework o f referents, narra-tives, history, and forces - Mark Burry

Busan Opera house has an amazing concept of materializing music and giving it mass and volume, howevere, it is still superficial and essentially lacks a design narra-tive that justifies teh form's connection and relevance to its site, making its paramet-ric deisgn outcome more sculptural than representational.

In the case of Wyndham city gateway project, extreme effort will be taken to create a design anrrative that gives more depth and enriches the project, rather than just presenting the board with a sculptural piece that lacks grounding.

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VISUALS:

Yannick Jacquet (Lego_man)

Jrmie Peeters (Shir)

SOUND DeSIgN:

Thomas Vaqui

PrODUCTION: Nicolas Boritch

Awards:

Selected for Vimeo Awards

exhibited at:

Mapping festival in geneva (2007);

Image radio, eindhoven (2007),

100% Montpellier (2008);

Yota Space in Saint Petersburg (2010).

Scopitone festival, Lieu Unique October

12-16th, 2011, Nantes, france.

Official website:

http://antivj.com/3Destruct_v2/

featured in: http://www.archdaily.

com/230425/video-3destruct-scopi-

tone-2011/

3DeSTrUCT

3destruct is a light installation that uses 'curtains' of see through mesh that are stretched out vertically from floor to ceiling and become the 'canvas' where a series of animated light will dance accompanied by sound.

"As the visitor walks through, he loses his landmarks in this non-linear universe that destroys any spacial coherence. Feelings of space ordinary space are re-voked and challenged." - Yannick Jacquet

INTEGRATION INTO EOIDesign philosophy:Lighting has a certain experiential quality in them. Humans are attracted to light. And with lighting instrallations like these, what can be implemented into the EOI is the TRANSFORMATION that takes place in a dark, unlit place when it is lit up. 3Destruct tricks the mind to 'unsee' the original forms of the meshes that are used as a mdeium to reflect the light. In a way, the lights 'camouflage' and 'mask' the forms of these meshes, and people get too immeresed in the dynamic light movement to notice the meshes. This visual trick is something that could be a potential avenue to explore in realizing our design concept of making WYndham a new monument that is not about the form, but about the experience.

Design Technique:A mapping software would have to be used to proj-ect the lights onto these surfaces. this would require further research on implementation into grasshopper and fabrication.

matrix

opportunity

ARPBPCIEGOPSGSNATPCAISMFMMFSTUS

arbitrary points

boolean patterning

curve intersections

explicit grids

overlapping patterns

surface grids

surface normals

attractor point

curve attractor

image sampler

maths function

multiple maths function

streaming text

using sets

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ddcddrddeddsgmsmcrl

data driven components

data driven rotation

data driven extrusion

data driven shading

grid manipulation

surface manipulation

cross-reference list

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP

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matrix presentation style : based on Yyehuda kalays search process : depth first - and then breadth

In every graphic presentation, the most important question is how to communi-cate graphically, in the most succinct, effective, elaborate when needed too, and non-ambiguosly. In this case, where the computational design process churns out multiple and seemingly open ended outcomes of candidates for optimal design, it is therefore necessary to lay them out in a structured way - not just for the benefit of whomever designers will present their information to, but also for the designers own benefit.

Integration into EOI

Structuring the candidates of optimal design in a more structured way allows the designer to declutter his or her workspace and thinking space and allows him or her to see emerging patterns or values in his or her many, many different candidates. It allows designers to effectively compare, cross check with the different methods he or she used, and make more informed decisions.

It is precisely because of this search method introduced in the Kalay reading that proves the competitive advan-tage of computational tools compared to other tradi-tional designing tools. It can produce so many design possibilities at a click of a button, endless explorations are possible.


The Matrix of inputs and outputs were explored according to the breadth method, where all possible options or combinations were explored before reviewing which ones could be the logical candidate/solution according to a set of criterias.

