Architecture Design Studio: Air Journal
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A R C H I T E C T U R E
D E S I G N
S T U D I O
A I R
J O U R N A L
2
Changing Discourse
Light + Emotion
Interractoin
Mimicry
Computing + Paramtric
Digital Design
Parametric / Scripting
Develop
Matrix
Case Study
Dior Ginza
Expression of Interest
Western Gateway Design Project
Reflection
Project Proposal
Reflection
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C O N T E N T S
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C H A N G I N G | D I S C O U R S E
D I S C O U R S E
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L I G H T +E M O T I O N
D I S C O U R S E
51
Personally, the Church of Light, designed by Tadao Ando, has significantly impacted
my own architectural discourse through its emotive use of light. Since enountering this
building, my understanding and appreciation of the intangibles in architecture, not merely
the physical elements, influenece my perception of built space. However the importance
of the built, physical elements should not be underestimated, for they allow the concept
of intangible forces such as light to be integrated. It is within this reasoning that I intend
to incorporate ‘light dynamicism’ within my future designs. Integration of parts (tangible
and intangible), just as Ando did, is the key to achieving an outcome that is emotionally
compelling and dynamically moving.
the most important distinction in our changed notions of architectural
design is the shift from geometry as an abstract regulator of the materials
of construciton to a notion that matter and material behaviours must be
implicated in the geometry itself
- Reiser and Umemoto, The Atlas of Novel Tectonics
“
”
Through the use digital and paramteric design, it is intended to create a series of complex
geomteries that will incorporate and facilitate the potential effects of light. These effects,
ranging from stillness to movement to fragmentation will be not only be driven by the
form-making geomtery, but integrated within it to create one dynamic system.
C H A P T E R
6
D I S C O U R S E
Pulse Spiral
- Rafael Lozano Hemmer
D I S C O U R S E
7
Architecture is basically a container for something. I hope they will enjoy
not so much the teacup, but the tea.
- Yoshio Taniguchi
Whilst the focus of architecure is on a physical form,
it should not be forgotten that architecture can be a
sensory experience. Indeed it is the built structure
that fosters such an experience, thus it is imperrative
that physical and experiential (intangible) factors are
acknowledged when justifying the design process.
Rafael Lozano Hemmer develops interractive
installations that have the ability to alter ones spatial
experience by utilising performative techniques.
Hemmer’s project ‘pulse spiral’ embodies an
interractive experience that is specific t o each individual
with whom it comes into contact. Approximately
400 lightbulbs are connected to a sensor that reads
and and responds to ones heartrate, reflecting it in
a complex lighting arrangement (Hemmer, 2008).
This project is merely an example, with such an
intrinsic interractive experience not always necesary
in a designed space. However it demonstrates the
impact of a type of stimulant that can potentially
impart emotional affects on ones sensory
experience, converting a space into a emotive vessel.
E X P E R R I E N C EI N T E R R A C T
“”
C H A P T E R
8
D I S C O U R S E
P A R A M T R IS M
NORDPARK RAILWAY STATIONS, ZAHA HADID
Each of the four train stations were required to fulfill the same criteria whilst simulataneously
responding to the spcecific conditions of each site. In order to meet the criteria, Hadid studied glacial
moraines and ice movement, allowing her to base the architecture on the natural adaptations that
occur in the surrounding environenment.
Adopting parametric design tools, Hadid was able to mimick “a frozen stream on the mountain side”
(Hadid, 2007) by adjusting each design in accordance to the variable parameters specific to each
site. In this instance, Hadid’s use of mimicry not only informed the shape of the geometry, but the
way in which the design could be concieved structurally. The use of paramteric modelling enabled
the notion of mimicry to be adopted, utilising specific areas of her study as inputs in the modelling
process.
By approching architecture in a way that is relevent to the time, Hadid, along with a number of
other designers adopting similar principles, is not only changing the discourse of architecture, she
is actively commtting to the formation of a new architectural style. This style, as termed by Patrik
Schumacher in his essay “The Parametricist Manifesto” (2010), is parametricism.
C I S M
D I S C O U R S E
9
RELATIONSHIP TO
EXPRESSION OF INTEREST
Through the examination of particular architecture and the discourse surrounding it, a basic design
idea has been distinguished that is intended to inform the design process. The three examples
analaysed in the first chapter of this journal each demsonsrate the design themes that will contribute
to the design on the Wyndham City Gateway. These themes comprise lighting and its potential effects
and the creation of an experience (as opposed to a stagnant landmark) for passers by, which will be
carefully integrated through the use of paramteric design tools.
