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ARCHITECTURAL DESIGN STUDIO: AIR

WILLIAM VARRENTI392160

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ARCHITECTURE AS DISCOURSE

When approaching the design of the Wyndham Gateway Project, a project that doesn’t have the specific requirements and constraints of an inhabitable building, one must first question why an architectural approach to its design is not only appropriate, but in fact the most suitable solution. To fully express this, it is important to establish architecture not just as a way of producing buildings, but rather as a discourse of academic thought, that has vast ever evolving history. As discussed in Patrick Schumacher’s ‘Introduction: Architecture as Autopoietic System’, the advancement of architecture as a discourse does not exclusively take place within the built architectural realm, and that “The total mass of communications that constitutes this autopoiesis comprises of diverse items”, “buildings/spaces are just one of many types of architectural communications (and) they are privileged within architecture.” It is the advancement of thoughts on design, materials and technologies of architecture across all media that defines its continually evolving discourse, not just the pre existing buildings. It is these widely researched and developed philosophies that will be applied to the gateway design, enabling it to be an academically informed and at the forefront of contemporary design.

As architecture has evolved over time, many different discourses have developed within it, each with their own driving factors that influence not only architectural design but design in general. The most recent and newly emerging discourse within the field of architecture is digital design and fabrication, an area I am personally very engaged with. Digital architecture as a discourse is still in its formative stages and has yet to fully express its design capabilities. It challenges preconceived discourses of architecture, particularly the idea of architecture simply functioning as piece of architectural art. As discussed in Richard Williams ‘Architecture and Visual Culture’, preconceptions of architecture in the past have labeled it as the design of buildings that “exist as discrete objects that have their own integrity regardless of site... expecting them to be permanent and unchanging... expressions of the architectural styles of the time, as well as of their views of their individual creator.” Digital architecture allows works to break from this paradigm, no longer weighed down by the preconceived ideas of architectural form and allows designs to not be confined to expressing purely architectural ideas. It also allows for forms that can be adapted to nontraditional contexts and interact in new and dynamic ways.

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My own personal work ‘Headpiece’ is a prime example of engaging with the architectural discourse in a nontraditional manner. Through the discourse of digital architecture, it is able to expresses architecturally sophisticated forms and techniques in a way that challenges the preconceived notions of a built architectural form. It isn’t designed to enclose environments for habitation, but rather serves as an item to be worn upon the head. The piece however still was conceived through an architectural thinking approach, drawing precedence form bamboo, looking at its structural and visual qualities down to its biological scale. Digital modelling allowed this architecturally conceived design to be expressed in a unconventional way, using a lattice like structure, enabling it to act as a structural envelope, not requiring any internal structural reinforcement. Digital design also allowed components to be easily fabricated at full scale at any time throughout the design process, allowing the observation of its form and light filtering properties.

PERSONAL PROJECT ‘HEADPIECE’

‘BUBBLE’ BMW PAVILION

The BMW ‘Bubble’ Pavilion was one of the first structures in the world to completely engage with the newly emerging discourse of digital architecture. It was generated entirely through digital means, from the early design process through to the final construction. Rather than relying on drawing inspiration from previous architectural styles or movements with preconceived ideas of form and structure, this design was generated using a computer simulation based on the physical forces of two water drops merging under the influence of gravity, generating a unique dynamic form.

Not only did such a form utilize the opportunities unique to digital design generation, it was designed in a way that allowed it to not restricted by traditional fabrication techniques, instead fully considering digital fabrication technologies and the opportunities they provide. This allowed the design to fully express its undulating form using individually fabricated modular components connected to a precisely curved steel frame. This design is also a relevant example of how digital techniques allow architecture to be expressed as a sign in a way that is not overly literal and cliche.

This installation served to express BMW’s move towards the more energy efficient technology of hydrogen fuel. Rather than cladding a regular building to simply give it the appearance of a water, digital design and fabrication allows the very structure itself to be informed by this precedence, creating a sophisticated and informative visual communication. This is a vital aspect of the Wyndham Gateway Project as we whish for it to communicate the history and municipality of Wyndham in a manner that is meaningful and artistic, and not simply a literal interpretation.

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Wyndham is a newly emerging, vastly expanding populous and it is in their best interest to express that they are conscious of contemporary society and the directions it is moving in. Throughout history the discourse of architecture has consistently been at the forefront of design across all fields, so for Wyndham to engage with digital design, a newly emerging field within this discourse, it will communicate clearly that they are aware of the direction of current design movements and are conscious of the future development of society as a whole.

BRITISH MUSEUM - GREAT COURT

THE ROLE OF THE DIGITAL DISCOURSE WITHIN THE WYNDHAM GATEWAY PROJECT

The Great Court roof installation at the British Museum is an example of a digitally derived architectural design fitting within a preexisting structural context, in this case, one of more traditionally historically derived architectural buildings. Despite not possessing established architectural motifs, this digitally informed architectural design is able to merge within the architectural context and even stand out as its own piece of architecture.