Since our group aims to create an immersive architecture as an experience, not as form, we have set a few criterias to choose the right candidates for further development using the output techniques.

1. vibrant composition - dynamic, curvilinear, or imposingly dif-ferent2. detail should not be too fine

creating matrix of input and associations


step 1

all combinations of inputs and outputs are explored

a b c d

1

2

3

outputs

inpu

ts

a b c d

1

2

3

outputs

inpu

ts

candidates are chosen

inputs variations of outputs

association

+ first matrix + second matrix

general process of search

creating matrix of inputs and association combined with outputs

1. Must be a form that creates an immersive 2D/ 3D experi-ence: this could be achieved trhough some form of optical effect2. Must be low-definition : low complexity and low-details. 3. Must be fabricatable

while also: 1. vibrant composition - dynamic, curvilinear, or imposingly different2. detail should not be too fine


step 2

The next step after picking out candidates from the first matrix is to recreate another matrix, only using Kalays breadth first, and then depth method. The selected few from the previous matrix are then plugged into the outputs technique, and this will be the base of the second matrix. These new combinations then will be recombined using different outputs technique, and from these combination, a few will be chosen to be further explored accord-ing to a more refined set of criterias that relate to our goal.

combination 1 is explored

solution 1 is found

combination 2 is explored

solution 2 is found

Arbitrary Points Boolean Patterning Curve Intersections

Attractor Points

Curve Attractor

Image Sampler

Maths Func-tions

Multiple Maths Functions

Streaming Text Files

Using Sets

AS

SO

CI

AT

IO

NS

I N P U T S ( b r e a d t h s e a r c h )Overlapping Patterns Surface Grids Using Surface Nor-

malsExplicit Grids

chosen for further development

matrix of output breadth search

DISCA

RDED


not fabr

icatable

not fabr

icatable

not dyn

amic/in

ter-

esting en

ough

not dyn

amic/in

ter-

esting en

ough

not dyn

amic/in

ter-

esting en

ough

immersiv

e in 2D

- create

s

a 3D opt

ical illus

ion on 2

D

plane of

a dynam

ic move-

ment

too muc

h detail

too muc

h detail

CHOSE

N

not fabr

icatable no

t dynam

ic/inter-

esting en

ough

too muc

h detail

immersiv

e in 3D

- will a

ct as

a movin

g optica

l effect i

f one

drives th

rough it.

Integration into EOI

all 2 viable candidates were cho-sen for their potential to display, 2D or 3D ways to engage and immerse viewers within a particu-lar optical illusions experiential qualities, which is what our group is aiming to do.

ARP ATP DDR

rotation is offset at quite a large distance from ini-tial set of circles

when degrees of rotation are changed , effects of a dancing fabric like structure is created, even though this is in 2D, it creates the illusion of a 3D environment

however, there seemed to be too much detail (too grainy)

so next the surface is divided with less segments, and offset distance is further enhanced.

this achieved a more fluid and dynamic set of dancing fabrics

final candidate is cho-sen for its dynamic and immersive qualities (3D illusion within a 2D form) with less details (so it wont be missed during the drive), especially if we could somehow animate this


Initial condition

Compressing of space

Changing angles

Simplification

Elaboration on offset and angles

Final candidate

matrix of output depth search

the resulting circles from curve intersections input are extruded based on a trigono-metrical maths formula,

ci mf dde

results in a smooth undula-tion of pipes extruded from the flat planar surface. However, as the curvy bit is under the main plane, this candidate might be hard to fabricate

manipulating the surface of the main surface plane creates a more dynamic 3D pattern, and will certainly be a more immer-sive experience, however, there are limitations in the fabrication techniques that we will be using (laser cutting)

further manipula-tion allows a more structured and ordered composi-tion. Dynamic in a musical sort of sense.