Similarly to Ando’s use of light and shadow, the intention is to focus on the impacts of light, both
natural and artificial and the way in which they are percieved as motorists travel past.
The creation of an experience is perhaps the most important aspect to the design of the gateway.
The ability to instill a form of interraction between the design and the road user creates a sense of
intrigue, promoting the visual exploration of the Gateway; not merely driving past it. For example,
at night, when automobiles are using their headlights to guide them, this light will splash onto the
Gateway, changing perspective from driver to driver. This will also create a dynamic experience as
the positioning of such lighting will always be differing.
1 0
C O M P U T I N G +
P A R A M T R I C
C O M P U T I N G
11
A G ED I G I T A L
D I G I T A L
D E S I G N
Digitally enabled architecture does not conform
to rules and it does not know any boundaries.
These intangibles do not exist - at least in the
realm of digital design. It is so new and so
raw that its potential is yet to be defined, yet
it has the power to impart drastic change on a
profession that has existed for centuries.
This change is due to the development of
new and capable computer programs that
have bridged the gap that existed between
the communicational processes of man and
machine. The ability of the machine to now
understand a set of manipulative, dynamic
instructions (dialogue), allows digital design
to occur. Previoiusly, this was not feasible
as computer systems lacked the ability to
interperate information inputted by man.
Each of the two systems (man and machine)
have ther own insufficiencies. In a way, digital
design processes ablolish such insufficiencies
beacuse the said communication process
inadvertantly combines the dominant traits
of each system. The key to this notion is that
insufficient traits of the computer system are
in fact the dominant traits of human cognitive
functioning, and vica versa.
Due to the integration of the two opposing
systems, there is no need for an ultimatum by
which one system should be preferred over the
other. The fact that ‘the best of both worlds’ can
now coexist throughout the design process, a
much more informed design solution can now
be achieved.
The computer is not simply following input
C O M P U T I N G
1 2
The term parametric design, especially when
applied to architecture, encompasses the whole
manifestation of what digital design is and how
the industry may progress. Parametric design
techniques define geometrical primitives as
objects that are variable by their dimensional
parameters (Menges & Ahlquis, 2011). This
suggests that an object has endless variational
capacity due to said parameters. This is the point
at which digital design enables architecture to
once again be current with the time.
Perhaps most importantly, the creation of
‘new’ spaces and the evocation of ‘new’ spatial
experiences is one of the most intriguing
aspects made possible by digital design.
Looking at the work of Daniel Libeskind,
he creates architecture that moves people.
He does this by generating a unique spatial
experience conjured by the formation of
imperculiar geometries (Daniel Libsekind,
2011). Whilst libeskind does not rely heavily (if at
all) on parametric design methods, his design
philosophies do demonstrate its potential. Its
potential to not only create complex geometry,
but to manipulate this geometry to form a
unique interaction of spaces.
but while they can follow instructions
precisely and faultlessly, computers
are totally incapable of making up
new instructions: they lack any
creative abilities or intuition
- Yehuda Kalay, Architectures New Media
commands, but is responding to questions,
movements, impulses, etc, and thus, becomes
capable of virtually anything.
Digital design through human and computer
interraction allows the exploration of a
multitude of design methods, reducing the
rationalism factor, leading to a much less
‘mechanic’ and therefore, a more creative
design outcome. This, through other means,
can be achieved via the notion of parametric
design, highly specific in relation to this journal.
“
”
C O M P U T I N G
13
As a continuation from the previous section
of this journal, scripting is a form of digital
design that gives the designer power at the
highest level. One’s engagement with digital
design software is significantly enhanced
through the use of the generic computational
language referred to as ‘script’. Through
the mutual understanding of scripting
(between man and computer), an increased
level of control is presented to the designer.
Scripting allows the designer to tailor a
programme to a set of specific needs,
depending on the project. The strength of
scripting, particularly for designers is that
it provides opportunity for the designer to
escape strictures that may be inherrent in the
software (Burry, 2010). It basically allows one
to further maximise the predefined capabilites
of a programme and manipulate it to perform
in a way that was not necesariy intended by its
creators. This process, being more flexible than
traditional digital design methods provides a
multidirectional approach to design, provoking
a much more intellectually informed creativity.
C A S E | S T U D Y
The 0-14 Tower, designed by architects Jesse
Reiser and Nanako Umemoto, utilised scripting
methods throughout the design process.
The concrete exoskeleton of the tower consists
of a number of perforations that fulfill a number
of complex functions. Constituting a reactive
architecture, the facade adheres to structural
implications, sun exposure, overall program,
views and luminosity. The complexity of these
functions is not the function itself, rather
it is the way in which they were designed.