The visual messages and effects architectural designs convey are just as relevant and applicable to sculptural and artistic designs. The way in which the basic structure of architecture is considered can communicate a message. Through digital architecture these new structural techniques help communicate new and contemporary messages, that aren’t necessarily indicative of historically derived architectural motifs. In the case of the Wyndham Gateway Project, the very structure of a design solution could be used to

In this case the design does indeed act as an architectural component of a roof, but as evident in my headpiece work, the technique of deriving from through triangular tesselations is just one of many examples of a digital architectural technique that could be used to generate an effective design solution, one that is not necessarily intended for an inhabitable built construction, but is still architecturally informed.

The architectural discourse of digital design and fabrication is extremely applicable to the Wyndham Gateway Project, as it allows for a design solution that combines both the integrity and sophistication of architectural design with the contemporary, innovative properties only achievable through computational methods. The flexibly of adaptable forms that are enabled through digital design suits the nontraditional site of a freeway with its unique high-speed, controlled viewing approach, a context not particularity considered in previous architectural movements.

The ease of repetitive fabrication allows for multiple iterations of the design to be tested in the physical realm throughout the design process, allowing the observation of how it reacts to physical stimuli such as light and movement, both essential factors of the project. The use of design communication not heavily derived from previous architectural styles allows the design to be accessible to the general populous, using innovative digitally designed architectural structures that allow the communication of ideas exclusive to the municipality of Wyndham itself, in a way that is artistically sophisticated

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ARCHITECTURE AS INNOVATION

Parametric design is not a substitution for regular design but rather a tool that can be added to a designers repertoire. This tool can be implemented in many ways throughout any point in a design process in a variety of different manners. The most common ways of implementing parametrization is though scripting via common programming languages or though CAD programs, most commonly through plug-ins. For my own personal investigation of parametric design I will be using the Grasshopper plug-in for Rhino.

The discourse of digital architecture provides many new and exciting opportunities for architectural design. Even at this point in time, the extent of its capabilities to move the architectural discourse forward are still not completely understood or comprehendible. Looking at the current state of digital design there are multiple design strategies developing within the movement, each with their own new and unique approaches that have allowed new opportunities to emerge within the field and advance the architectural discourse as a whole. Although each of these new movements have their own merit within the digital discourse I will be focussing on the use of parametric design and the specific opportunities it can deliver, sometimes in conjunction with other digital design

Parametrics allow for a design to be considered as a range of solutions, with designers being able to set strict ‘parameters’ rather than a set design solution. The opportunities parametrics provide go beyond the form of a design, and can extend to defining internal functions, services, patterns and even the way it could dynamically interact with its surrounding environment. These set parameters can determine the particular forms or configurations of a design through equations that can be derived from any number of abstract or even physical factors, including other components from within the design itself.

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WATERLOO INTERNATIONAL TERMINAL

This entire parametric process is extremely relevant to the gateway project as it too possesses an atypical context, one that may require a design to be built around its asymmetrical components. Through a similarly derived parametric designed architectural solution, the design could expresses a unique form specific to the context that is able to be built around the undulating road infrastructure in a way that expresses contemporary architectural forms in dynamic, yet structurally secure ways.

The Waterloo International Terminal is a prime example of using parametric design techniques to calculate individual complicated structural geometries using a singular parametric rule. The structure itself looks to consist of repeating modules upon first inspection however it is in fact slowly diminishing across its 400 meter span, going from 50 meters high at one end to 30 meters high at the other. In addition to the tapering nature of the overall form, due to the fluctuating geometry of the site, these individual arches spanned various widths throughout. The structure itself consisted of 36 of these undulating structural members making it extremely difficult and inefficient to individually calculate how to adequately handle the loads at each of these points.

Despite their differing forms, each arch technically had the same over structural solution, not a physically calculated form, but rather a truss that followed specific rules to sufficiently distribute loads at particular areas. These rules were directly translated into a parametric script, allowing a perfect truss to be automatically generated as each curve was manipulated in the design software. Even once the basic design was completed, areas could be automatically adjusted to take into consideration secondary objects like cladding elements. The individual structural systems would simply update in accordance to the strict rules already put in place, creating a hierarchy of individual building components each connected to the other parametrically. Once the final design had been decided on, the individual measurements of each of the unique structural elements could be then fabricated using digital documentation, sent directly to machines that could use this digital information to fabricate precise structural members.

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WALT DISNEY CONCERT HALL

Parametric design isn’t restricted to solving structural components of predefined forms and can be used to generate the very form of a design itself. Frank Gehry’s Walt Disney Concert Hall design is an example of using parametric techniques to generate dramatically dynamic forms. To design and document such complex forms in the past would have been near impossible, requiring thousands of sheets of two dimensional paper documentation. It was only through computer aided modeling programs that such advance curved volumetric structures could be represented, a strategy Ghery first brought to architecture in his design of the Guggenheim Museum Bilbao. The parameters used to define each of the shapes allowed for them to be easily manipulated throughout the design process to determine how they could achieve the most visually desirable forms. Performance was also able to be considered with the wind patterns generated by these forms being digitally calculated and used as data in the forms parameters. The cladding of these forms are also parametrically calculated, using the data extrapolated from the forms to calculate the individual unique dimensions required for each panel.