These final 2 models were chosen on the basis of practical-ity and fabrication techniques, as well as its composition and performance outcome that directly relates to our design goal : immersive experi-ence

Initial condition

Problems identified

Surface manipulation

Surface manipulation

Normalized surface + condensed trigonometry curve length

Final Candidate

ARP ATP DDE

ARP ATP DDRCRL

ARP ATP DDR

ARP ATP DDc

Doing the matrix of outputs unearthed a few different rev-elations about the scripting and computational process.

1C o m p u t a t i o n a l tools never tire. And could be creative if you script them the right way. It gets you the designer thinking in so many different ways and possibilities that would otherwise would be too ex-haustive for human brainwork to do.

The more param-eters you put in, the more possi-bilities you end up with. The more parameters yous consider in your script, the more di-verse your design outcomes could be.

It is easy to get lost in the fun. This means designers got to know his or her goals amd when to stop ex-ploring possibilities to make a decision

bpusddc

bpus

ddr

bpus

ddrcrl

bpusdde

2

3

discarded versions of the matrix

Maths function seem to be gener-ating the most out-come, especially if combined with the data driven rotation

Association tech-nique gives you the most control over these defi-nition, and also most variations.

4

ci mf dde ci mf dde sm ci mf ddr sg mf dde sg mf ddrsg mf ddr

crlsg mf dde

gmsg nf ddc

sn st dde sm ddr

sn st ddr

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEvELOP integration into eoi

With the limited amount of grasshopper definitions that was learned in a short period of time, overall there was this interest to undulating forms and dynamic but smooth curves in the composo-tion to make an immersive experience.

However as our group moved on to learn about other grasshopper definitions and possibilities in forms, it was decided that none of the definitions in the matrix offer the depth and experiential quality our group was looking for.

Even though none of the definitions in the matrix is pursued further, this exploration of matrix was necessary to understand the limitations and possibilities within grasshopper.

De Young Museum [ Herzog & de Meuron ]

Overall form gives an impression of a prehistoric monolithic structure, especially against the backdrop of the landscape. But on a closer look at the details, it boasts a modern, computationally designed and enabled facades.

Technique: These facades were obviously designed with an image sampler as the as-sociation technique, and with circles as the outputs technique, which is then developed into perforations and bumps.

Performance: The weathered effect, which had been unforeseen proves a nice addition to the whole design. Having experienced this unplanned quality in their work, the architects who made this building will have gained an incredible insight to their next design and these emergent qualities that might come up. It is precisely this that highlights the importance of research in the design methodology.

Hills Place [Amanda Levette Architects]Overall form is pockets of lights. Having these openings ensures that light is, in fact, also a part of the building.

Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way that they aooear almost seamless. In terms of prefabrication, joints are something that archi-etcts and designers have to carefully orchestrate so taht their design intent comes through to reality without being compromised.

Performance: The surfaces with glazing would have captured more water than regular vertical walls. This would have achieved an experiential effect on the inhabitants inside.The choice of materials also highly informs this design decision. Metal gives off a reflec-tive quality that is unachievable with other materials. Only with metal can you get the building facade to almost merge with the color of the sky.

The Banq Restaurant

Overall form: Undulating curvilinear contours that are used to hide the ceiling, the collumns, and engulf the restaurant in a wave of soft

Technique: A very successful technique would have to be in the way this clad-ding was fabricated. The joints between each cladding module are orchestrated in such a way that appears seamless wood panels.

Performance: This project reinterprets the ordinary flat ceilings of modern com-mercial developments. The curving timbers are now both ornamentation, identity, as well as the focal point of the restaurant.

Overall form: Facade were created from three layers of metal cladding that form an intri-cate, weaving visual effect.

Technique: Voronoi patterning is used to design these three layers of cladding.

Performance: The voronoi layering creates a different effect of a confusion between positive-negative spaces/ figure-ground. This difference comes to life during the change between daytime and nighttime. , since the interior of the building lights up during nighttime and transforms the layers into sillhouettes.

This building celebrates its facade during daytime, and it celebrates its interior during night time.