They were to be integrated in such a way
that each perforation would fulfill multiple
functions in the most efficent manner possible.
Using scripiting techniques, each function
was treated as an input according to its
primary function, size and placement. The
process of modulating the perforations
was originally accomplished using a
script, however this method was not
present through the entire design process.
C O N T E M P O R A R Y
S C R I P T I N G | C U L T U R E S
C H A P T E R
1 4
C O M P U T I N G
1
Human intervention was required in order
to maximise efficenincy. As mentioned,
computers are flawed in their ability to solve
problems using processes such as reasoning.
Therefore, the cognitive capacity of man is
required to further refine and resolve ideas
that will contribute to a desired output.
The ability to design using scripting methods
allows for extreme precision and the
opportunity for a greater range of diverse
outcomes. However it must be recognised
that limitations do exist within the digital
realm and therefore, not all design power
should be surrendered to machine. Rather
it should be used as a tool that informs the
design process, working in conjunction
with, and second too, human cognition.
RELATIONSHIP TO
EXPRESSION OF INTEREST
Digital design will be at the forefont of the design process. The ability to integrate parametric
modelling (in the form of Grasshopper) will significantly impact the final geometry, including the
effects it will generate.
The ability to interract with the software, with it understanding the tasks that it is required to perform,
enables a high level of control. The intention is to use Grasshopper in similar vain to the way Reiser
and Umemoto designed the O-14 Tower. Specifying inputs that are specific to the design of the
gateway will allow geometry and form to adhere to specific principles.
C O M P U T I N G
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1 6
D E V E L O P
D E V E L O P
17
D E V L O P M E N TM A T R I X
ATTRACTOR POINT VS PATTERN OVERLAY
CURVE ATTRACTOR VS PATTERN OVERLAY
MATHS FUNCTIONS VS PATTERN OVERLAY
The main focus of this matrix is to examine the effects of overlayed patterns and surfaces using a
number design techniques. The specified inputs, outputs and associations were chosen in order
to create a series of optical tricks. Each pattern, although stationary, defines a non-linear path of
movement as it is examined by the eye. Overlaying the patterns and creating a series of layers
allows this conceptual idea of movement to become much more kinetic once fabricated or animated.
This is due to the disallignment of the overlayed patterns whereby light can only penetrate where
perforations align, creating the illusion of movement.
D E V E L O P
1 8
USING SETS VS PATTERN OVERLAY
Model images that depict the form
and effects of the geometry in reality
D E V E L O P
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C A S E | S T U D Y
C A S E | S T U D Y
2 01
Whilst the Dior Ginza presents as a complex
optical trick, the process of creating the
geometry is relatively simple.
Fundamentally, the ‘lines’ of Diors famous
Cannage pattern are achieved by making
a series of strategically placed perforated
cirlces in the outer layer of the facade. These
perforations vary in size and positioning in
accordance to the specified pattern.
It seems that this form of geometry does not
require paramatric software in order for it to
be produced. Indeed, digital design methods
allow for the design to be achieved in an
extremely efficient manner, especially when
referring to the fabrication methods that are
involved. However, having stated this, there
are certain advantages that parametric design
offers compared to general three-dimensional
modelling in relation to this geometry.
Parametric techniques allow the key elements
of the geometry (perforation sizing) to be
manipulated as a whole. Therefore, once the
pattern has been defined, the dimater of both
the small and large circles can be altered,
applicable to each and every perforation as
required, in a single process.
Layering a series of predefined geometry over
one another provides a dynamic effect for people
moving past. It serves as potential to alter ones
visual experience as the geometry housed
within the layers aligns with the direction of
ones view. Moving past at speed, if utilising an
effective pattern, elements of movement within
the static strucure may become evident. Such
patterns can be manipulated to reflect a desired
pattern of faux movement.
D i O R | G i N Z A
C A S E | S T U D Y
211
30 percent size decrease of the
second sheet.
Accurate depiction of perfora-
tion pattern and sizing.
Optical trick: The eye percieves
that the second layer is cin-
siderably further back than it
actually is
C H A P T E R
2 2
C A S E | S T U D Y
1
C A S E | S T U D Y
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L A Y E R S
L I G H T
+
S H A D O W
D E V E L O P
2 4
RELATIONSHIP TO
EXPRESSION OF INTEREST
The ability to study realised projects offers insight into the way they are designed and concieved.
Just as important is the ability to fabricate such designs, gaining a perspective into how they may
operate at full scale.
The creation of the developmental matrix provided a direction for which the design of the Wyndham
City Gateway would evolve. While perforations are present in each stage of the matrix, the idea of
layering, creating varying densities in ‘dark’ and ‘light’ is now the driving force in the design process.