Traditionally if any detail of the form was altered during the design process architects would be required to redocument each individual detail of the shape across all two dimensional documentation drawings. Parametricism allows for entire forms to be adjusted by simply manipulating one of its singular polylines with the overall forms and interior structures adjusting automatically. These parametric form generating techniques are ideal for the Wyndham Gateway Project as they assist in the generation of bold dynamic forms that can easily be adjusted throughout the design process to precisely convey the messages about Wyndham that are to be communicated.

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DE YOUNG MUSEUM

The de young Museum, upon initial observation of its overall form, doesn’t appear to be a parametrically calculated design, consisting of flat bold forms. However, upon closer inspection of its ornamented facade it becomes evident that the perforations and indentations upon it have been consciously calculated using a set of specific parameters. The degrees to which each of these individual components are marked into the copper plates varies, determined by an overall equation derived from a digital image of tree canopies.

This set of parameters was extracted from the image in a process developed by engineering group Zahner, who took the image data and mapped it to the various panels on a rectilinear grid. Each bumps depth, or each of the cuts made into the panel were aligned to this grid with their degree of size or depth determined by the colours of the pixels form the picture. This process was parameterized further by having this process to be developed allowing changes in the panels themselves to automatically update the

the rectilinear grid and redraw the newly located cuts and extrusions.

This parametrically derived patterning could be extremely relevant to the gateway project as it provides a more efficient form of effective communication compared to larger form based structures. Not only is it highly efficient in the amount of material used through its planarity, it also could be used communicate a more clear visual message that would be better accessible to the greater extent of the audience of the design itself.

THE ROLE OF PARAMETRIC DESIGN WITHIN THE WYNDHAM GATEWAY PROJECT

Overall parametric design, in conjunction with other elements of digital design and fabrication, provides a number of unique opportunities that further prove that only through architecture and its various discourses will the gateway design be truly innovational and be able to communicate a meaningful message through sophisticated artistic form ornamentation. Parametric structural systems allow for unrestricted forms that will be able to undulate throughout the irregular geometries of the freeway context over the constrained areas of the roadways.

Parametric form generation will allow for unique forms that can express the dynamic nature of Wyndam’s development in a way that will allow the physical experience to still be the focus, not sacrificing communication over spacial experience. Parametric facades will allow for the gateway to express a bold visual message in conjunction with the form. It will allow for the maximum amount of visual communication in the brief time the user is exposed to the freeway piece. It will also ensure the communication is clearly expressed and accessible to a wider audience.

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DYNAMIC PATTERN

Through the use of parametric ornamentation techniques, the form of a building no longer has to be the primary architectural expression device. Not only do these parametric patterns create an interesting aesthetic, they also can create facades with an almost kinetic dynamism expressed through a static surface. Through carefully designed parametric formulae, the facade of a building can be manipulated to give the appearance that it is physically moving or its form has been influenced via an external dynamic force. This movement can be for a purely experiential purpose or can be used to express a deeper abstract message derived from movement physically or as a metaphor I believe that through dynamic patterning the Wyndham Gateway Project could express the dynamic changing nature of Wyndham in a way that is exciting and eye catching to the audience and could be used to communicate a specific message about the municipality and history of Wyndham itself.

OFFICINA AU The Officina Au building is a prime example of a building that fully embraces the notion of parametrically deprived dynamic patterning, having it evident along its entire perimeter. To express the sites history as a past location of a silk factory, AUA utilized an image of silk blowing in the wind and used the parametric means of an image sampler to define the orientation of the blocks according to the level of brightness resulting in a wave effect. Not only does this provide an abstract visual communication, the overall effect on the viewer alone is quite expressive. The way the blocks have been systematically rotated actually expresses the very dynamism of the silk it is parametrically replicating and this movement is experienced by the viewer, especially as they walk by the piece. It is this combination of effect and abstract communication I believe would be ideal for the Wyndham design project.

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EXPRESSION OF INTEREST

ARGUMENT

The main objective of our approach is to generate a design solution that evokes a sense of curiosity and uncertainty through a dynamic and interactive installation, which utilizes optical illusion to generate and evoke this desired effect. It is only though through our unique gateway solution that this sense of curiosity can be evoked causing the general public to reflect on their experience and be able to become engaged to develop a greater understanding of Wyndham itself.

To understand the dramatic effects achievable through optical illusion one must first understand why this approach is not only appropriate, but highly effective. As Beau Lotto discussed in his lecture on the nature of optical illusions, “Only through uncertainty is there potential for understanding.” It is this quote that perfectly summarises our approach. In order to fully understand something one must first engage at a cognitive level in to comprehend it.

