studio air, semester 2, 2013 - bhargav sridhar

B H A R G A V S R I D H A R

S e m e s t e r 2 , 2 0 1 3

AIRS T U D I O

5 8 5 5 9 1

Acknowledgements

Tutor: David ListerGroupmates: Rovi Lau and Xiaofan Wang

Contact Me

Email: [email protected]

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Introduction

Past Experience

Part A - Expression of Interest I : A Case for Innovation

A.1: Architecture as a Discourse

Source of Identif ication

Precedent Project: Barcaldine Tree of Knowledge

Precedent Project: Metropol Parasol

A.2: Computation in Architecture

Precedent Project: Smithsonian Institution

Precedent Project: ICD/ITKE Research Pavil ion 2010

A.3: Parametric Modell ing

Precedent Project: People’s Meeting Dome

Precedent Project: The Almond Pavil ion, SG2012 Gridshell

A.4: Conclusion

A.5: Learning Outcomes

A.6: Appendix - Algorithmic Explorations

Part B - Expression of Interest II : An Approach to Design

B.1.1: Design Focus

B.1.2: Design Approach

B.2: Case Study 1.0

B.3.1: Case Study 2.0: Hexigloo Pavil ion

B.3.2: Reverse Engineering

B.3.3: Prototyping

B.4.1: Technique: Development

B.4.2: Technique: Form Finding

B.4.3: Technique: Final Outcome

B.5: Technique: Tectonic Prototyping

B.6: Technique Proposal

B.7: Learning Outcomes

B.8: Appendix - Technique Algorithm

Part C - Project Proposal: Establishing Wyndham’s Identity

C.1: Design Concept

C.2.1: Tectonic Elements - Kerfing

C2.2: Construction Documentation and Model

C.3.1: Final Model: Assembly

C.3.2: Final Model: Result

C.3.3: Project Conclusion

C.4: Learning Objectives

C.5: Algorithmic Sketches

Images

Notes

2

Approaching 20 years of age, I am

an undergraduate student working

on completing my second year of

the Bachelor of Environments at the

University of Melbourne.

I n t r o d u c t i o n

3

Pre v i o u s E x p l o r a t i o n s

In 2012, I opted to take the subject, Virtual Environments during my first semester of the Environments Degree.

The subject introduced a new method of approaching design, which featured a prominent inspiration

derived from natural processes which is then developed further using modelling tools such as Rhinoceros

and reproduced in the physical form of a paper lantern. The challenging experiences undergone as a result

of this project pushed me to reach past my limitations as I was made aware of how to conceptualise design

ideas beyond the literal expressions extracted from nature in order to obtain a totally unique outcome

of design; one that depicts the rationale through the immateriality rather than the physical features.

Above: Wearable paper lantern project, Virtual Environments 2012.

4

Over the course of the 12 weeks, I received valuable

knowledge as I took my first steps into the world of

parametric architecture and modern fabrication

technology. The introduction of Rhinoceros 3D

and the Paneling tools plugin formed the basis of

the design of the wearable paper lantern. Due to

the challenging technical obstacles, I progressed

through a grueling experience of going back and

forth in the design process adjusting and simplifying

the design to achieve a realistic outcome by

the given deadline. This undertaking provided

me with a significant understanding of how a

designer in modern days is only limited by his/her

own knowledge and their skills in applying their

ideas efficiently using the available technology.

The introduction to fabrication techniques

using machinery such as laser and card cutters

created a new awareness in my mind for the

possibilities of producing physical forms of complex

geometry with great accuracy. Presentation

skills were also emphasised due to its importance

in the design process. I found my graphical

skills improve rapidly through the course of the

subject which is a crucial feature of any designer.

5

Part A - Expression of Interest I :A Case for Innovation

6

Good Design Is a Renaissance attitude that combines

technology, cognitive science, human need, and beauty to

produce something that the world didn’t know it was missing.

“ “ - Paola Antonelli

A.1

Ar c h i t e c t u r e a s a Di s c o u r s e

8

For a significantly large period of time the understanding of architecture was primarily

focused upon physical elements of building design and construction. From the time of

Vitruvius’ De Architectura, which classified architecture with fixed boundaries, through the

vast classical era, across the Baroque and the time of Renaissance, there existed a universal

understanding that architecture referred to that of the built world and the architect performs

the role of a master builder or craftsman1. Even today, a similar perception of architecture as

a collection of solid, tangible, constructed objects in the public realm is considered by some2.

However, according to Richard Williams, the last couple of decades has seen the

growing desire of government authoritative figures to commission the reformation

of the public realm by implementing the use of architecture3. This I believe has

caused a great sense of attraction to Architecture as a topic of debate. Furthermore,

the notion of architecture as that which only exists in a physical state has been set

aside to make room for the conception of architecture as a formless phenomenon4.

It is important to note that we shouldn’t, in architectural discourse, completely abandon the

nature of the material, but as Hill suggests, we must witness architecture as the “perceived

absence of matter rather than the actual absence”5. This statement enriches the concept of

discourse in architecture by adding a sense of ambiguity. Architecture cannot be singularised

to any particular set of ideals by the author as the ambiguous must be left to the interpretation

of the differing opinions and perceptions that exist among members of the society.

Patrick Schumaker depicts the phenomenon of architecture “as an autonomous

network of communications”6. This is another interesting description implying that

architecture is a form of expression that takes place amongst the social and cultural

systems and that architecture is part of a wider collective intelligence; sui generis7.

The combination of these proposed characteristics of architecture as a discourse promotes

forward thinking leading to the notion of innovation which, is a prominent goal of the Wyndham

Gateway project that I aim to achieve as we progress through the course of the coming weeks.

A series of architectural identities trancending across centuries.1

Without an architecture of our own, we have no soul of our own

civilization.“ “

- Frank Lloyd Wright

11

A particular area of architectural discourse that is of significance to this project,

is the notion that architecture symbolises the qualities of identity, one which is

perceived by the public. Architecture that represents the heritage and culture

of the multitude, is generally associated with public monuments and landmarks8.

Just as people from a certain nation share common characteristics that make them

sui generis, structures of a particular populous share common attributes that together,

form a unique architectural identity9. Therefore, a successful piece of architecture

must make connections to its surrounding context, culture and by enlarge, the society.

While this is true, the notion seems unbalanced in that it again relies on physical representations

of history being fixed in time and that architecture represents a single defined identity10.

This cannot be the case. Social, cultural and political statuses evolve through the course of

time and so does the perception of how people identify themselves through architecture11.

Therefore, architectural identifications with historical and cultural conceptions of society

must have the potential to grow and change with the advancement of the modern world.

One can assume that a successful designer caters for the changes of society’s unique

traits that influence how they identify themselves with architecture which in return, define

the society. The integration of simplistic formal characteristics in combination along with

the broad cultural context of the site is a possible means by which one may achieve this.

The aim of the Western Gateway Design Project is to undoubtedly aspire to “establish [an]

innovative and prominent indicator to provide a focus”12 that enriches the image of Wyndham

City. In further research, I will pursue a method by which my design proposal celebrates a

key facet of Wyndham that has attracted a large influx of people. A potential character of

Wyndham is its close connection to the Werribee river, a piece of natural heritage to both

the colonial Australians as well as our indeginous predecessors. As a designer, I aim to further

enhance such contextual and cultural qualities as a means of developing a suitable proposal

that acts as an accurate architectural identity, unique to the municipality of Wyndham.

12

So u r c e o f Id e n t i f i c a t i o n

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P r e c e d e n t P r o j e c t :

B a r c a l d i n e T r e e o f K n o w l e d g e

Designed by m3architecture in

collaboration with Brian Hooper

architects, the tree of knowledge

has been classified as a memorial

to the birthplace of the Australian

Labor Party in 1891, which today, is

a prominent political institution of

Australia. The tree which symbolised

the historical and political event is

now enveloped by the 18 foot cube

shaped structure that not only

preserves its remains but intends

to mimic the living nature of the

tree’s canopy as it was in 189113.