Airspace Tokyo [Faulders Studio]

Integration to EOIVoronoi patterning and layering provided opportunities of multiple readings of spaces (voids and soilds) and can potentially create an optical illusion that could be further implemented and explored into our final proposal.

Voronoi Patterning can also serve as ornamentation of a surface, as well as a structural ele-ment to reduce weight or wind pressure.

note: later on the design process, this method was discarded and the method from Banq restaurant was implemented for its richer design possibilities.

F A BR I C ATION

attempt 1v o r o n o i patterning :

1. We looked at voronoi as an attempt to explore the experiential or perceptual qualities of positive (the voronoi skeleton frame) and negative spaces (the voronoi cells). [FIGURE-GROUND CONCEPT]. We were interested in the difference (or lack thereof ) of the vo-ronoi skeleton frame and the actual voronoi cells.

We were interested in looking at the order in which you perceive these two spaces, and the fact that you cant perceive these two spaces in the same time : do you see the negative spaces first or the positive spaces first? Do you see these panels as a skeleton frame? Or do you see them as holes on a surface?

With this concept of the figure-ground rela-tionship we first wanted to try and create some sort of optical trick that could immerse people in a new architectural experience. For example, making people see the figure first, and then later making them realize that what they have seen is indeed the ground.

The relationship between positive

and negative spaces as an experiment

w e e k

s i x

For this we chose to fabricate these panels out of 4 mm MDF boards, so that there is a clear difference between the negative and positive spaces.

In order to do this, we experi-mented with photography from different angles, just to high-light the difference of percep-tion between the positive and negative spaces, and also cast the MDF Skeleton frames with two different materials, wax and plaster.

The cast models were not our actual design goal, but are just an exploration of fabrication technique should we need to fabricate 3D blobby forms in the future if we chose to go in that direction. With these 3D cast models, we were basically taking advantage of the nega-tive spaces (voronoi cells) and using those as molds for 3D elaboration of forms

Steps to create molds:

1. The negative voronoi cells on the MDF boards are fitted with hand-formed aluminum foils, with teh edges taped and sealed into the boundaries of the voronoi cells.

2. The voronoi plane was added with a mold that are sealed with gluegun.

3.. The mold was cast with wax and plaster.

The solidness of MDF that does not allow light through creates different ambiences as light was moved around, and almost gives the impression that these photographs were taken with different materials.

F A BR I C ATION

w e e k

s i x

VO

RONO

I FRA

ME U

NDER

DIF

FERE

NT L

IGHTIN

G C

ONDIT

IONS

We decided to break the wax to get it out of the mold. The most interesting thing about this model is the richness of surface texture that it displays.

However this level of detail gets lost on once the viewing distance exceeds a certain amount of distance.

VORONOI: FIGURE-GROUND RELATIONSHIP EXPLORATION

F A BR I C ATION

most ambigous slightly ambigous slightly ambigousFAB

RICAT

ION R

ESU

LTS:

LEAR

NIN

G

depth creates disam-biguation

depth creates disam-biguation

3D blob volume is offset larger than the

mold opening

w e e k

s i x

Figure-ground / Postive-negative spaces:

1.Weve come to a conclu-sion that figure ground/postive-negative spaces relationship is at its most ambiguious when both ma-terials/color/ texture of these two separate entities are of the same kind.

2. These kinds of complete ambiguation of figure-ground/positive-negative spaces are also quite difficult to achieve with a surface that has depth- because lighting conditions would higlight and deepen the 3D quali-ties of this plane and at once make it be read as eother a skeletal frame, or a voronoi cell.

Working with different materials:

1. Better design of molds was clearly needed. From the two wax models and one plaster model, only the first wax model was suc-cessfully detached from the mold. After being cast, the aluminum foils expanded with the volume of wax and plaster, and were offset off the mold opening. This made it impossible to get the cast model out of its mold without breaking the mold. We should have taken this possibility into consideration

Design intent:

1. Instead of just photographing them singularly we should have tried different methods of layer-ing and changing persepectives.