Just like the Rubix Cube, it is through the process of trying to make sense of and solve the cube that informs the user how it actually works, something much harder to interpret by simply observing a completed one. The first time one is exposed to an optical illusion, their brain initially perceives it in a way that does not represent its physical reality. This instantly causes the brain to challenge its preconceived notions of how this object should be acting and instantly causes cognitive thought trying to understand how the illusion has achieved this.

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“Overall I found this to be a vital process in understanding how exactly my initial precedence of kinetic optical illusion and my prior experimentation I performed with it, could in fact become an applicable design solution. Although I had always been interested in the field I had some preconceptions that it perhaps wasn’t exactly an “architectural solution” It was upon the reflection of architecture as a visual communication that helped me understand that optical illusion was not only a valid form of visual communication but also an extremely effective one. I can see now that through our previous exploration in grasshopper, parametric design will be vital in giving my illusion design proposals the required level of sophistication and volume of communicative information.”

To be able to achieve this balance between volume of information and clarity of its communication we will engage in the use of parametric design. Parametric design allows us to produce and manipulate vast matrices of responses, each of which can be easily fabricated and tested over multiple iterations until the most effective and most appropriate solution is achieved, determined by a set of predefined criteria that apply directly to the gateways context and design goals.

This idea is directly applicable to the Wyndham Gateway Project as this implementation of optical illusions becomes an integral way of communicating information that easily conversed within the context, as the users will be traveling at high speeds. The controlled approach of a freeway is also extremely applicable to an optical illusion as the illusion itself can be optimized to these exact viewing angles, allowing a powerful response. The design will able to be filled with enough visual information to express a meaningful communication at a cognitive level whilst being readable enough to be accessible to the general public.

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This approach at the time of the movements establishment however was revolutionary and shocking the average viewer changing their perception of what was visually possible within the two dimensional composition of art. It is this sense of awe that we wish to evoke within our composition hoping to engage our viewers at the same level of interest in a revolutionary approach.

Though our independent research we also determined that this effect could be achieved utilizing two static two-dimensional planes transferring the movement component of the primary plane to the high speed movement of a car within the proposed context. To understand how to control and better predict the resulting movement of illusion we looked more closely at small scale zoetrope examples, concluding that the secondary plane is divided into a set number of frames determining the width of the black strips. This means that between each period of movement the transparent slits are showing one segment from the secondary plane, whilst the others are being covered by the primary plane, creating the illusion of fluid linear movement.

VICTOR VASARLEY

ZOETROPE

PRECEDENTS

In order to be able to fully engage with our overall idea of optical illusion through parametric methods, a concrete understanding of the ‘Op Art’ Movement must first be established. This was explored through thorough research of the movements founder Victor Vasarely. Vasarely’s earlier work, particularly which with two dimensional patterns, was extremely relevant to our current parametric design approach.

As movement, speed and the controlled viewport are vital to the context of the gateway the precedent of the Zoetrope fits perfectly into the proposed effect wished to be achieved. The quickly moving alternating black and transparent slits are able to create the optical illusion of animated movement. This approach is applicable beyond the small scale children’s toys it is usually utilized in and has in fact been applied to a large scale public work as evident in a piece created for a Sony Bravia commercial, proving its ability for potential utilization within the large scale gateway project.

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Sum-Arch an external digital design consultant helped establish a process defined by constraints that allowed the design development of the timber screen to act efficiently, capturing particular views and creating specifically predefined apertures, determined by calculated parametric rules rather than simple aesthetic. Their effective use of parametric modelling and constant refinement and development is a process that shall be followed in our gateway design process, creating an effective output.

SKY RAIL

Varini’s pieces created a personalized response for each user, engaging them on a personal level, which in our design can used to make users feel personally engaged with the gateway, encouraging further interaction. It also creates a controlled response, allowing the kinetic notion of our illusion to be controlled, which could be utilized for aesthetic or even safety reasons, stopping drivers from being distracted from the road at certain points along the gateway.

FELICE VARINI The potentials of framed movement brought upon by the controlled approach of a freeway context is a factor that is essential to our design process and thus it was important to explore examples of optical illusion that is exemplified through framed views. Felice Varini, a Swiss illusion artist, uses a restricted viewpoint for his works to create a visual composition of forms and colours that are only viewable from a singular predefined viewpoint.

To establish an idea of how the proposed design could function in the built context an important precedent to help explore the proposed built outcome are pre-established built parametric planes that express how the calculated proposed built form will function. The Skyrail Project by Matsys is a railing system for an external staircase in San Francisco.

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The Officina AU in Shanghai China by Arch Union Architects also has a strong connection to the parametric façade developmental work. This is a prime example of how a precedence could be expressed through our parametric plane. The buildings original context is a silk factory which is used as precedent for its design.

The Galleria Center City by UNStudios, a shopping center in South Korea, is the most relevant built example of our design approach. The facade creates the illusion of an undulating form across the surface using a planar static form. Like our proposed design this illusion is achieved through a double façade, with skewing vertical elements in specific areas creating the tension of movement.