Perforating the material demonstrates the varying effects that can be created when combining two
or more large layers.
The Dior Ginza was studied for the exact same reason. Perforations and layering add a sense of
visual complexity that is relatively simple to achieve.
Each of these projects formed a design idea that ironically does away with the use of perforations.
Given that perforations may be to detailed to incorporate into the gateway project, layering and
contouring methods will be preferential.
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EXPRESSION OF INTEREST:
WESTERN GATEWAY DESIGN
PROJECT
EXPRESSION OF INTEREST:
WESTERN GATEWAY DESIGN
PROJECT
2 61
DESIGN BRIEF AND CONSIDERATIONS:
Following an assessment of the design brief it has been decided that the following considerations
will be most influential when designing the Wyndham City Gateway:
1: ORIGINAL & ENGAGING IN FORM
2: ABSTRACT ASSOCIATION
3: DAYTIME AND NIGHT TIME VIEWING
1: The design should take into account other projects of similar cause, ensuring that they do not
inform the final design. The design should utilise innovative design techniques that are prevalent in
digital and paramteric modelling softwares.
2: The design will be based on a concept that has a conncetion to Wyndham. Whilst the design
idea will be present once the Gateway is complete, it will not be obvious, generating thought and
speculation about its relationship to the city.
3: The highway is used 24 hours, 7 days per week. Because of this, the design should be relevant
at all times. The effects of light, both natural and artifical will be used to create contrasting effects
between noght and day, ensuring a dynamic design.
I N T E R S E S T
27
INFLUENTIAL FACTORS INFORMING THE DESIGN:
In adhering to the chosen design considerations, the followng factors have been researched and
developed in order to inform the design of the Wyndham City Gateway:
1: ILLUSION / PERCEPTION
2: MOVEMENT
3: LIGHT
2 8
The purpose of illusion is to create an experience that is
percieved differently to how it actually exists. Through this
notion, movement, using the effects of light and shadow,
will be incorpotated into the Gateway design. Falsified
movement, or ‘static kineticism’ is being persued rather
than actual movement due to the speed at which people
will be tavelling past the Gateway. If real movement
were to be utilised, an increased level of detail would
be required, causing the effects to become irrelevent at
100km/h.
In order to develop this perception of movement, a design methodology will be adopted that
such a perception will be created due to ones point of view moving around specified geometry.
The primary means of achieving this effect will be through the use of targeted moire patterning or
contour sequencing. Both of these methods utilise layering systems, which through the presense of
fluctuating light (bright and dark), provides a different perspective from whichever angle it is viewed.
As ones angle of view or perspective alters, varying sequences of movement occur. In the case of the
highway, ones point of view is being altered on a consistant basis, being controlled by the speed and
the path of movement that is being travelled. By targeting this path of movement, a controlled pattern
can be applied to the geometry that will systematically unfold as one moves past.
LOCATION + FORM:
The design brief offers the choice of three divided locations. Given this, site-A and site-B have been
selected due the size and felxibility they offer as opposed to site-C. In addition, the ability to design
the Gateway so that it extends over the road, integrating the two locations, eliminates possible
shortcomings of the final design.
The following image depicts the intended form that the Gateway design will present.
The geometry for the overall form has been taken from a section of the Werribee River that runs
past Wyndham. The significance of the river lies within its name. ‘Werribee’, in the language of the
native Australians, can be translated to the word ‘spine’ or ‘back bone’. As the river is depicted as the
spine of the Werribee shire, emphasis has been placed on its spiritual connontations to the people
of Wyndham.
I N T E R E S T
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CONVERTING DESIGN IDEAS TO REALITY:
Three varying design approaches have been considered in the planning of the design for the gateway.
As the idea of percieved movement is the driving concept behind the design, the following methods
have been adopted that have the capability to create effects of illusion:
CONTOURING
PERFORATION
LAYERING
The ability to contour or perforate specified geometry, according to specific data, can lead to the
effect of movement through the use of layering. Layering, which in this case ultimately achieves
variations in the density of the overlayed geometry, combined with fluctuations in light, enhances
the desired effect.
I N T E R E S T
3 0
Above: Perforation
Above right: Contouring
Right: Layering
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EXPRESSION OF INTEREST:
PRECEDENCE STUDIES
PARAMETRIC MODELLING + SCRIPTING:
O-14 TOWER, JESSE REISER + NANAKO UMEMOTO
I N T E R E S T
3 2
The O-14 Tower, designed by Jesse Reiser and Nanako Umemoto is an example of digital design that
was achieved through the use of parametric and scripting modeling tools.