The repetitive timber elements are

a simplistic solution which subtly

recreates the historical symbolism

that existed in Barcaldine.

Below: 3600 hanging timber slats, Barcaldine Tree of Knowledge2.

This engages with the notions that I aim

to explore in relation to architecture

as an identity which is essential to

the establishment of Wyndham as an

attractive destination for the public.

Furthermore, the presence of this

building on the side of a major

highway is intended to create a

gateway into the city of Barcaldine,

from which it acts as a signpost

and as a lantern at night attracting

passers-by. This directly relates to the

case of the Western Gateway Project,

where the proposed design performs

as a beacon highlighting the local

ambience of the City of Wyndham.

The characteristics of this

piece of architecture not only

pays homage to a historical

significance of the Australian

political scene, but as architect

Michael Lavery mentions,

“The design was inspired by

the way people create and

relive memories”14. The jury

of the National Architects

Awards present the work of

architecture to have bestowed

a sense of “great civic pride

to the town ... [due to the]

preservation of a historic icon

of national significance”15.

Barcaldine Tree of Knowledge, m3architecture and Brian Hooper, 20093

15


M e t r o p o l P a r a s o l

Part of the Redevelopment project of Plaza de

la Encarnacion, the Metropol Parasol, designed

by Jurgen Mayer H. architects, provides an

interesting formal addition to the landscape

of Seville’s historic medieval sector. As it looms

over archaeological ruins, the building serves to

act as a significant example of the notion that

architecture, is ever changing and evolves along

with the rest of society’s cultural characteristics

as opposed to a fixed historical remnant of time.

Architectural critic, Michael Webb characterises

the work by Jurgen as to have captured the

essence of Seville’s culture by implementing the

technique of juxtaposing the old and the new “with

a grace and boldness, lacking in other countries”16.

Below: An interesting addition to the landscape of Seville, The Metropol Parasol4.

As the intentions of the architects dictate, the

purpose of the work is to serve as “a place of

identification and to articulate Seville’s role as one of

the world’s most fascinating cultural destinations”17.

The building’s iconic nature is achieved through

the assimilation of timber sections, through

‘waffling’; aesthetically, is a complete contrast

when compared with the surrounding landscape.

Such unique characteristics which represent

architecture as an emblematic identity is essential

for a project such as the Western Gateway Project

for the purpose of “inspiring” locals and visitors alike.

Metropol Parasol, J. Mayer H., 20115

A.2

Co m p u t a t i o n i n Ar c h i t e c t u r e

Computational designers are more than just creators of complex 3D

models ...

“ “

- Brady Peters

The advancement of the information age has undoubtedly constituted for a rise in

popularity of computers and have become a necessity in our lifestyle. Computerisation

is a process commonly used by most, to digitise information for the benefit of precision

while reducing time and effort18. In the case of designers, the birth of computer

aided design software (CAD) has greatly increased the efficiency and productivity.

However, are mainly tools that involve the digital processing of information that is pre-

defined in the mind of the designer and does not further enhance the design process19.

Computation, on the other hand, as defined by Terzidis, “aims at emulating or extending

the human intellect”20. In the case of design, the integration of computation has enabled

architects to reach beyond their abilities to confront challenges of high complexity during

the course of the design process as well as during the fabrication or construction stage21.

Computational design methods involve the use of a series of explicit instructions, known

as an algorithm, which are composed using mathematical or logical reasoning, to be

calculated by a computer in order to generate form and space that otherwise, cannot be

easily determinable by the human mind22. The implementation of such methods is growing

tremendously in popularity as we approach an era where software is being created by

architects as opposed to the other way round23. Computational design has created a paradigm

in architecture strengthening the ability to construct complex forms and obtain detailed

performance feedback24 through further digital programming or computer aided prototyping.

This greatly benefits the designer in improving the accuracy of his or her design choices.

The use of software tools such as Grasshopper as an integral part of the design process, along

with advanced fabrication technologies, enables the designer to expand the boundaries of

architectural innovation. Therefore, I will attempt to utilise computational methodology to

drive my process in regards to obtaining a suitable solution for the Western Gateway Project.

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The integration of computational design in Architecture6

Below: The renewed courtyard enclosure, the Smithsonian Institution7.


T h e S m i t h s o n i a n I n s t i t u t i o n

To further enhance my focus on architecture as a means

of defining society’s evolving identity, the methods of

computational design will be a key concept of with

regards to pursuing innovation. An example of this,

would be the redesigned courtyard of Washington’s

largest event space by renowned architects, Foster

and Partners. A source of cultural significance, the

renovation of the roof employed computational

methods to generate its lattice-like structural form.

A computer program written by architect Brady

Peters, formed the software basis by which the

geometry of the roof was created. The computed

algorithm allowed the exploration of a variety of

iterations from which a final solution was achieved25.

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This is an ideal process of computational design which

utilizes the usefulness of parametric modelling (a

concept that will be explored in further detail later in

this section) to achieve a suitable outcome through

the testing of various possible solutions. The analysis

of structural, acoustic and building performance were

also generated using computational methodology

to produce additional information required for the

process of fabrication26. Designed to “do the most

with the least”27, the work implements computational

methods to also achieve material efficiency.

This project exemplifies the impact of computational

means in regards to architectural design. Like

Peters, I will be attempting to implement algorithmic

operations to compose geometry and applying

digital fabrication technology for the process

of prototyping to achieve similar outcomes.

The Smithsonian Institution,Foster and Partners, 20078

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I C D / I T K E R e s e a r c h P a v i l i o n 2 0 1 0

Forming part of a research collaboration at the

University of Stuttgart, this particular installations focus

on the use of computational methods to broaden the

scope of materiality in architecture; primarily wood,

and its perfomative qualities, both structural and

behavioral. The pavilion is a product of an approach

through which Achim Mengis and his colleagues

present their research on the relationship between

computational design and advanced fabrication

technologies and how they “expand the design space

towards hitherto unsought architectural possibilities”28.

The intentions during the course of this project

focused upon embedding the elastic bending

potential of thin plywood within the computational

design process to create an “active driver in

the generation of form, structure and space”29.

Below: Behavioural capabilities of timber, ICD/ITKE Research Pavillion9.

The integration of materiality through computation

produces data which can be analysed using advanced

simulations and also in the robotic fabrication process.

This project depicts the characteristics of

computational technology as a powerful design

tool to extend the boundaries of architectural

innovation. I will be engaging with timber in my

explorations in the Gateway Project and hope to

pursue a similar approach in generating the form

of the design by the potential of the materiality.

Research Pavillion,ICD / ITKE University of Sttutgart, 201010

Pa r a m e t r i c Mo d e l i n g

A.3

Many people have misgivings about the term parametric.“ “

- Neil Leach

On the forefront of technological advancements enriching the field of architectural discourse,

lies parametric modeling. Originally defined in mathematics, the term ‘parametric’ refers

to a “set of equations that express a set of quantities as explicit functions of a number of

independent variables, known as ‘parameters’”30. However, due to the recent growth in

popularity in regards to parametrics in architecture, the definition in relation to design has

become obscure. It is a common notion that parametric modeling has always existed in the

field of design. The constraints and requirements of the brief are the implied parameters of the

design process which if manipulated directly changes the outcome. However, in accordance

to the mathematical approach to parametrics, a series of explicit functions must exist in

between the parameters and the outcome for it to be defined as a parametric function.

Daniel Davis, in his lecture on parametric modeling presents two key advantages of

parametrics in design: Control and Efficiency31. Modeling using parameters, enables the

designer to define elements of his/her intended form with a high level of precision and

accuracy. Alterations can be made to the minute details with great fluency through the

manipulation of set parameters. Parametric modeling also creates design possibilities in a

relatively short period of time that are almost impossible to achieve using alternate modes

of computation. The integration of parametrics has revolutionised the design process

where the assumptions in regards to the performance of a design can be engaged with

and perhaps resolved within the initial stages as opposed to the construction stage.