OFFICINA AU

SKY RAIL

“With the argument now clearly defined, I found it to be relatively easy to establish as a group our precedents for all the now clearly defined aspects of our proposed design. The establishment of the precedence also gave me a sense of comfort knowing that our rather abstract concept has ideas grounded in already built and successful outcomes. Looking at Vasarley’s works also helped me understand how two dimensional grasshopper definitions could be applied in an artistic context, with some of his works even showing elements that could be replicated using image samplers, functions and even point attractors”

AUA utilized an image of silk blowing in the wind and used the parametric means of an image sampler to define the orientation of the blocks according to the level of brightness resulting in a wave effect. This technique expresses the pervious history of the site, something we could utilize in our design, physically expressing facts about Wyndham in a non-literal manner, in an engaging dynamic way.

This motif is a direct example of something we wish to achieve in our gateway design, as previously stated, expressing the illusion of relative movement.

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CASE STUDY

McCORMICK TRIBUNE CAMPUS CENTRE

For my concentrated case study I decided to look into and attempt to replicate the intricate details of a building that was fully engaged in the field of parametric design. As I have chosen to further explore dynamic pattern through the use of parametric design I have selected to study he McCormick Tribune Cancer Center. This building complex is a great example of a building that contained various engagements with parametric patterning and ornamentation, each with different purposes and outcomes. Through the recreation of these parametric elements using Grasshopper, I will not only be able to understand the effectiveness of each of these solutions, but also gain an insight into how I my self may be able to generate my own parametric definitions for my own project.

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The first area I investigated was this wall, which appears to acts as an acoustic dampener. Rather than leaving it as a utilitarian functional surface the architect has used parametric techniques to give it a sense of vibrance. It would appear that an image sampler had been used to arrange different sized pyramidal elements whose sizes were determined by the pixel colours of a cartoon image of a face.

Michael Rock, a graphic designer created a series of icons to be used throughout the building to be used to formulate a variety of images. A vast matrix of symbols were created that ranged in opacity and fill and it appears that these have been used as outputs for images sampler of Mies Van Der Rohe’s face, with the overall fill of each icon corresponding to the darkness of the groups of pixels aliened to a rectilinear grid.

IMAGE SAMPLER The image sampler as a technique is evident in many aspects of the building and is a technique we could use to express particular images or forms representing Wyndham. Using an image sampler with 3 different icons used as outputs we have recreated the image of Mies Van Der Rohe’s face from the building itself.

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Throughout the building there are areas in which there is a glazing treatment over a honeycomb mesh. This mesh has been parametrically derived in order to restrict the view out of the building to particular angles. It also acts to influence the degree and direction of the light that enters the building itself. This manipulation of form, light and view is an important factor in the consideration of our gateway design and would be an especially good definition to understand. It appears to be a hexagonal geometry output that has been aligned to the normal of a curved plane which I have attempted to replicate.

HONEYCOMB SCREEN

“TI found this entire process to be vital as it was the first time I was able to generate my own definition based on a predetermined solution, rather than making a solution based on the components I had just learnt. I was able to observe the provided solutions and look back at my files from my previous grasshopper lessons and determine a functional solution that was a semi accurate replication.”

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MATRICES

Definitions that we considered particularly relevant were: the curve attractor, point attractor and the image sampler, as each allowed for the most dynamic outcomes. From these we picked solutions that had patterns, readable illusions, dynamic movement and basic euclidean shapes.

As evident in the Galleria Center City, we have taken the idea of a double facade and created a double wall structure with the same rules of interaction between the two surfaces. We decided that simple rectangular geometry should be used for the primary wall, which was derived from the zoetrope, as this would work effectively generate a dynamic relation with the more complex patterning we will use for the secondary wall.

To determine the desirable patterning for the secondary wall we established a set of matrices. We used seven inputs and seven associations with basic circle outputs, to generate a number of possible patterns to use. Through this we were able to explore different iterations and patterns that could be used to create a dynamic response. We also explored colour and extrusions as outputs but determined they were irrelevant to what we wished to achieve with our gateway design. From these outcomes we created some general criteria that we could then use generate responses that were able to be both dynamic yet easily readable.

The secondary wall perforation sizes need to relate to the primary wall perforations size. We also determined that the overall level of success depends on the dynamism of movement in the design .

“Being fairly unsure of the constraints early on, I found developing the matrices themselves helped me determine what was effective in achieving the outcomes stated by the design brief. I was then able to reduce them down using these constraints, singling out the most effective overall methods ”

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PHYSICAL OUTCOME

After the surfaces were designed in Grasshopper we used Rhino to bake them to a physical model space and sent them to be fabricated. The process that followed entailed using the fabricated perspex to develop ‘Pinkysill’ moulds . With this inverted Pinkysil pattern we poured a resin solution which we set flat for 10 minutes before elevating them into a curved perspex jig. This process allowed us to experiment with the three dimensionality of our designs and see if a curved surface performed better visually than a two dimensional surface.