2. However, midway through experimenting with these voronoi panels, we decided not to pursue tehm any further because they did not have a rich outcome. NO MULTIPLE READINGS,

Stop motion animations showing different lighting conditions and changing perspectives:

http://www.youtube.com/watch?v=FqMQy8rJoMM

http://www.youtube.com/watch?v=Od9ACPZNu8Q

INTEGRATION INTO EOI:

In the end, our hypothesis of how the material would behave and simulate a figure-ground experi-ence did not really come through.So we decided to discard this technique as our main design technique, and decide to explore other techniques and materials.

We might, however still use vor-onoi on surface as ornamentation, or as ways to reduce the wind load.

F A BR I C ATION

w e e k

s i x

EXP

ERI

MENTAT

ION 2

: CO

NTO

UR

PANELS

This time a different approach was utilized in the design. We created an undulating poly-surface based on an arbitrary image sampling method.

We were not sure of the experiential quali-ties that can come out of this experimenta-tion, but from the previous experiment we have concluded that MDF boards does not provide us with enough experiential quali-ties regarding to light and shadow or even texture.

This is what led our decision to experiment with a different type of material. We chose perspex because we knew it has light emit-ting/dispersing qualities.

At first we envisioned these panels to frame the highway as cars pass by. And this deci-sion also meant that we needed to find a way to construct a support system for the panels to stand up together.

design of waffles with a 3mm slot to wedge the panels in. the dimen-sions of the waffles are designed to be inter-changed and connected in different configura-tions.

solid/polysurface

segregation/contouring

fabrication set out

waffle design

F A BR I C ATION

w e e k

s i x

LIT FROM BELOW+ BACKGROUND TO CATCH THE SHAD-OWS

LIT FROM BEHIND

LIT FROM BEHIND-ORTHOGONAL VIEW

LIT FROM BELOW + PERSPECTIVE SIDE-WAYS VIEW

LIT FROM BELOW + ELEVATION (EYE LEVEL BELOW THE MODEL

EXP

ERI

MENTAT

ION 2

: CO

NTO

UR

PANELS

strips of light projected onto background

partial darkness surface edges light up

strips of light and shadow fall to ground

MOST EFFECTIVE IN DEPICTING

SURFACE EDEGES LIGHTING UP, FORM

OF THE PANELS

very continous lit surface edges, surface form is lost

from this view

F A BR I C ATION

w e e k

s i x

PLANES FLIPPED SIDEWAYS + CHANGING PER-SPECTIVES

PLANES FLIPED SIDEWAYS + LIGHTS FROM BEHIND

PLANES FLIPPED SIDEWAYS + CLOSE UP CHANGING PER-SPECTIVE

PLANES WITH VO-RONOI OPENINGS + LIGHTING FROM BELOW

PLANES WITH VO-RONOI OPENINGS + BLUE BACKDROP + SLIDING EFFECT

dynamic when static, depth of teh layering of

panel is gone

MOST EFFECTIVE IN SHOWING DEPTH

OF PANEL, AND LIT UP SURFACE EDGE

Depending on light source and angle, and also colors of the panel, diso-

coloration occurs.

not fruitful, the see-through quality of per-

spex does not bring it out, but instead merges it to

the background

successful attempt, , openings disperse more

light.

F A BR I C ATION

w e e k

s i x

INTEGRATION INTO EOI:

It was clear that manipulating the ef-fects of light on perspex and on such complex geometry creates a lumi-nescent effect that is very immersive, almost hypnotizing. From here we decided to use this dynamic lighting in our final design proposal.

Light will be our metaphor for Wyn-dhams peoples energy, it will shine as beacon for Wyndham, shining out its new identity.

NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

TIME SPAN DURING NIGHT TIME

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE DEVISED TO CREATE AN INTRIGUING AND MORE EXCITING EXPERIENCE.