Each of the perforations within the exoskeleton of the building were generated using scripting
techniques that controlled a series of project specific inputs. Based on structural requirements,
views, luminosity and overall program, a script defined the size and placement of each perforation
in order to maximize functionality.
Through the study of this building, a greater understanding of the way in which parmatric design
will inform the gateway design has been developed. Similar design strategies will be incorporated,
whereby inputs specific to this project will be utilised in order to shape and manipulate an overall
form.
Parametric design software will be advantageous throughout the design process, offering precision,
efficiency and fabrication capabilities, while at the same time applying functionality and meaning
to the final design. Parametric modeling will be of increased importance as it will help to identify a
formal pattern that can be systematically applied to the design to create a distorted perception, be it
through the use of perforation or contouring.
LAYERING + MOIRE:
GALLERIA CENTRECITY FACADE, UN STUDIO
I N T E R E S T
33
The facade of the Galleria Centrecity shopping centre, designed by UN Studio, demonstrates the
effects of opticl illusion through the use or moire patterning.
Comprised of two seperate layers, the moire works due to a slight variation in the patterning or
geometry of the layers. In this instance, the pattern on the internal layer deviates slightly at calculated
points, resulting in the perception of a wave cascading down the building.
The space in between the layers, although minimal, is vital in achieving ths effect. The space also
allows the facade to look as though it is moving as ones point of view alters.
CONTOURING / PROFILING:
DYNAMIC PERFORMANCE OF NATURE, SOFT RIGID
I N T E R E S T
3 4
The Dynamic Performance of Nature installation, designed by SoftRigid, is an example of static
movement created by the conturing of specififed geometry.
In this case, the effect of movement is generated via three-dimensional methods, with extruded,
pinch-like elements attributing. The variation in light and shadow that occurrs at the extruded areas
provides the effect.
This same principle can be applied to the Wyndham City Gateway by situating the geometry somewhat
paralell to the road as opposed to it being perpendicular. This would be reverting back to the idea
of layering, as each contour would be strategically placed behind the next, allowing the effect of
movement to travel with the motorists on the highway. The inclusion of strategicaly placed lighting,
and / or from the light emitted by car headlights will add depth the the effect of movement.
PERFORATION / LAYERING:
DIOR GINZA, KUMIKO INUI
I N T E R E S T
351
The Dior building of Tokyo, designed by Kumiko Inui illustrates the concepts that are driving each of
the fundamental design ideas. Comprising of two layers, the façade of the Dior building presents as
an optical trick. It does this through its use of space between the layers: the external being perforated
and the internal being printed. The pattern on the interior layer is scaled to be 30 percent smaller
than that on the exterior layer. The result is that of a distorted moiré effect, inducing perceptions of
slight movement as one moves past the building.
Through the use of parametric modeling, the aim is to reflect the concepts behind this building, not
the building itself.
Given that the Wyndham City Gateway will be viewed as people travel past, the Gateway should
offer an experience that moves with them. It should not be a be static blob on the landscape. More
accurately, it will be perceived as moving, creating an interactive experience that lasts for the 15-20
seconds that it takes for motorists to travel past.
It is not simply viewed by people moving past, it is engaged with and interacts with them as they
make their journey. Not dissimilar to the way the Dior building interacts and creates an experience
for its admirers.
A major consideration however, is that of detail. Recognising that people moving past are travelling
at speeds of 100km/h, the level of detail embedded in design needs ot be kept at a minimum. This
is why the theory of static movement has been incorporated. The addition of moving parts would
ultimately serve little purpose because at 100km/h, they are likely to become a blur of speed. Ned
Kahn’s “Wind Veil” project is an excellent example of a kinetic facade, however this is due to the scale
at which it was implemented. Given the restricitons imposed by the allocated site, the significance of
such dteailed elemnts would be lost due to the spped of passers by.
3 61
DESIGN DIRECTION:
The measured use of layering, light and shadow will be critical in the formation of static movement
in the final design. In order implement this percieved form of movement, two desin strategies will
be used, both of which have been previously discussed.
CONTOURING / PROFILING: This method will be adopted in order to create a form of movement that
is experiential. Situated in a manner that is marginally parallel to the highway, fluctuations in the
geometry of each layered panel create the illusion of movement as one moves past. The panels will
be positioned in accordance to the speed of the passing vehicles in order to avoid becoming blurred
and ineffecive.
MOIRE PATTERNING: Will have the most impact on drivers approaching the gateway. The high speed
will destroy the effects of the pattern if viewed at the exact time motorists are passing it. Rather than
situating this part of the gateway parallel to the highway, perpindicular will allow the patterns to be
appreciated before the geomteyr shifts into a series of contours.