After unrestricted development of our definitions formulating quite complex patterns, we decided to attempt to apply these constraints to the physical realm via a small scale model top understand the real world application of their effects and to determine how successful they were. In order to successfully manufacture these patterns into small scale perspex models, we had to reduce them to their rudimentary elements. This was achieved mainly through using smaller sets of rows and columns and utilizing singular euclidean shapes.

We were even forced to reduce the magnitude of change in areas reducing the degrees to which curve attractors fluctuated and using fewer point attractors. We also decided we coldnt use an image sampler at such a small scale as the grid of points would have to be too close together to represent anything meaningful. Despite the simplification we still strove to find a balance between making our designs simple enough to develop and manufacture whilst not losing sight of still creating outcomes that are successful in achieving a dynamic visual experience.

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MODEL 1 - ZOETROPE PRIMARY WALL

The primary wall serves to act like the outer layer of a zoetrope and thus consists only of vertical slits periodically spaced along its length. These slits perfectly align with the rows of the secondary walls, achieved by using the same values for its parametric rectilinear grid.

Having the closings the same size as the openings means that when one secondary element is revealed its adjacent elements are completely concealed. This constant changing that is perceived when the user moves past, creates an optical illusion of movement as elements are periodically revealed and concealed.

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MODEL 2 - CIRCLE OUTPUTS WITH POINT ATTRACTOR

This wall was probably the most successfully fabricated and provided a very clear visually effective result. Although the magnitude of attraction of the points was drastically reduced compared to out matrix experimentations, it was clear that a dynamic visual response was quite possible through the use of point attractors.

This was the one example were we also began to experiment with the materiality of the model itself. By using less pigment in the resin mixture, we were able to give a semi translucent quality allowing light to pass through the perforations as well as the surface itself, which as evident in the image bellow has a unique aesthetic.

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MODEL 3 - SQUARE GRID LAYOUT

This layout was intended more as a test surface to experiment the lowest threshold of dynamism and use it as a control point to determine how successfully patterned surfaces were. It is interesting to note that even without an altering pattern a fairly kinetic solution could still be generated, although this movement wasn’t any where near as dynamic as the others and only occurred as a constant in one direction.

However, due to the rectilinear grid like nature of the other surfaces, we found that this model could also be used as a primary wall, acting almost like individual zoetropes stacked vertically. Although it did work it seemed to restrict the vertically dynamism of the piece, restricting he illusion of movement horizontally. Being a design about maximizing movement this was a deciding factor against such an approach.

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MODEL 4 - HEXAGONAL CURVE ATTRACTOR

The curve attractor solution, I believe was the most effective solutions in terms of the dynamism achieved through its pattern. Having a constant curve that is moving in both the x and y direction provides what I believe to be the most dynamic response. Hexagons to provide an interesting aesthetic however I believe that the circular geometries of the previous model provide a more organic flow.

The linear way in which this design leads the eye is an effective way of controlling a users viewing angle. This could be extremely applicable in a freeway context, where it is important to have controlled viewpoints for both design and safety reasons. At a large scale this controlled viewing track could become even more unique and dynamic, rather than the symmetrical nature of this controlled small scale model.

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“Through the model making process it was a relief to discover that our proposal was actually viable and the effect successfully created a dynamic interaction. Although our designs did end up a lot simpler than initially intended they still managed to achieve the desired effects. Based on feedback via our tutors we determined that at this scale and lack of detail the design prospect at this moments isn’t pushing the boundaries enough and is in a way too simplistic. This is probably the main pint we must take on with us into the next stage of completing the final design outcome. We also determined that although the horizontally curved walls created fantastic self supporting structures they unfortunately did it at the cost of the overall effect, the main means of visual expression. As a result we may have to resort to completely flat walling systems or perhaps curve tem in the vertical axis ”

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PROJECT PROPOSAL

Upon dissection of the design brief provided by the council of Wyndham, it was clear that my previous research would provide the tools to generate a sophisticated design solution that considers all aspects of the proposal. Through each of the lessons learnt from the exploration into the architectural discourse and the subsequent research from the expression of interest, in conjunction with my team, we were able to generate a finalized design solution that not only adressed all the design criteria, but did it in a way that provides a contemporary design solution that breaks the boundaries of typical freeway art.

One of the key aspirations Wyndham has stated is that the design be exciting and eye-catching. To achieve this we have utilized the discourse of parametric patterning which in combination with relative displacement, provides a solution that dynamically grabs the attention of the viewer and provides exciting visual stimulation.

It is also stated that the design must inspire and enrich the municipality. We have achieved this through parametric form and patterns that are able to convey a message about the municipality in a non literal manner. The design will also inspire the citizens themselves showing that they are apart of a city that embraces and is engaged with its ongoing development into the future, sitting at the forefront of contemporary design

This engagement with architecture and the newly developing fields within digital design will communicate a message beyond the local municipality, showing that Wyndham has a clear vision for its future. It will show they are interested in developing a unique architecturally designed realm, not just an assortment of externally developed housing estates, with no design based or social connection. I shows they are a connected community through design.