Stop motion videos of different successful explora-tions :

http://www.youtube.com/watch?v=ecUzYK6Wxhkhttp://www.youtube.com/watch?v=P9PrQIzcwnAhttp://www.youtube.com/watch?v=9OB3FgLv_Ychttp://www.youtube.com/watch?v=g4JrKmW24yk

R E

V I

E W

EOI SUMMARYThe brief asks for a long lasting, eye-catching piece that will represent Wyndhams identitiy as a new and emerging municipality, and also contribute to the ongoing discourse.

Which identity can be represented? And how does it relate to Wyndham?

OLDNEWFORMAL

RIGIDHISTORICAL

RURAL

DYNAMICRICHRECREATIONAL

FUTURE

INSTALLATIONENRICHINGINSPIRING

EYE CATCHINGLONGEVITYIMPACT

ACTS AS A PART OF AN ONGOING DISCOURSE

THE NEW IMAGE FOR WYNDHAM

The old logo represents the old Wyndham, historical, and formal, in almost a conserva-tive way, and the new logo represents dynamism, leisure and modernity. From the dif-ference between the old and recently introduced logo and slogan city, coast, country , it is clear that Wyndham envisions to be a very livable city that has all the potential to be the new recreational hub in Victoria. A place for recreation, getaway, retreat, without missing the hustle bustle of city life.

How does it contribute to discourse:Conceptual precedents: Through the careful research, analysis and compilation of different state - of -the- art projects, design logic and themes were also compiled to shape the direc-tion of the project.

Themes are as follows: - buildings without forms but as environments- immersive in delivering a particularly shocking/ grappling experience- challening mundane everyday concepts

Technical Precedents:Parametric design tools are especially advantageous for this proposal because it allows quick experimentation and generation of new forms. It is an inexhaustible research and exploration tool for rapid generations of forms. It also allows the designer better strength in branching out their options with many more varieties and possibilities, alllowing them to choose the ultimate candi-date that best fits the brief.

The next advantageous aspect of parametric modelling is that it has the power to create geometries and forms that are beyond the human brains ability to rationalize and construct. It also has far better working memory to process these forms than a human brains. Most importantly, paramet-ric design allows the rationalization of these forms and also an automation system of fabrication that will produce exact dimensions and accurate details.

An initial concept that challenges the brief.

The idea of a traditional monument is being challenged. Monuments rely too heavily on its exterior form. We aim to challenge this notion by intriducing the idea that monuments does not have to rely on its form to be considered a monument. Instead, it should be the experiential qualities of an architectural piece that makes it monumental.

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How is it feasible and deliverable?

Explorations and Prototyping

Through various research methods, several different digital models have been produced, tested against fabrication and material feasibility, relevance to the brief and Wyndham city, and finally realized into model prototypes. Clearly the para-metric method we chose was suitable for the chosen fabrication method: laser cutting.

These prototypes show a very promising prospect in materializing the final de-sign proposal. A rich design effect was produced in teh final prototype, incorpo-rating visual elements such as lighting and surface undulation.

Details in protoype fabrication has also been carefully thought of as footing structures to prop panels up individually..

Competitive design advantageOur final design concept incorporates a hybrid approach of not only designing but also researching to advance future design techniques. That has gone through tests of many research steps and has constantly been re-evaluated through metic-ulous discussions and consultations. As a result, our final prototype has reached a level of significant breakthrough in comparison to traditional non-research design method.

Our final concept incorporates a hybrid approach into designing an experience. It involves time into consideration, and has a different mode (mood) of viewing during the day and during the night. We are offering a hybrid design solution that transforms the experience as the day transforms into night.