The use of perforations will not be effective as the detail would surrender any effects due to high
speeds. However, research into perforations and layering has formed the direction and form of the
final design. So whilst not being part of the design, the analysis of perforations has been crucial in
forming design concepts.
I N T E R E S T
371
R E F L E C T
3 8
REFLECTION / CONCLUSION
The greatest challenge presented by this design project is that it is a form of architecture that I am
not completely familiar with. I have always had a desire to create spaces that provide a stimulating
experience as a opposed to a place that one simply occupies. Given this, the difficulty faced is the fact
that this project does not call for the design of a space, rather, it asks for the creation of an object. In
labelling it an object I mean no disrepspect to sculptures or the like, I am merely expressing my own
desires in the direction I intend on travelling in the future. Having said this, the knowledge gained
and my new found interest in architectural theory has definitely attributed to a greater understanding
of the architectural discourse.
In his book “The Eyes of the Skin”, Juhani Pallasmaa wrote: “Architecture offers pleasurable
shapes and surfaces moulded for the touch of the eye and other seneses, but it also incorporates
and integrates pyhsical and mental structures, giving our existential experience a strengthened
coherence and significance” (Pallasmaa, 2005). To me, this is what architecture is and I have had
trouble conjuring any sort of emotion through the design of the Wyndham City Gateway. Nevertheless,
instead of focusing on emotion and embodiment, I have directed my concentration toward effects
that may potentially be emitted by the gateway. The effect, which is the perception of movement
through something that is absolutely stagnant, is the driving force of the design rather than the
emotoins it may conjur.
As stated by Kalay (2004), design is a process that it engaged in when the current situation is different
from a desired situation, and when the actions needed to transform the former into the the latter
are not immediately obvious. This is true of applying the same architectural principles to the design
for a home as it his for the design of a ‘sculpture’. The ability get to a desired situation, I found, was
through the process of parametric design. As this is a new concept, it made the process of designing
something I generally wouldn’t, simpler. The ‘thing’ being designed and the software encouraging
this ‘things’ conception created an intriguing means for me to step out of my comfort zone.
Something I had previousy never considered was the ability of computer-aided design to dampen ones
creative instincts. Burry (2011), argues that the computers ability to mechanise the design process
creates a tension in the way humans percieve its primary use. This is to say that the computer takes
over the design process by disallowing the computer user to step out of the boundaries imposed by
software. Alternatively, paramteric and scripting design methods break such barriers, allowing the
computer user, through human intellect, to use the software in a way that best suits them.
Whilst my expections of this subject were severley distorted, it has generated knowledge that will
hopefully improve my prospects of becoming a proffesional. The introduction to new design tools,
methods and projects has instilled within me an understanding of the importance of the past and the
present. By this I am alluding to the discourse, which exists based on precedence, and technology,
which is paving the way forward. The integration of theory, precedence and technology has allowed
for an axtremely diverse learning outcome.
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C H A P T E R
4 037
C H A P T E R
4138
RUNNING
WITH
PERCEPTION
4 2
PROJECT PROPOSAL:
WESTERN GATEWAY DESIGN
PROJECT
P R O P O S A L
43
SITE / LOCATION:
Located in site-A and site-B, the design of the gateway
connects the designated area’s by extending over the Princes
Highway. Emulating the form of the nearby Werribee River, the
gateway, boasting a long, narrow form, creates a stimulating
visual experience for users of the highway. The gateway has
been designed in accordance to the 100km/H speed of passing
vehicles, which, in order to generate a lasting experience
for road users, is approximately 420 metres in length. This
experience, with specific reference to the speed of passing
vehicles and the length of the gateway, lasts approximtely 25-
30 seconds.
bring attention to
Wyndham
visual experience
420 metres
8 metres
100km/H
PURPOSE:
D E V I C E :
L E N G T H :
H E I G H T :
S P E E D :
ALTERING
THE
PERCEPTION
OF
MOVEMENT.
4 4
MOIRE PATTERNING
Galleria Centrecity Facade
UN Studio
CONTOURING / PROFILING
Dynamic Performance of Nature
Softrigid
The focal point of the deisgn is the effect it creates as road users travel past. Focusing on illusion
and perception, the gateway is designed to emit a form of stagnant movement that is contrived
from the specificities of the site. Given that the gateway will only be viewed as people are moving
past, design components will be used that not only take advantage of this movement, but rely on it.
Moire patterning and contouring will be applied to the design in order to create a fabricated perception
of movement. Each of these design components will be applied to the entire design; however the
position from which they are viewed will create a variation in the dynamics of the effects. The moire
pattern will be the dominant contributor to the effects of static movement when viewed perpendicular,
while the contours will be most effective when paralell to the viewer (refer to Drivers View on page 42).