Our parametric response also allows for a design that will consider its context not only physically but through its visual communications also. Through its dynamic patterning it will be able to create different experiences upon each viewing and through its optical illusion component will encourage further reflection upon the installation beyond the initial exposure to it.

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FORM GENERATION

To generate the initial form we used the contours of the Werribee river, a key natural element of the landscape and an area that makes Wyndham unique from other surrounding rural environments. As we decided that the overall design was more about the experience rather than literal expression, a notion also supported by the brief, we decided to take this existing river form and abstract it to one that would best be able to create a framed experience upon which our parametric pattern would be embedded. This curved form was then used to generate a section for our design laying down a groundwork for an undulating dynamic form.

POPULATION 2006 = 116330EXPECTED POPULATION 2031 = 334676 EXPECTED GROWTH = 218346

218m

0m

We extruded this section outwards, in a manner that was able to communicate the expansion of Wyndham’s population communicating Wyndham’s role in the expansion of victoria as a whole being a leader in population growth, Although the form may appear to be only considered from above, this isn’t about communicating the literal expansion but rather expressing the gradient of how rapid this growth will be. This is clearly visible from ground level with the structure its self bearing over, reaching out towards the municipality of Wyndham itself.

This dynamic form that has been generated is then specifically tailored to the site. Due to parametric structural systems that will be implemented the form of the design isn’t restricted to constant repeated structural elements and instead can be based of an undulating form that can follow the contours of the roads.

As the north most element of the form is elevated, this leaves the entire structure open in the direction of Wyndham. To keep the dynamic nature of the design constant this area has the internal skin slowly open towards Wyndham, further emphasizing this reach towards the greater municipality of the city.

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SITE PLAN N

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STRUCTURE

STRUCTURAL STEEL SPINEEXTERNAL METAL SHEETING

STEEL CONNECTION CABLESINTERNAL METAL SHEETING

CONCRETE FOOTINGSREINFORCED STEELWORK

STEEL CONNECTION CABLES

EXTERNAL METAL SHEETINGSTRUCTURAL STEEL SPINEINTERNAL METAL SHEETING

STEEL SUPPORT ELEMENT

As discussed in my expression of interest, to create a truly dynamic form I have used a parametrically defined pattern layer, with a set of evenly separated slits in front of it, that serve to animate the pattern via relative displacement. In order to evolve this idea beyond the hypothetical model state, a well informed structural system must be put in place to ensure this to becomes a viable built solution. This has been solved by a set of parametrically defined set of repeating structural ribs that are placed over the top of the secondary external layer. This outer layer is directly bolted onto these structural elements whilst the internal zoetrope layer is supported via steel support elements that are periodically hung from the beams, supporting an individual or interconnected group of zoetrope strips.

The key concern associated with these external members is that they would possibly obstruct the light incoming into the model, allowing the pattern to be visible to the viewer. However just as the shapes of the structural elements themselves are parametrically dimensioned, using the rectilinear grid of the patterned layer, the ribs can be placed precisely in between each vertical row of perforations, thus blocking no light at all as proven in our physical model.

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PARAMETRIC PATTERNAfter my previous experimentation with various matrices I was able to directly apply the same constraints and considerations I developed, however this time I had to consider them at an extremely large scale. Previously I had determined that the best solution would be to use a curve attractor, giving a very controlled viewing path, guiding the user through a dynamic pattern display. However I determined that at a large scale, this solution would be impossible to achieve as the viewer would have to engage in exaggerated viewing angles to simply cover the vast area of the proposed pattern. It also goes against one of the key elements of the design brief, stating that the design should aim to be a new experience each time the viewer the exact opposite of a guided path experience.

As a result we required a design that had a vast array of different elements that were not easily decipherable and provided new visual opportunities upon each inspection. To achieve this we went back to a method we were unable to physically test in a model previously, that of the image sampler. For this image sampler, we needed an image that could represent the unique dynamic nature of Wyndham, in a not overly literal sense, that provided interesting fluctuating patterns. We came to the conclusion that an aerial image of one of Wyndham’s areas of various paddocks provided an vibrant fluctuating image, that also expressed the lifeful nature of Wyndham’s countryside, breaking perceptions of it consisting of baron grasslands. This solution created the perfect pattern, one that was dynamic no matter where the user looked, providing a consistently differing experience. The literal forms of the paddocks were lost but this was desirable as we wanted to create an experience, with any deeper meanings being determined after the user has experienced it prolonging their engagement with the design and the thoughts of Wyndham itself.

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FINAL OUTCOME

As a complete design solution our project responded directly to the brief and its surrounding context, providing Wyndham with a sophisticated architecturally sophisticated solution. Not only does it provide an aesthetically appealing addition to the freeway context it provides a dynamic interactive experience, one that allows the user to reflect upon their experience and engage with Wyndham at a cognitive level. The use of optical illusion generates an engaging energy that makes the user excited and more willing to learn and understand the evolving nature of Wyndham’s municipality. Travelling through the tunneled zoetrope structures allows relative displacement to create a dynamic art piece that creates an undulating pattern that appears to move with the viewer. Overall this solution makes the most of the controlled brief experience each user has with the space, allowing for new experiences to occur each time one interacts with it, via the large scale complex patterning systems.