DAY TIME : IMPOSING PRESENCE OF CONTOURS

IDEA OF CONSTRICTION OF SPACE, CREATING A CLIMAX THROUGH THE DRIVEWAY AS A DIFFERENT EXPERIENCE

CREATION OF A POLYSURFACE TO INHIBIT AND OPEN SPACES

NIGHT TIME : IMMATERIAL LIGHT SPECTACLE

TIME SPAN DURING NIGHT

DYNAMIC PLAY OF LIGHT REPRESENTS THE DYNAMIC KINETIC ENERGY OF THE PEOPLE OF WYNDHAM DURING DAY TIME.. A SYSTEM OF INTERVALS BETWEEN EACH 'SONG' OF LIGHT WERE

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LEARNING SCHEMATIC

understanding architectural

discourse

understanding role of

parametrics in architectural

discourse

understanding INNOVATIONS OF parametrics in architectural

discourse

basic rhino & gh interface

developing gh understanding and

techniques

GIVEN SET OF TOOLS FOR

EXPERIMENTATION

CONCEPTUAL FRAMEWORK

TECHNICAL FRAMEWOPRK

REITERATIONS:PATTERNING

EXPLORATIONS

DESIGN CHALLENGE 1

REPRODUCTION AND INNOVATION:PHYSICAL MODEL

IMPLEMENTATION TO FINAL DESIGN:

CONSTRAINS OFREALIZATION, FABRICATION,

CONDITIONS

FINDING A DESIGN GOAL, INTEREST,

CONCEPT

FINALIZED CONCEPT TO IMPLEMENT TO

WYNDHAM DESIGN BRIEF

EXPERIMENTAL DESIGN APPROACHOUTCOME?

Overall the learning experience has been quite messy. The links going back and forth in the diagram above show just how interlinked and inseparablethe methods taken were. More importantly, there is the fact that these methods always inform each other, but not neccessarily in a linear way, making the design process altogether messier but a richer experience.

CONCEPTUAL FRAMEWORK

idea

design outcome

brief

toolstoolstools

KEY ACHIEVEMENTS: RESEARCH

One of the most beneficial aspect of this course is that it introduces us to a new design methodology: which is de-sign through research. We were introduced to a complex series of steps that ensures we have the necessary skills and framework before being asked to compile those sets of understandings and skills to innovate and more im-portantly, learn from your process, critique it during your progress, and learn from your process and mistakes.

Compared to other design subjects, we are more exposed to fabrication techniques and qualities of materials and what is possible with these material qualities. With our own research that is set at our own pace and direction, we have learned the different properties of materials. The difference between MDF and perspex, and where would you ideally use them, and what effects you can achieve with them.

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KEY ACHIEVEMENTS: FABRICATION

Fabrication techniques has limitations. Sometimes using computational tools lets you in on a false notion that ev-erything can be computer automated and fabricated. But really, most of it is still you driving the process. The com-puter still does not design for you, and it does not think. It merely shows you your thinking efforts, but in the end it is up to you to drive teh process and make it happen.

The techniques of fabrication , mainly laser cutting are very limiting in terms of the geometries that we can pro-duce. By far the most creative extendsion we can get from laser cutting is creating molds to achieve a solid 3D form.

Time management is also an important skill in terms of fabrication. As the fabrication resources are limited, we have to work efficiently to get the definitions working to fabricate in time.

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KEY ACHIEVEMENTS: GRASSHOPPER

Learning grasshopper was not particularly easy. i have learned that when scripting it is essential to:

1. do simple things first2. understand them and learn to do them right3. add new layers of scripting on top of them4. package it in simple groups 5. repeat

KEY ACHIEVEMENTS: WORKING IN GROUPS

No other studios have promoted groupwork that goes on for the whole semester. This is both its strength and limitation. Working in groups has been a completely new experience. One learns the balance of not being too imposing and not being too submissive with your ideas and intentions.

We learned that collaboration means better results only if your team dynamics is good. Along the way weve picked up new team social skills, task management, task alloca-tion, and even leadership and support.

No doubt these skills will be needed in the work force later on.