However, the technique of parametric modeling presents potential risks that must be

taken into consideration32. One such example to note: Major changes to the model

during the latter stages of the design process are challenging to execute as it focuses on

removing/replacing specific instructions that may inadvertedly impact the final outcome

of the process. It is therefore crucial that one must define his/her intended design

intentions clearly before proceeding into parametric modeling to avoid confusion later

on. Another case may potentially exist where a second designer may not possess the

knowledge of the initial design intentions which defined the parametric model, preventing

them from being able to modify the design33. These issues directly relate to this design

project and must be carefully considered during the process with the rest of my team.

The use of parametric modelling in the Western Gateway Project will primarily enable me to

achieve a variety of potential outcomes which can be further analysed in order to obtain a more

refined result in a short period of time through a process that involves a high level of accuracy,

integrates the use of modern fabrication technology and ultimately strives towards innovation.

26

The Geodesic Dome, Buckminster Fuller11.

29


P e o p l e ’ s M e e t i n g D o m e

Commissioned by BL, Denmark Public

Housing for this year’s People’s

Meeting, an event conducted to

generate discourse surrounding

the future of housing, this project

regenerates the geometrical

nature of the geodesic dome by

implementing parametric modeling.

While respecting the properties of

the sacred dome and its invaluable

contribution to architecture across

history, the architects attempt to

deconstruct the shape in order to

allow the form to be manipulated

by the existing site conditions34.

Above: Deconstructing the geodesic dome, People’s Meeting Dome12.

The advantages in regards to the use

of parametrics is evident in this project

due to the increasing complexity

that is achieved when “unlocking”

a mathematically fused form. The

complex lattice like structural system is

designed in a unique way such that the

overall skeleton can be varied. It can

be configured according to a specific

set of parameters, disassembled

and constructed in a new layout,

with new parameters35. This poses a

distinct prospect for design innovation

where the boundaries of a defined

shape can be manipulated and

adjusted to optimize the design to be

efficient in utilizing the site’s features.

The technique of developing

form and space from base

geodesic geometry, involves the

implementation of parametric

modeling to engage with complex

mathematical operations. This

presents an ability to produce an

adaptable architectural solution

that responds to the site features

is a key facet of achieving

innovation. This will essentially,

become a key focus of my design

intentions, during the course of

exploring a suitable proposal for

the Western Gateway Project.

People’s Meeting Dome, Kristoffer Tejlgaard & Benny Jepsen, 201213


T h e A l m o n d P a v i l i o n S G 2 0 1 2 G r i d s h e l l

The following couple of projects pertain to a

particular technique similar to that of some

of the previous precedents discussed: The

use of a gridshell arrangement to generate

the structural characteristic of the design.

Both pavilions, focus on the utilization of parametric

tools to integrate the active-bending performance

of lightweight timber in a geodesic lattice form

to produce a highly efficient structure with

minimal material waste. The Almond Pavilion

was designed and constructed to effectively

explain the advantages of parametric modeling

in achieving a sustainable outcome, given the

relatively low budget of 1500 euros for the project36.

The Gridshell, a product of the SG2012 workshop,

focused on similar intentions of achieving material

efficiency through the use of parametric modeling.

31

The experiments were conducted by integrating

material and geometric parameters utilizing proficient

modeling software programs such as Grasshopper37,

which will be utilised in my own explorations with

parametric modelling in the forthcoming weeks.

Integration of generative, parametric modeling

tools to analyse physical properties of materials

such as timber is important in achieving efficiency in

terms of minimising waste as dictated by these two

precedent projects. The technique of assembling

elements to form a geodesic gridshell produces a

result that appears to complement the material

properties of timber creating a sense of openness

within the space that immediately connects with the

surrounding context, therefore will be explored in

further detail during the development of my design

proposal for the Western Gateway Design Project.

Below: Parametrics implementing geodesic curves to form a gridshell, The Almond Pavilion14, SG2012 Gridshell15

The Almond Pavilion,CODA, 201217

SG2012 Gridshell,Gridshell Digital Tectonics, 201216

The site for the Western Gateway Design Project,City of Wyndham18

A.4

Co n c l u s i o n

The primary focus of my design intentions are to produce a piece of architecture which

represent certain qualities which are unique to Wyndham. My proposal will aim to

engage both the surrounding context of the site as well as the cultural atmosphere in

order to present architecture as a source of inspiration through identification with the

society. The outcome will integrate the material properties of timber, one of the oldest

construction materials, the use of which has evolved along with the advancement of

technology in architecture. Extending the potential of materiality in architectural design,

further enhances my case for the future of Wyndham in regards to designing a suitable

proposal that defines architecture as that which evolves along with the rest of the world.

The process of design will push the boundaries of innovation through the use of

computational design techniques to generate form and space while implementing

advanced fabrication technologies for the purpose of prototyping possible design

solutions. As discussed previously, an important facet of the computational design

methodology will involve the use of parametric modeling to drive the developmental stage

of my design process. This results in increased productivity through design optimisation.

As I discovered, in my analyses of precedent projects, the technique of implementing

lattice geometry complements the properties of timber. This results in relatively light-

weight structures in which the user is subject to the open spatial qualities that can

be observed in the surrounding site context. I aim to achieve a design solution that

may potentially evoke a sense of reflection, thereby allowing a certain connection

to form between the audience, the architecture and the surrounding context.

A.5

Le a r n i n g Ou t c o m e s

As expected, the first few weeks of the subject initiated, what I believe to be, a crucial learning

curve in my study of architectural design. In this relatively short time span, I was immediately

forced to broaden my critical thinking in regards to architecture. I was surprised to have not

come across the term ‘discourse’ in previous studio environments, therefore it was a definite

matter of urgency that influenced me to enlighten myself into the field of architectural

literature. As someone who would have, not long ago, presented architecture as a mere

physical representation of an idea, I find my perspectives on the built environment to have

undergone a complete transformation in 3 weeks. Addressing a piece of architecture

beyond its mere aesthetical qualities became important to me during my research.

The technical component in regards to the weekly challenges enlarged my curiosity

in learning about the usefulness of parametric modeling tools such as grasshopper

and the ease by which one can obtain numerous trials in a matter of minutes by

adjusting parameters producing instant feedback. I found myself spending hours on

the program in an attempt to progress beyond what was required of me thereby

enhancing my knowledge of Grasshopper components and their respective functions.

Though, the nature of this project, right from the very beginning, involves being thrown

into the deep end, I found it very refreshing to be able to learn new skills as I was being

introduced to scripting as a valuable tool for parametric modeling. In retrospect, I feel that

these skills would have proved quite useful during the course of Virtual Environments as I

would have been able to produce results of higher complexity in a shorter time period.

A.6

Ap p e n d i x : Al g o r i t h m i c Ex p l o r a t i o n s

As part of my research into parametric modeling,

I was quite curious about how I might go about

replicating some of the characteristics of such projects.

The weekly algorithmic exercises enhanced my understanding

of scripting using grasshopper and were essential in

order to proceed forward with my design intentions.

The process of learning such complex software programs

revealed the importance of computation as a key

to broadening the prospects of architectural design.

One such attempt involved modeling the geodesic form,

similar to that of SG2012 Gridshell project. I was able to

efficiently generate geometry using Grasshopper with

help from the video tutorials. While it was a slow process to

start with, the results overall, were satisfying and proved

to be a very productive learning exercise as it would form

the basis of my design process in the coming few weeks.