The design, being approximately 420 metres long passes over the road to create a
continued, dynamic experience. It is not intended to create an object that one would
simply drive past or under and forget. Instead, the focus was on a gateway that travels
with motorists, allowing a lasting experience, accompanying drivers on their journey.
45
FORM.
FUNCTION.
COMPONENT.
South Western Perpsective Elevation
Form-Making Component / Function Relationship
Drivers View
A: Moire Pattern; Perpendicular
B: Contours: Paralell
P R O P S A L
4 61
FABRICATION.
CONSTRUCTION.
DIGITALLY
DESIGNED
LAZER CUT
STEEL
REINFORCED
CONCRETE
SLAB
MATERIALS.
Following the completion of the parametrically enabled design process, each component of the
design is labelled, lazer cut and assembled off site.
Componenets:
Contour shape profile x 2 (per contour)
Top contour capping
Front contour capping
Rear contour capping
Moire pattern sheet
Steel bar connection
Each contour is 400mm wide and therefore has an internal timber frame support. Each assembled
element is transported to site, positioned and restrained at the base by a concrete slab. In order to
prevent lateral movement from wind and vehicle force, each contour is pinned at the top by a steel
rod. As the gateway rises out of the ground and extends over the road, a truss system is used to
connect the contours and the moire screen and to support self load.
Construction Diagram: Reinforcement of contours
Bronze sheeting will be applied to the entire gateway. The depth of the bronze will be vary throughout
the day according to lghting and will also undergo changes in colour and texture due to weathering.
P R O P O S A L
47
Tested connection at top restricting lateral forces
P R O P O S A L
4 8
1
Above: Driving from city
Top: Curving into the distance
Above: Speed of vehicle
P R O P O S A L
49
1
1
Above: View from car
Below: Night time aerial view
C H A P T E R
5 01
PHOTOGRAPHICAL TIME SERIES OF VISUAL EXPERIENCE.
C H A P T E R
511
PHOTOGRAPHICAL TIME SERIES OF VISUAL EXPERIENCE.
C H A P T E R
5 2
C H A P T E R
53
R E F L E C T
5 4
REFLECTION / CONCLUSION
OVERALL SUMMATION:
A term that best describes my learning experience throughout much of this subject is Arbitrary.
This term applies predominantly to the first 6-8 weeks of the studio experience as opposed to the
last 4. Many of my colleagues had differing perceptions of expectation in terms of week-to-week
submission requirements. This, combined with extremely stagnated teaching processes (referring
to video tutorials etc.) and learning resources in regards to the comprehension of a ‘foreign’
software, severely reduced my self confidence. Radical experimentation with parametric software
was encouraged, however with an extremely limited knowledge of such a design tool, the ability to
gauge ones progress was bordering on impossible. Admittedly, the subjectiveness of the subject also
allowed for a broader, more flexible method of learning, yet it did seem to lack a logical direction/
progression of learning.
Upon completion of the mid-semester presentation, I finally felt like I knew what was expected in the
final weeks. I started to enjoy the subject a lot more, which can be attributed to a renewed sense of
structure. Whilst still not concrete, the brief reduced the arbitrary nature of the subject, leading to a
refined design process, one that was more specific in its layout of requirements. It must be pointed
out that an ‘open’ learning experience is definitely encourage, however there needs to be a balance
of subjectivity and objectivity.
In regards to the journal, I wish someone had of said at the start of the semester that it was basically
a collection of research that is aimed at informing your final design. This would have allowed a more
specific mode of research, tailored toward one’s specific design direction. It would also eliminate the
need to reproduce sections of the journal, allowing them to coincide the chosen design direction.
PROGRESS:
The most significant aspect of the subject was the learning of a new, architecturally progressive
design technology. Prior to this studio I was completely unfamiliar with parametric design. I didn’t
know how to use it or why it would be used in the field of architecture. Admittedly, 12 weeks since
being first being introduced to Grasshopper, my skills within the software remain relatively limited.
I have now learnt the basics but feel that more time needs to be invested in the design software if
I were to incorporate it within my design ‘toolbox’. Nonetheless, it was the learning of the theory
behind parametric design, and the reasons as to why it is used in architecture, or any other field
of design for that matter, that were most beneficial. To have the ability to make alterations without
unnecessary complexity and utilise various parameters as design input are at the core of parametric
technology (Woodbury, 2010). Whilst programs such as Grasshopper have the ability to generate
unimaginable geometries, it is through efficiency that parametric software is most valuable. Efficiency
in both design and fabrication methods allows for changes to be made swiftly whilst ensuring that
fabrication can occur with minimal fuss, time and material wastage.