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KEY ACHIEVEMENTS: DESIGN NARRATIVE

A huge part of this course revolves around structuring your arguments and building a coherent design narrative that wioll give you and your team a competitive advan-tage to get comissioned to do the project.

Making coherent design anarrative and argument re-quires a synthesis of (technical: grasshopper) knowledge, space, placemaking, deep understanding of the brief, knowledge of Wyndham city characterunderstanding of archietcture as a discoursefabrication techniquesmaterial qualitiesimplications of forms generated with parametric tools

F U R T H E R D E V E L O P M E N T Future developmental goals:1. Lightweight structural material/ frame

2. Real life joints between perspex panels - how this will be achieved, and how that affects the fabrication technique

3. Fitting the light fixtures into the structure

4. Form needs to be invisble during daylight. To make the monument not abou tthe form and about the experi-ence, some sort of CAMOUFLAG-ING DEVICE had to be implement-

chosen site: directly adjacent to the entrance to wyndham city. Direct proximity to Wyndham

Bibliography

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

Banq restuauranthttp://app.lms.unimelb.edu.au/bbcswebdav/pid-3493375-dt-content-rid-10433692_2/courses/ABPL30048_2012_SM1/Case%20Studies/BANQ%20Restau-rant%20-%20Office%20DA%20%28Miscellaneous%20Images%29.pdf [ accessed april 15 2012]

Ben Pell, Airspace Tokyo, in The Articulate Surface : Ornament and Technology in Con-temporary Architecture (Basel, London: Birkhuser ; Springer distributor, 2010), pp. 86 - 89

Christine Killory, and Ren Davids, De Young Muesum, in Detail in Process. 1st edn, As-built (New York: Princeton Architectural Press, 2008), pp. 100 - 111

Diller, Liz,(2007) , online talkshow video, LIz Diller plays with Architecture [accessed april 20, 2012]Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62

Letkemann, Joel,(2007) online paper, The Blur Building and Architectures Deathwish url http://www.joelletkemann.com/downloads/Blur%20Building%20-%20Joel%20Letke-mann%20-%20071219.pdf, [accessed march 7, 2012]

Modcrin, Leo, online video interview, (2011) Leo Modrcin, Croatian Pavilion, Arsenale, http://www.domusweb.it/en/video/leo-modrcin-croatian-pavilion-arsenale/, [accessed march 25, 2012]

Renfro, Charles, Blur Building A + U: architecture and urbanism, May 2006: 62 - 73Richard Williams, Architecture and Visual Culture, in Exploring Visual Culture : Defini-tions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 16.

Seyfarth, Robert, Ornament in Architecture, essay published in The ENgineering Maga-zine, August 1892, http://www.colorado.edu/envd/courses/envd4114-001/Spring%2006/Theory/Sullivan-Ornament.pdf [accessed march 20,2012]

Schumacher, Patrick, (2008) Parametricisim as Style - Parametricist Manifesto http://www.patrikschumacher.com/Texts/Parametricism%20as%20Style.htm [accessed april 24, 2012]

Vera Bhlmann, online paper, Genuinely procedural shapes.Neo-baroque ornamenta-tion, architectonic articulations, < http://ethz.academia.edu/VeraB%C3%BChlmann/Papers/1343264/Genuinely_procedural_shapes._Neo-baroque_ornamentation_architec-tonic_articulations>, para.2 of 10 [accessed march 23]

Wyndham Gateway Project Brief http://app.lms.unimelb.edu.au/bbcswebdav/pid-3474008-dt-content-rid-10327484_2/courses/ABPL30048_2012_SM1/Project/Proj-ect%20Document%20-%20COMMENTED.pdf [accessed 2 may 2012]

Yehuda E. Kalay, Architectures New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25

Zarnic, Tonci,(2010) Interview with Official PUblication of Venice Biennale, http://www.pavilion.hr/download/book.pdf [accessed april 19, 2012]

mid semester journal submission

Documents