Above: Grasshopper definition of the geodesic gridshell lattice, Algorithmic Exercises

38

Below: Explorations using Grasshopper to generate the geodesic gridshell form, Algorithmic Exercises

Part B - Expression of Interest II :An Approach to Design

39

Our objective is not to know the answers before we do the work. It’s

to know them after we do it.“ “

- Bruce Mau

40

B.1.1

De s i g n Fo c u s

T h e W e r r i b e e R i v e r

Whether you have lived in Wyndham for five days or 50 years, everybody has an experience or a

memory of the Werribee River38.

“ “

- Peter Maynard, Iramoo Ward Councillor

Following the research conducted on precedent works to examine the architectural

techniques utilised to demonstrate the sense of identity and belonging, we decided

to explore the cultural significance of Wyndham City. Over the years, the city has

experienced a high influx of population and is expected to grow quite significantly over

the next few years. There are multiple reasons that could be assumed to have caused

this attraction away from the city. One in particular that was observed, is Wyndham’s

connection with the Werribee River, a significant body of water that has been of

great significance for generations dating back to its traditional owners. The river is

considered to be a place of solitude and holds a certain sense of reverence amongst

the residents38. The natural feature has presided over expansive development of

Indeginous communities in the past such as the Watharung, Wundjeri and Boonerwrung

tribes in the same way as it overlooks the growth of Wyndham’s municipality today.

In pursuing a suitable solution that represents Wyndham, our team aims to focus

on celebrating the iconic significance of the Werribee River by presenting its

experiential qualities that hold a strong sense of identity, both with the people of

Wyndham as well as its traditional owners. The final outcome must create a sense

of stillness, a contrast from the surrounding fast paced scene of the highway.

42

W a t h a u r o n g

W u r u n d j e r i

B o o n e r w r u n g

Werri bee

River

C h a f f e y

I r a m o o

H a r r i s o n

Werri b

ee Ri ver

T H E K U L I N N A T I O N W Y N D H A M C I T Y W A R D S

Above: Maps revealing the community development around the banks of the Werribee River.

The Werribee River19.

P A T T E R N D E V E L O P M E N T

F O R M F I N D I N G

Case Study

2.0

Division of

Wyndham

City

Technique

development

Form

Development

Desired

System

Reverse EngineerIntegrate

Form SketchingRefine

B.1.2

46

After the initial algorithmic experiments conducted during our explorations in Part A, we

proceeded to develop a design technique. The process will be split in two facets which

will occur simultaneously: Pattern Development and Form Finding. This is done in order to

implement a combination of design concepts to achieve the intended final outcome.

Though my initial research into pattern development led into using techniques such

as implementing geodesic curves, as a team, we had arrived at a conclusion that

while there are benefits to such methods of generating geometry, it was difficult

to achieve further development beyond what has already been done before. The

resulting dilemma forced us to rethink and revise our design intentions with what it is

we want to achieve in this project, before exploring a new technique or combination

of techniques. The primary focus was to produce architecture that recreates a

similar experience that is encourages the audience to reflect, creating a sense of

identification with Wyndham, a similar function present in the serene environment

presented by the Werribee River. We envisioned that the use of sunlight available

in the vast, open space on site, could be utilised to achieve such qualities. The

design must consist of openings, varied in size, thereby manipulating the light

forming patterns on the ground. This had led us to implement a combination of

techniques such lattices as well as tessllation. In our case study explorations, we

aim to focus our experiments on deriving a technique that is unique to our design

proposal. Prototyping suitable outcomes will lead to refinement phase of this process.

To explore form finding which initially occurs independent of the pattern generation

phase, we aim to focus upon the importance of further emphasising our over

arching focus in representing Wyndham City. The form development will also

be extensively explored using grasshopper to generate a variety of outcomes

as we aim to achieve a suitable solution which can then be integrated with the

generated pattern as we move towards the final stages of the design process.

Design

Proposal

Gridshell Pavilion for Naples School of Architecture Courtyard20.

Ca s e St u d y 1 . 0

B.2

In the absence of a supplied definition for the ‘grids and lattices’ material system,

we chose to create our own script using the knowledge gained in the previous

weeks. The main purpose of this case study is to experiment with Grasshopper

to generate a large variety of outcomes that could be analysed to form the

basis by which we may be able to make suitable design decisions in the future.

The algorithm includes components which generate a base surface which can be distorted

using attractor points. Using the Lunchbox plugin, a suitable hexagon grid was chosen and

applied with ease on the surface. The polylines obtained were then extruded to obtain a

level of thickness. The definition consisted of various parameters that could be adjusted to

influence both the form and the arrangement of the pattern of hexagons on the surface.

This process enables us to gain more depth in our understanding of scripting

techniques which will be highly valuable through the course of our design

approach to create a suitable outcome for the Gateway Design Project.

50

The following pages contain the results of our algorithmic experiments using

Grasshopper and LunchBox. The matrix to the right shows an overview of the variety of

parameters that were manipulated to influence the nature of the resulting geometry.

Changes were applied to parameters one at a time and the outcomes were ‘baked’

and recorded. The parameters which were manipulated were the following:

Divisions of hexagonal cells in the grid (A)

Changes to the graph which influence the distortion of the surface (B)

Manipulation of the Attractor points influencing the overall vector field (C)

Adjustments to the charge and rate of decay values (D)

Culling pattern implemented to vary the arrangement of hexagonal cells (E)

Outcomes 1A - E were deemed unsatisfactory due the lack of definition in the

form which was a result of the low UV cell division on the surface. Outcomes

from the D row described an extreme variation of form and was thereby useful

in understanding the effects of adjusting the values of the charge and decay

rates. The culling pattern implemented to vary the arrangement of hexagonal

cells (row E) produced interesting outcomes and gave an understanding of

potential patterning ideas for our future explorations with elements of lattices.

Through this rigorous experimental process of obtaining numerous alternatives using

the same algorithm, we obtained a variety of potential solutions. However, we weren’t

completely convinced and felt it was necessary to explore further into geodesic

geometry in the next case study. The implemetation of Kangaroo Physics was also

deemed necessary in embedding material properties of timber to generate our form.

* We decided that this particular pattern of hexagonal cells was a desirable

outcome in our detailed explorations as we felt that it consisted of suitable

density of cells without being overly cluttered while providing sufficient definition

to our geometry.

51

52

1 2 3 4 5

A

B

C

D

E

*

M A T R I X 1

No. of UV Divisions 63 12 30 50

53

1

A

B

C

D

E

F

*Culling Pattern

FalseTrue

FalseTrueTrue

FalseFalse True

TrueTrueFalse

True TrueFalse True

TrueTrueFalseFalse

54

2

M A T R I X 2

Matrix 2 focuses on the pattern of the hexagonal cells

on the surface. The use of a component that is able to

effectively ‘cull’ certain elements of a list of data enables a

variety of outcomes to be obtained. While column 1 consists

of the original hexagonal pattern, column 2 implements an

alternative hexagonal layout which is diagonal. Culling series

of cells in a pattern produced larger openings on the surface.

This had the potential to be used to manipulate the entry of

light within the space to futher enhance the experiential

qualities of the gateway. It was interesting to note that the

culling occured differently in the outcomes in column 2

due to the variation in the order of data in the geometry.

Therefore it was not possible to produce a hexagonal

arrangement rather than a sequence of branching curves.

*Therefore, the outcomes from column 1 were preferred to

be more successful.

55

A

B

C

D

E

F

1

*

56

2

M A T R I X 3

Charge = 0.70Rate of Decay = 0.36






Matrix 3 focuses on the form of the surface as we attempt

to obtain results that depict a variety of possibilities that

might be useful in future explorations. Column 1 presents

results of manually adjusting the attractor point locations,

thus manipulating the field of attraction which distorts

the geometry. Column 2 is a series of results produced by

further manipulation of point charge and its rate of decay,

potentially enhancing or in some cases degrades the field

allowing for a distinct collection of iterations. Outcome 2 D

was observed to be the most extreme condition, which was

interesting as we considered its potential in our design process.