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LEARNING OUTCOMES

When I was informed that we would be engaging in digital parametric design I was quite excited by the prospect as I had never had the chance to engage with the field at all during my studies. As I had expected, this new approach took some getting used to but I underestimated just how drastically it can evolve the design process. Even from the outset it was quite different to the regular architectural approach we usually apply as students. Initially I thought parametric design was simply a bare bones tool, one that could be simply used as any other skill set in a designers arsenal. Whilst this is true to some degree I soon discovered that parametric and digital design brought with it a new way of considering architecture and the design process. Through the initial journal exercises, I for the first time began to evaluate architecture not just as a process to reach a tangible built goal, but actually reflect on it as a discourse of thought and consider how architecture can be relevant beyond simply generating buildings. The opportunities digital design can provide the discourse of architecture itself are vast and not only applicable to all stages of design and fabrication, they can even shape conceptual elements.

vast number of solutions, and have a visual reference to how each was created it helped me gain an understanding of the true functions of each components, but more importantly the intricacies that separate them and make them unique. The first time I was able to generate my own definition based on a predetermined solution was in the CUT project. Through the investigation of the OMA cancer centre, I was able to look at the solutions and think back to the matrices as well as previous lessons and determine a functional solution that I was then able to bake in Rhino and generate a semi accurate replication. It was from this case study that I was able to gain the confidence to utilize a variety of experimental techniques in developing the matrices for my EIO submission, which later directly informed my final design outcome.

Although I had been previously interested in involving myself with parametric design I felt that the learning barrier of scripting was something that I simply wasn’t ready for and even if I was, I didn’t really know where I would start. The moment we started using grasshopper I was understandably quite shocked at how simple and intuitive a graphic interface version of parameterized design language could be. I had learnt some scripting in the past for more general IT uses and it was amazing to see how much more intuitive and integrated graphical approach could be and how it completely removed the initial intimidating learning barrier. As each lesson progressed and new components and their uses were established I found that I was picking up the Idea of a parameterized design process. Although it was easy to generate solutions based of the components I just learnt I soon discovred that to do it the other way around was far more challenging than I had anticipated. Having a solution in mind first and then looking for the relevant components was a difficult task . The moment I felt that I was beginning to overcome this difficulty was when we were given the matrices exercise. By generating this

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Although attaining a firm grasp on how to simply use parametrics within a design was a key learning outcome for me, just like any other studio subject, it provided me with a new set of skills and a built confidence in my approach to both designing and the field of design in general. Throughout my design studies I have been assigned a number of tasks that require me to use an architectural approach for a non building structure. I never really stopped to think why an architectural approach was an appropriate solution. Throughout high school I had completed two different design subjects, that of visual communications and design technology. Although the way design was considered in these subjects was considerably different to architecture I never truly questioned how or why. By considering architecture and digital architecture as discourses of thought it really helped me understand how to properly engage in this ongoing stream of academic thought in order to assist my design work and help establish in my mind why architecture itself is such a unique field of design. I also felt this year was the first time I properly used precedence to really inform my design work as I feel in the

past I have always ended up at some point post-rationalising some of my early design decisions. I truly benefitted from research from early artistic origins to examples of parametrically derived patterned buildings. This was particularly useful in my case as only through seeing how the newly emerging field of parametric design was I able to gain the confidence that our solution could be physically viable. Although I did take a lot of inspiration from some examples I felt that I was able to advance them in my own way to establish a truly unique revolutionary design.

I felt the process of the EOI as a whole was a good way of approaching a design work. It really helped me establish the need to learn how to clearly define the intention of my outcome first in a concrete manner, that will allow a design to emerge from it, rather than the other way around. The emphasis on group work was also a factor I personally enjoyed. It helped me gain more of an insight into how working more in a professional studio like situation would be. It also helped me develop skills in how to constructively add to my group members work and how to take criticisms and suggestions to my

own design inputs. It also provided an important lesson of group based time management, something quite foreign to me in a design situation, one where dividing work individually can prove to be quite difficult. Overall I’m glad that I was given the opportunity to engage with this subject and with the greater field of parametric design itself. Despite my initial preconception on the initially difficulties of breaking the learning barrier of parametric design, it is clear from my final outcome that I have began to understand and now know how to fully implement, at least at a rudimentary level, parametric design techniques. I am confident that I will take these lessons learnt with me into my future endeavors, and I in fact plan to spend my next holiday break further familiarizing myself with parametric tools and even familiarizing myself with some entry level publications on the topic. Simply looking at the current state of the architectural discourse I am confident that my career as an architect will in someway involve parametric design, no matter how in depth I choose to pursue it . I may not fully understand its future implications now, but it is only through this uncertainty is there a potential for understanding its possibilities.