C H A P T E R
55
C H A P T E R
Personally, the most compelling aspects of parametric design software lay within its precision and
responsiveness. These aspects instil a significantly greater level of control within the computer user
as opposed to CAD software and the like. As the computer user, you can see the design evolving in
front of you, which is typical of any digital design software.
Parametric design enables one to respond to the evolution of the design as required, targeting
specific areas that require alteration, without impeding on the entire design. This runs somewhat
parallel with Burry’s (2011) depiction of the benefits of scripting when he states that scripting allows
the designer to escape the strictures inherent in design software. Basically, scripting and parametric
techniques add additional layers to that of the primary design software, allowing the performance of
actions that would not otherwise be possible.
FUTURE LEARNING PLANS:
I acknowledge that technology is at the forefront of the changes that are occurring in the realm of
architecture and design. Evolution occurs due to the need to change and adapt to modern society.
Architecture, being concerned with such a broad rang of issues – environmental, sustainability, social,
economic, technological, etc., must continue to adapt to changes in each of the said parameters.
In terms of design, parametric and scripting software is the most recognised, up to date technological
advancement of modern day. The fact that project specific data can be inputted into the software
allows for greater diversity and precision in terms of the issues that the design is aiming to address.
It is because of this that I wish to pursue this form of digital design in future studies. However, I do
not believe that parametric and scripting design methods are the only way in which architecture will
progress. It is a combination of human intellect and digital design methods that I will be aiming to focus
on in order to develop myself as an architect. The most advantageous elements of human intellect
are the elements that computers cannot perform well. Alternatively, it is the areas that computers
are most dominant that human intellect does not perform in comparrison (Kalay 2004). Therefore,
it is through the integration of such design methods that will enable me to design architecture that
is appropriate for the time, taking into account the external factors that are increasingly inflicting on
the proffession.
FINISH:
The past 12 weeks have been arduous and intense, however in an opportune manner. I have been
provided with a foundation that will allow me to become more directional in my learning on my
quest to becoming an architect. Whilst being introduced to and learning the very basic elements of
parametric modelling, it is the theory behind this style of design that was most influential. The reading
material throught the semester detailed the capabilities of parametric and scripting software; the
most important aspect being the ability for such software to not only break the barriers of primary
design programs, but to enhance the level of understanding between man and machine (Kalay 2004).
This is the way in which I plan to evolve my skill set. I aim to integrate a variety of design methods,
intending to create a dynamic, yet flexible mode of architectual design. Integrating the best of both
R E F L E C T
5 6
worlds approach, using technology and human intellect in an alternating fashion, the style of design
suited to a modern society has been realised, yet not perfected. Parametric design is still raw. It is
used in both realised and conceptual design projects, however the surface has only been scratched
in terms of what it can achieve. Having now been intriduced to this technology at such an early stage
of my career can only be of benefit, allowing much time to experiment and hopefully implement it to
its full capacity in years to come.
Shenzhen Bao’an International Airport, Jesse Reiser + Nanako Umemoto
57
R E R E R E N C E S
5 8
Achim Menges & Sean Ahlquis, Computational Design Thinking: Computation Design Thinking (United Kingdom: John Wiley and Sons, 2011)
C. B. Liddell ‘Talking With Taniguchi’, in Architecture Week< http://www.architectureweek.com/2008/0213/design_5-1.html> [accessed 2 April 2012]
Daniel Libeskind, ‘Hillman Curtis: Art series: Daniel Libeskind,’ in Daniel Libeskind
< http://daniel-libeskind.com/> [accessed 11 April 2012]
Jesse Reiser & Nanako Umemoto, The Atlas of Novel Tectonics (New York: Princeton Architectural
Press)
Juhani Pallasmaa, The Eyes of the Skin (England: John Wiley and Sons, 2005)
Mark Burry, Scripting Cultures (United Kingdom: John Wiley and Sons Ltd, 2011)
Patrik Schumacher, The Paramtericist Manifesto (London, 2008)
Rafael Hemmer, ‘Pulse Spiral,’ in Rafael Lorenza Hemmer Projects
< http://www.lozano-hemmer.com/pulse_spiral.php> [accessed April 7 2012]
Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010)
Yehuda Kalay, Architectures New Media: Principles, Theory and Methods of Computer-Aided De-sign (Cambridge: MIT Press, 2004)
Zaha Hadid, ‘Nordpark Railway Stations,’ in Zaha Hadid Architects Archive
< http://www.zaha-hadid.com/architecture/nordpark-railway-stations/> [accessed 11 April 2012]
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