*However, Outcome 1 B was prefered as it consisted of

a different variations which were not too extreme. The

potential of this outcome could be implemented on a roof

like structure similar to that of the Smithsonian Institution.

Tesellated Assemblies, Chrysallis (III), Matsys Design21.

B.3.1

Ca s e St u d y 2 . 0

H e x i g l o o P a v i l i o n

60

A product of a seven day workshop in Bucharest, the

Hexigloo Pavilion, was designed using parametric tools. A

hexagonal grid lattice forms the basis of the design. These

cells are mapped out on a pre-modeled surface and

extruded to create a series of funnels that filter light into the

interior space. This produces a sense of contrast between

the exterior features and the complex interior instigating a

moment of surprise. The fabrication process was conducted

using laser cutters and assembled out of 6mm cardboard.

This is an interesting work of architecture that employs the

use of patterning tessellated elements based on a defined

hexagonal grid layout, enabling the manipulation of light

in the interior space. The resulting pattern of light within the

space produces an evocative experience for the audience.

Below, Right: The Hexigloo Pavilion22.

R E V E R S E E N G I N E E R I N G

B.3.2

62

The process of reverse engineering the Hexigloo pavilion was relatively straight forward.

During this exercise, we primarily focused on obtaining the pattern as opposed to

mimicking the entire form. The algorithm consisted of hexagonal cells which were

generated using the LunchBox plugin once more. These cells were then offset to create

smaller hexagonal geometry which formed the openings on the surface. The curves were

then extruded in the Z axis to generate the funnels. The degree of offset and extrusion

were determined as a result of a series of values generated using attractor points.

Compared to our explorations in Case Study 1.0, we decided to focus on

fewer variables this time round as we were more interested in achieving a

suitable variety of offsets and funnel lengths. The result of which could be

further developed in later stages to form a technique unique to our design.

The attempt at regenerating the pattern utilised in the hexigloo

pavilion was very useful in enhancing the team’s understanding

of parametric tools as we progress further in our design process.

63

A

B

C

D

1

Domain Adjustments

Minimum : 0.1 Maximum : 0.9




64

Matrix 1 consists of the results of manipulating the values

set in the domain which restrict the size of the openings.

Two different hexagonal arrangements were tested.

Column 1 shows the results of a linear arrangement

where there is a gradual increase in the diameter of the

cell openings. Column 2 presents a radial spread where

the centermost cell consists of the smallest opening. This

was achieved by manually adjusting the position of the

attractor point on or away from the center of the surface.

We decided to proceed with neither of the sets of outcomes

as we desired to obtain a rigid and static variation of

funnel openings as opposed a gradual increase and

decrease. This will be explored as we progress further in

our technique developmental stage. Our intentions are

to achieve a sense of stillness in the pattern of light which

focuses the audience attention away from the contrasting,

fast-paced highway scene that forms the basis of the site.

M A T R I X 1

2

65

A

B

C

D

E

Domain Adjustments

Minimum : -0.5 Maximum : -0.1





66

Matrix 2 on the left focuses on the level of funneling that is

achievable, once again by manipulating certain values of a

set domain. This directly affects both the pattern of light that

penetrates the interior of the design as well as its intensity.

Outcomes A and B were suitable for further explorations

as we progressed into developing our own unique

parametric design technique. Outcomes D and E

appeared to be rather impractical and unrealistic

as the funnel lengths were too large that it would

hinder the interior spatial qualities that we desired.

The next step was to further test the rationality of some

of these outcomes by producing physical prototypes.

The results of this phase would better inform us on how

we may further develop and refine this technique

which will form the basis of our design proposal.

M A T R I X 2

Technique Prototyping, Case Study 2.0.

B.3.3

P R O T O T Y P I N G

70

After producing an algorithm that accurately generates

the funneling geometry of the hexigloo pavilion design,

We proceeded to test the funneling pattern by fabricating

a physical prototype. For the purpose of this experiment,

we decided to use black card as the primary material.

Overall the prototype was a success in enabling us to

view the resulting pattern of light that forms through the

funnels and we were quite satisfied with the outcome.

Above: Funnels, Case Study 2.0.

Below: Testing Light Pattern formations, Case Study 2.0.

Moving forwards, we decided that we

would like to focus on a more controlled

pattern that did not consist of a variety

of funnel openings but a strict contrast

between small and large openings. As

stated previously, this would allow a

certain degree of staticity providing the

desired sense of stillness within the space.

72Technique Prototyping, Case Study 2.0.

B.4.1

Te c h n i q u e : De v e l o p m e n t

In pursuing innovative patterning techniques, we

decided to explore our own pattern that we may

implement to the funneling definition produced in our

previous algorithmic experiments. Utilising the paneling

tools components within grasshopper, We were able to

generate a variety of patterns with ease from which we

could once again select one from a series of iterations.

*This particular tessellated pattern was chosen for

its symmetrical nature of elements. We decided

that the octagonal shapes would be regions which

are ‘funneled’, while the pentagons would be flat

panels forming part of the structural component

of the design as observed from the exterior.

*

74

75

The next step was to further develop the pattern to

extract the octagonal shapes to generate the funneling

geometry. The pattern had to be culled in a specific way

in order to obtain the alternating sizes of funnel openings

in the “big, small, big, small” arrangement that we desired.

The team reached a point in our development process

where we noticed that the pentagonal panel geometry

were not planar. This is one of the few flaws of patterning

complex geometry using grasshopper as one must always

test if the resulting panels are flat or doubly curved as this

may lead to extensive complications in the unrolling and

fabrication process. To resolve this, we had to triangulate

the geometry towards the center to obtain planar surfaces

while maintaining the curvature of the surface. This meant

that each triangle was to be its own panel and must be

connected seperately. This increased the complexity of our

patterning solution which we found to be a desirable outcome.

Above: Triangulation of surfaces

76

Above: paneling the geometry onto a curved surface

Below: Alternating sizes of funnel openings.

Te c h n i q u e : Fo r m Fi n d i n g

B.4.2

The initial stages of the form finding process

involved basic explorations using Rhino and

Grasshopper to brainstorm potenital solutions.

We were unsatisfied with majority of the outcomes where the

design was open at multiple areas. This would directly impact

how people move across the space. To ensure that visitors

experience the depth in the reflective experience that we

intended, we had to ensure that they remain within the space

as opposed to walking across from one end to the other.

The benefits of integrating parametric tools was that

we were able to quickly produce a set of iterations by

manipulating control points of loft curves in rhino, while

still obtaining direct feedback through the grasshopper

algorithm. In combining both pattern and form, we

anticipate that this will be very helpful, particularly

in the refinement stages of the design when we can

adjust small details such length of span and height.

78

The development of the form for the gateway design

focused on the circulation pattern of visitors within the

structure. We do not intend for the users to pass through

a large span of the structure, rather move in and settle

down into the space, experiencing the stillness we hope

to initiate with the light patterns projected on the ground .

As we refined this further, we considered the idea of

having multiple structures to accomodate a larger

number of visitors into the site. This seemed a better option

when compared to increasing the span of the structure,

which could potentially lead to a congested space

within the enclosure. Going back to the compositional

arrangement of Wyndham City, we observed a similar

composition when compared to the development of

the Kulin nation surrounding the Werribee River. This

fact was able to be directly translated into our design

as we decided to produce 3 pavilions of different

scales aligned in a radial arrangement, mimicking the

divisions of the community of Wyndham City.

As we refined this further, we considered the idea of

having multiple structures to accomodate a larger

number of visitors into the site. This seemed a better option

when compared to increasing the span of the structure,

which could potentially lead to a congested space

within the enclosure. Going back to the compositional

arrangement of Wyndham City, we observed a similar

composition when compared to the development of

the Kulin nation surrounding the Werribee River. This

fact was able to be directly translated into our design

as we decided to produce 3 pavilions of different

scales aligned in a radial arrangement, mimicking the

socio-political divisions of Wyndham City.

T h e K u l i n N a t i o n

W y n d h a m C i t y W a r d s

Te c h n i q u e : Fo r m Fi n d i n g

Overall, the generation of ideas for the form

and arrangement of the gateway design

relied upon a comination of elements

resulting in what we perceive to be a well

considered form, which will be ideal for

attracting both locals and visitors alike.

T h e K u l i n N a t i o n

W y n d h a m C i t y W a r d s

Above: Form Finding

B.4.3

Te c h n i q u e : F i n a l Ou t c o m e

80

To the right is the result of integrating both our

developed pattern and our ideas for form for

our design. In our final refinements, we decided

to restrict the amount of funneled openings to

just the top region. This is to further isolate the

audience to the boundaries of the structure by

concealing the views of the highway, thereby

focusing the attention within the space.

Right: Combining pattern with form.

82

To obtain a more informed understanding in regards to the

buildability of our design, we chose to explore potential joint

details that could be implemented to connect adjacent

panels together. Since our teams explorations in our design

development phase consisted of implementing planar

surfaces, we decided that sheet materials would be an ideal

pathway to take. In our research, we did observe that steel

would be a better course of option in terms of achieving

structural integrity and durability. However, this would

intefere with the notion of contrast between a natural setting

within an urban condition, that we intend on recreating

with our gateway design. Therefore, we returned back to

implementing timber to maintain the experiential qualities

in regards to the natural conditions of the Werribee River.

Tectonic Prototyping

Te c h n i q u e : Te c t o n i c

Pr o t o t y p i n g

B.5

Our first connection prototype consisted of the

implementation of H-clips to join adjacent panels of the

funnel. The results of this test proved to be unsucessful in

achieving what we had originally intended for it. The

joints created gaps between each panel which would

undoubtedly diffuse the light penetrating through, greatly

impacting the effectiveness of the pattern projected on the

ground. We did however gain a valuable understanding in

regards the structural feasability of these joints as they were

able to hold the overall shape together without the need for

additional reinforcement. In an architectural scale however,

these connections may not possess the same integrity. In

moving forwards, we decided to pursue further research

into how we may efficiently produce joinery elements

that could also be considered at an architectural scale.

84

Above: Series of Images showing the H-clip connection system.

85

Above: Prototype of steel bracket connection system.

86

In our research into joining systems pertaining to timber

surfaces, we explored a more generic approach of

implementing steel brackets to connect adjacent

panels together. For the purposes of testing at the scale

of a model, we used card as opposed to plywood. The

brackets were aligned and attached using a pin and

key connection. In the actual scale, these brackets

would ideally be bolted into the plywood panels.

While the system worked quite efficiently, We felt

that we werent pushing for an innovative method

of generating connections parametrically, rather,

implementing standard construction methods

which are common in most architectural projects

which deal primarily with joining timber elements.

In progressing forwards, we chose to consider steel as

a potential material that could form an underlaying

lattice structure upon which we can attach the panels

and funneling components. However more testing was

required to better inform our design intentions for the

connection details.

Above: Construction detail of steel bracket connection system.

Te c h n i q u e Pr o p o s a l

B.6

Above: Perspective View of the proposed gateway design.

88

The brief for the Western Gateway

Project, states a requirement

for a piece of architecture that

enhances the image of Wyndham,

while depicting abstract aspects

and qualities of placemaking. This

presents an opportunity for us as

designers, to further contribute to the

discourse of architecture as a source

of identification for the society.

Our intentions focus on celebrating

Wyndham’s social significance

in regards to its connection to

the Werribee River, a prominent

heritage feature, revered by the

local community as well as the pre-

existing tribes of the Kulin nation.

Our proposed design recreates the

symbolism of interacting with the

river through its experiential qualities

within an enclosed space, sheltered

away from the urban environment.

We believe that this experience is

sought after by many who reside

within the locality Wyndham and has

been an underlying cause for the

large influx of population which lead

to the growth and development of

the Wyndham over the recent years.

Our technique for recreating the

nature of solitude and serenity within

the enclosure, primarily involves the

manipulation of the ample sunlight

available on a flat open site to create

a specific pattern on the ground

potentially insinuating thoughts

of reflection and identification in

the minds of the audience. The

development of funneling geometry

to help focus the light within the

space to create a static pattern

forms the basis of our proposed

technique. In the stages of refining

and form finding, we came to the

conclusion that the installation itself

would take the form of a series of 3

pavilions within which the audience

is invited to participate in the stillness

created by the pattern of light as well

as the overall enclosure that isolates

visitors from the dynamic, fast-paced

highway scene that surrounds them.

The nature of our design is more suited

to Site B situated near the Caltex

establishment. This is primarily due our

expectations of interactivity within the

space as being focused at a certain

level of depth that cannot ideally be

experienced by motorists travelling at

over a 100 km/hr. That being said, we

do anticipate a significant amount

of people to be attracted, simply

by the addition of our design mainly

due to the expected curiosity of

visitors to explore the interior qualities

hidden from view from the outside.

In our attempts to recreate a

natural setting within the interiors of

the gateway design, we hoped to

consider sound as another factor

along with light. In pursuing further

in our research to develop our

technique, we would have ideally

liked to have been able to restrict

the noise coming from the highway.

However, in the interest of time

constraints we were unable to better

inform our understanding of how we

may create a technique that achieves

a high level of noise reduction.

In moving forward with refining our

chosen technique in developing a

coherent project proposal, we aim

to resolve the structural feasability

and buildability of our design by

testing and prototyping connection

systems which are generated

and laid out for fabrication using

parametric modelling tools.

Our interest in this project is primarily

focused upon producing a piece of

architecture that presents a sense

of pride for the people of Wyndham

and displays their ability to identify

with the Werribee River, enhancing

a culturally attractive image of

Wyndham in the minds of the external

community. We believe that our

proposed system will achieve this and

should therefore be considered as a

potential candidate for innovation.

Le a r n i n g Ou t c o m e s

92

As with the initial few weeks of the subject, I was confronted with challenges arising from

different facets of the process of design, be it presenting a strong, convincing arguement,

or the consideration of different scales through which I must focus my design refinements

on, both in terms of construction details as well as the overall structural integrity of the

design. Prototyping and testing our Case study explorations proved to be a strong driver of

our progress through the course of the last few weeks. The importance of physical tests was

stressed by our tutor in the studio sessions. Gaining valuable feedback from the tutor was of

high priority to me as I made it a point to deliver my progress each week. This gave myself

and my fellow team-mates a sense of direction and a goal that we can work towards each

week. In leading up to the mid semester presentation, there was a strong emphasis on

establishing an overarching idea that forms a coherent arguement for our design proposal.

In terms of software, my skills have significantly developed since the start of the semester,

particularly with the use of grasshopper to generate complex forms by manipulating data

structures. I noticed an improvement in the speed and efficiency at which I was able to analyse

data trees and come up with list manipulation techniques to achieve the intended outcome.

The feedback from the presentation panel, was relatively mixed as we recieved both

positive comments along with certain flaws that were exposed to our attention. Our

concept overall was received quite well, however our lack of clarity in presentation was

critiqued heavily. Moving on from this point, our team has a strong goal that we want to

achieve with our design within the remaining few weeks. One of the major focus will be to

resolve the key elements of our design and test its feasability by producing more prototypes.

We also hope to improve the clarity of our presentation skills in remaining consistent

to the allotted time limit while clearly informing the audience of our design intentions.

B.8

Ap p e n d i x - Te c h n i q u e Al g o r i t h m

A significant amount of time and effort was spent working on producing a

working definition of our chosen technique exploration. The major components

of grasshopper that are used in this algorithm pertain to manipulating lists

and organising them to extract certain pieces of data that was required

to be able to parametrically model the design intentions of my team.

The ‘list item’ component was the go-to method of analysing the composition

of a specific data structure. The use of the series component enabled me to

reorganise elements in the list that could be extracted seperately. The experience

of engaging with these tasks in regards to data matching and manipulating was

very useful in enhancing my knowledge of how computational coding performs

and broadened my perspectives on what could and couldn’t be achieved.

Certain repetitive pieces of code within the algorthm were ‘clustered’ to

improve computing efficiency by simplifying the congestion on the canvas.

This gave me an understanding of how the original grasshopper components

may have been ‘clustered’ from even smaller pieces of algorithmic functions.

94

Below: Grasshopper algorithm to generate the proposed technique.

95

Part C - Project Proposal :Establishing Wyndham’s Identity

96

Establishing Wyndham’s Identity

C.1

De s i g n Co n c e p t

Gateway Project

98

Following on from the feedback received from various design consultations, there

were several areas within our proposed technique that required further refinement.

One of the major concerns was to address the issue of triangulation and the resulting

clarity in our originally intended pattern upon the surface. Triangulating to maintain

curvature upon the patterned surface is a crucial step in rationalising geometry

in order for it to be feasible. A potential alternative was to re-develop the form

into planar sections, however, we felt that this would not accurately represent our

intentions. Our intentions with the form were to produce a sheltered enclosure that

could house the reflective experiential qualities that result from the funneled openings.

Therefore, we pursued another pathway whereby we may explore the potential of

utilising these triangulated panels to further enhance the experience within the space.

Another important area that we needed to focus upon was the construction and

assembly of the enclosure. There were suggestions raised during our consultations,

that the composition of timber panels would not be sufficient enough structurally

and would therefore require additional support for the design to be buildable. A

possible solution that may address this issue was to implement a framing system,

which consisted of members with a level of depth sufficient to add structural integrity

to the enclosure. The timber panels would then be ideally laid upon the frame.

Our refinement stage of the proposed technique needed to include a more focused

integration of materiality within the design. As a team we were encouraged to specify

a specific type of timber that may intensify the aesthetic qualities of the gateway

design while address the issues of longevity and maintenance requirements that

arise from using timber that is exposed to potentially strenuous weather conditions.

Lastly, the positioning of the gateway enclosure on site was also to be

considered. The orientation with respect to the changing level of sunlight

across the day was an important factor that would undoubtedly have an

impact on the amount of sunlight that may penetrate through into the space.

C o n c e p t R e v i e w

95C.1.2

Aerial view showing the position of the enclosure in Site B.

100

R e v i s e d C o n c e p tIn the process of establishing the proposed gateway enclosure

on site B, our main considerations primarily focused on the

convenience in accessibility. We had to ensure that the

entrance appropriately faced the Caltex Station from which

we expected visitors would stop and approach the structure.

Secondly, in consideration of the point of view of motorists on

the highway, we positioned the pavilion closer to the road

directing travelers towards Wyndham. We felt that this would

be highly appropriate as motorists would presumably be curious

as they approach the enclosure and are immediately given the

opportunity to turn into the Caltex Service Station, encouraging

them to stop and explore the interior of the gateway pavilion.

While the pavilion is relatively small in scale, spanning 20

metres across and 6 meters in height, the flat topography of

the site enables a significantly large depth of view from a far.

The position of the openings for the funnels were also shifted to

the side facing the north, to optimise the use of the sunlight that

penetrates the interiors of the enclosure space as much as possible.

Aerial view showing the position of the enclosure in Site B.

Above: The revised design proposal.

101 Above: Spotted Gum (Corymbia Maculata)23.

102

M a t e r i a l i t y

S P O T T E D G U M

In our considerations in regards to material selection, we focused

on achieving a certain level of durability and sustainability,

which are two key factors mentioned in the brief. In our

analyses of timber databases online, we came across several

potential timbers suitable for the gateway proposal. Ultimately,

we selected the Spotted Gum (Corymbia Maculata). The

approximate life cycle of the timber is 40 years, in conditions

above ground39, which in our assumptions, achieves a good

durability standard sufficient for the proposal. Being a native,

plantation hardwood, the Spotted Gum also satisfies a suitable

standard of sustainability in regards to its environmental impacts.

Another notable feature of the Spotted Gum is its gradual colour

change over its life time, when directly exposed to sunlight.

From an aesthetical point of view, we felt that the exterior of the

enclosure could exhibit these resulting changes symbolising the

slow deviations that occur that may be observed in a natural

setting. This presented another layer of depth in our ability

to recreate the experiential qualities of the Werribee River.

E S T I M A T E D C O L O U R C H A N G E O V E R T I M E

< 1 0 Y e a r s 3 0 + Y e a r s

Proposed Structural System..103

S t r u c t u r eAs stated previously, the surface of the enclosure required a

level depth to be able to be structurally feasible. After several

discussions amongst the members of the design team, we decided

to implement a steel framing system to function as the structural

element of the design. The initial sketch models as seen on the

left, describes our process of arriving at the proposed structural

solution. Utilising parametric tools, we were able to achieve the

desired size and depth of the steel members and also enabled us

to organise them into separate components ready for fabrication.

Though we had initially intended for the design of the

gateway to be composed of timber by itself, we felt that a

compromise had to be made in order to achieve an optimal

structural solution. The frame would consist of steel members

welded together with horizontal platforms upon which the

timber panels and funnel components could be attached to

(refer to C.2.2 for more information on specific joint details).

From the view of the exterior , we aimed for this steel frame to produce

a outline around the timber elements, emphasising the unique

patterning scheme designed for the proposed gateway enclosure.

Above: Sketch Models exploring structural elements.Below: Partial steel frame derived using Grasshopper.

104

Base Geometry

Pattern+

Form

Base Surface

OrganisingLists

Structural Frame

Flooring

105

Funnels

Pentagons+

Non-FunnelsTriangulation

Big Opening

Small Opening

Final Outcome

A L G O R I T H M I C W O R K F L O W

106

C.2.1

Gateway Project

Te c t o n i c El e m e n t s : Ke r f i n g


K e r f P a v i l i o n

108

While exploring innovative techniques of timber that could

be potentially implemented in the connection of the various

timber and steel elements, we stumbled upon this particular

technique of bending timber without the requirement

of steam or heat. Kerfing is a process of creating small

incisions in sheet timber creating specific points of weakness

allowing a certain degree of curvature to be obtained.

As observed in the images to the right, the Kerf pavilion the result

of combining the material logic of kerfing with the flexibility of

parametric modeling and modern day digital fabrication. The

pavilion structure is diverse in use from generating seating

and shading all at the same time of supporting the structure.

Our explorations with regards to prototyping this technique

involved a similar approach of utilising parametric algorithm

(Refer to Section C.5) to adjust the spacing and amount of

cuts to achieve a variety of different degrees of bending.Left and Below: Kerf Pavilion24.

Pr o t o t y p i n g In further research, we came across the potential of

implementing a variety of different patterns when

kerfing timber and obtain different outcomes. We

proceeded to generate prototypes to test the

varying degrees of deflection that we could achieve.

Firstly, our results indicated that the pattern of

lines cut against the grain of timber, performed as

intended as compared to the other patterns we

applied. We were able to bend the material to a

significant degree and we came to the conclusion

that the amount of cuts and their spacing directly

determined the performance of this technique. The

less the spacing, the greater the degree of deflection.

Above and Right: Kerfing technique prototyping.109

110

Our intentions were to apply this technique to

the components that composed the funnels.

Essentially, surfaces of the funnel were extended

in the vertical direction. Kerfing is applied at the

point of extension. This enables the component

to be bolted onto the steel frame, positioned

together with adjacent pieces, would form the

funnel. Initially, the fabricated components did

not function as intended and snapped. This was

mainly due to the spacing being too large. The

solution was to increase the amount of cuts

as well as reduce the spacing to obtain more

flexibility as observed in our previous explorations.

Making use of the aesthetical look of the kerf

pattern, we decided to use this technique

to design the furniture to be placed within

the interiors of the enclosure. The space

would feature timber flooring upon which

elements of seating would be fixed onto.

Above: Trial and error within the fabrication process of the funnel components.

C.2.2

Funnel Extension

Triangulated Panels

Steel Frame

Bolt Connection

Kerfing Incisions

Pin and Cam System

Above: Construction Detail Documentation. Scale 1:5

102

The fabrication and assembly of a 1:10 scale model was completed

in order to gain a better understanding of the feasibility of the

proposed steel structural system integrated with the timber panels

and funnels. Due to fabrication limitations, black card was used

in place of composite steel. 2.7mm thick luan plywood was

used to denote the timber elements. Rivets of 2mm in diameter

were used in place of bolts. Overall, the model was successful

in conveying our intentions and functioned as expected. An

important aspect that we overlooked during the fabrication

process was to allow for the tolerance factor. This affected the

process of assembly greatly as there was little room for error.

Below: Construction Detail Model. Scale 1:10.

112

Above: Triangulated Panels, Construction Detail Model. Scale 1:10.

113

As stated previously (Section C.1.1), we intended on utilising

the triangulated panels to further enhance the experience

within the enclosure. The gaps between individual panels

were left intentionally exposed to allow light to penetrate

through. This created small outlines of light that could be

viewed from the interiors, adding into the light which passes

through the funnels. The result overall could be denoted as

symbolising the fragments of light that penetrate through

the gaps of leaves of the trees situated along the river bank.

Below: Light Penetrating the gaps through triangulated panels, Construction Detail Model. Scale 1:10.

114

Cam

Pin

Funnel Component

Steel Frame

Above: Sectional Drawing of the Pin and Cam System

115

1

2

3

4 5

To indicate the connection detail of the components that

form the funnel, A 1:1 scale model was assembled, utilising

a Pin and Cam System.

1. The cam is essentially a hinge joint that can be adjust to

any angle as desired.

2. Holes are drilled on the side of the panels and the pins

are inserted.

3. The cam joint is inserted and positioned as desired.

4. The pins can to be rotated to pull and position the two

components together.

5. Two sets of joints are used on each of the intersections

of funnel components.

Left and Below: Process of Assembly, Pin and Cam System. Scale 1:1

116

Fabrication of Timber

Panels and Funnels

+Welding of Steel Frame into Small Sections

Transported onto site

117

M A N U F A C T U R E D O F F - S I T E

Assembly of Frame

Panels and Funnels installed

simultaneously+

Flooring and Furnishing+

W O R K F L O W O F T H E C O N S T R U C T I O N P R O C E S S

118

Gateway Project

Fi n a l Mo d e l :

As s e m b l y

120

We decided to produce two 1:20

scaled versions of our enclosure design:

1. An architectural model describing form, structure

and the effectiveness of the unique pattern as

viewed from the outside. The materials used

were 1mm Mountboard and 300GSM Black Card.

2. A section model, describing materiality,

interiors, as well as the experiential qualities.

Once again, we used 300GSM Black Card to

represent the steel frame, along with 1.5mm

premium laser plywood. The fabrication

process was conducted using the laser cutting

facilities available at the Melbourne University,

faculty of Architecture, Building and Planning

The layout of the triangulated elements of

the enclosure was initially unrolled as strips, to

enable accuracy without having to label each

individual panel. Each strip was then carefully

divided and the strips of the steel frame were

wrapped along the edges and glued in place.

The funnels were assembled in the assigned spacing

between adjacent strips of triangulated panels.

While it did seem unlikely at the start of the model

assembly process, we were able to observe

the curvature of the design taking shape as

we progressed. The intended patterns of light

produced by the funnels could were also observed.

The furniture to be placed within the enclosure,

composed of a large sheet of timber that could be

deflected to form the seating element. The pieces

of furniture were placed on the timber flooring

and the resulting outcome was quite successful

in describing our intentions for the interior layout.

This process was completed both for both models.

Both models were quite successful in its

completion and in regards to its accuracy

in describing the formal and structural

characteristics that was represented by the digital

model generated using parametric software.

121

Process of Assembly, Scaled Architectural Models. Scale 1:20.

122

C.3.2

The Final Models: A Successful Result.

Gateway Project

Fi n a l Mo d e l :

Re s u l t

125

The Final Models: Showing Formal Characteristics.

126

The Final Models: Mountboard and Black Card.

128

Section Model: Laser Plywood and Black Card.

129

Section Model: Flooring and Furniture Layout.

131

Pr o j e c t Co n c l u s i o n

Our proposed gateway design for this project,

outlines the characteristics that make the City of

Wyndham unique to the broader community. By

implementing architectural design to recreate

the experiential setting of the Werribee River

and depicting its significance, reinforce some

of the comments made in the previous sections

of this document, in regards to the aspect of

architecture being a successful medium to express

a sense of identification for the community.

The integration of computational design through

the use of parametric modelling techniques

and digital fabrication, along with exploration

of material performance, successfully

achieves the level of innovation set out by the

project brief and is evident throughout the

process of achieving the proposed design.

Finally, in contributing to the overall architectural

discourse, our enclosure design aims to add a

new perspective to the concept of a gateway,

through the creation of a reflective and

provocative experience at a personal level,

inviting motorists as they drive past, adding depth

to the overall engagement of the audience.

C.3.3

The experience within the enclosure. 134

Gateway Proposal: View from the motorist’s point of view.

135

Gateway Proposal: View from the Caltex Service Station.

137

C.4

Presentation Feedback:

Our final proposal for the gateway project was well

received by the panel of critiques. The proposed

pattern, designed to be unique to Wyndham

City’s gateway, was largely appreciated and

was deemed a success through our models.

The form was a primary area of concern as

there were questions raised in regards to

alternative solutions for the entrance that could

be potentially explored. In retrospect, the

considerable amount of time focused on resolving

the structural composition of the proposed

design, presented us with little or no time to

approach alternatives to formal characteristics.

From the positive comments we gathered that

we were effective in communicating our design

intentions was a welcome improvement from

that of the mid-semester presentation. The scaled

architectural models formed the prominent feature

as we aimed to deliver a convincing argument

and received positive remarks from the panel.

Le a r n i n g Ob j e c t i v e s a n d Ou t c o m e s

At the culmination of my efforts in Studio: Air, there has been an extensive

amount of knowledge that I have gained in a variety of different facets

of Architectural design. The ability to selectively apply knowledge

gained was tested throughout the design process. The results presented

in this document communicate my understandings of the process

of design in regards to design through computation and parametric

modelling, resolving complex problems in regards to achieving design

feasibility and addressing the issues of translating digital representations

to physical models through modern fabrication techniques.

In my progression through this semester, I have been largely successful in

achieving the outcomes set by the subject. In engaging with architecture

as a discourse, I have been able to identify the potential ideals that are

established through architecture, beyond that of a building’s aesthetical

qualities. I have gained a significant insight into parametric modelling

techniques and have been able to efficiently produce working design

algorithms that accurately represent my design intentions. In regards to

exploring an extensive range of possible design solutions, I feel that I

have only partially achieved the desired standards, mainly due to lack

of formal development in my design process. While the restricted time

constraints may have impacted the development of the design, I feel that

I could have potentially pushed the formal characteristics a little further,

particularly employing parametric tools to a greater effect. In gaining

important presentation skills, I feel confident in my ability to communicate

a convincing argument that is cohesive and relevant to the design brief.

Overall, the significant amount of experience and technical skills that I have

procured over the course of the semester would undoubtedly influence

my future endeavours in the field of architectural study and practice.

140

C.5

Ap p e n d i x - Al g o r i t h m i c Sk e t c h e s

Above: Construction Detail Algorithm.

Below: Kerfing Technique Algorithm.

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T H E U N I V E R S I T Y O F M E L B O U R N E

studio air, semester 2, 2013 - bhargav sridhar

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