ADSAir Journal

ARCHITECTURE DESIGN STUDIO AIR

ANAIS POUSSIN | SEMESTER 2 2012

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CHAPTER 1 CASE FOR INNOVATION 1.1 ARCHITECTURE AS A DISCOURSE 1.2 COMPUTING IN ARCHITECTURE 1.3 PARAMETRIC MODELLING

CHAPTER 2 CUT CASE STUDY PROJECT 2.1 GROUP RESEARCH AND ARGUMENT + CASE STUDY 1.0 2.2 CASE CUT STUDY 2.0

CHAPTER 3 MID SEMESTER EXPRESSION OF INTEREST 3.1 EXPRESSION OF INTEREST PRESENTATION 3.2 RESPONSE TO FEEDBACK + FUTHER DEVELOPMENT

CHAPTER 4 THE GATEWAY PROJECT 4.1 DEVELOPMENT FOR THE GATEWAY PROJECT 4.2 FINAL PRESENTATION 4.3 FINAL ANALYSIS

C O N T E N T S

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C H A P T E R 1

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

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C H A P T E R 1

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

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welcome! You are perhaps my awesome studio tutors, or fellow student, or perhaps someone from issuu.com coming across my Journal, but either way thank you for taking your time to have a read!

To start off here’s a little something about me; My name is Anaïs Poussin, my first name pronounced as Ana-ees. The University knows me as Anne-Gaëlle, but that is my middle name. I am Mauritian, born in Mauritius, hence my French name, and I’ve been in Australia for almost 8 years. I speak fluent French and English. I am 19 years old, soon turning 20. I am studying my third year of Architecture and majoring in this discipline due to my passion in design since Highschool. I have yet to decide my exact plans for the future.

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1 . 1 A R C H I T E C T U R E A S A D I S C O U R S E

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My experience with digital architecture...

I have always enjoyed working and interacting with new technology. Whenever I design I enjoy further developing my ideas on the computer, whether it is on Photoshop, illustrator, Revit etc. With the aid of the computer I am capable to refine my ideas to a much higher standard than I would otherwise have been able to on paper or as a sculpture. And as most computer users know, it is much easier to make a change to a computerized element than it is to something physical.

…In theory

I think that it is great that the majority of our society makes use of the available tools,

such as digital technology to save resources, including time and materials, to achieve the best possible results, especially in our days where a lot of what we have is quickly becoming scarce.

The majority of successful Architecture firms are using digital technology to its limit. And it is not only the architecture industry. Technology is developing at a fast rate and it is everywhere! Every industry is making use of it. Not because they want to follow a trend. It is because they know that they will stay behind if they don’t grow and develop with the rest of the world.

Nowadays, to be unique and original and therefore different, designers are coming up with ideas that tend to be impossible to make physically. Digital computation solves this

In this one third of Chapter 1 you will discover my current skills in digital architecture and my thoughts on it. You will discover my past studio work, and two of my favourite Architecture projects (The Eiffel Tower - underwhich I develop some of my thoughts on ‘What is Architecture?’, and the CTTV Headquarters building) as I undertake critical thinking on this week’s reading.

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issue by allowing the making of generated ideas and designs experimented upon to achieve a physical and final design.

…In practiceMy earliest experience with digital architecture was in 2009 with the use of

Sketch Up to develop an environmentally friendly house (right image). I used Sketch Up to reproduce a replica of my hand-drawn design (by measuring from the drawing and drawing the measurement digitally) and elaborated on its details. I used Sketch up mainly as a 3 Dimensional tool and a representational tool. It helped my design become ‘real’. With the ability to freely scale my digital model I was able to use it exact dimension to make a physical model. The process of making the physical model was suddenly much easier than it would have been without the digital model.

My previous studio work

I worked with Sketch Up once again in 2010 to produce a headpiece for the HeadSpace project. I used Sketch Up for a ECO-FRIENDLY HOUSE

2009

SKETCH-UP MODELHEADSPACE PROJECT2010

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similar purpose but the process of making the headpiece and the use of digital technology was more elaborate. Initial ideas were hand drawn, refined, and developed as small scaled physical models using plasticine, clay and paper. The chosen model was digitalised on Sketch Up using Point Cloud Method (the model was photographed and numbered at several points and the latter was input onto Sketch Up). After completing the digital model, it was further manipulated in such a way that would have been otherwise impossible physically. The complex model was then exploded and each piece was digitally unfolded, printed onto paper, and physically folded to make the final product. The process of making the physical model from the digital model was much more effective and precise than making models from drawings.

FINAL HEAD-PIECEHEADSPACE PROJECT2010

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My headpiece was inspired by buidings and sculptures of geometry and organic forms, as well as landscapes by Charles Jencks.

Since then, I have made other projects using the Point Cloud Method but I was also inspired to use other architecture programs such as AutoCAD and Revit to further improve my design and easily make changes to it. I have never used Rhino nor Grasshopper previously, which will make this Studio quite interesting, and hopefully will be as fun as my previous interactions with digital architecture!

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Architecture I love

I am quite fond of Architecture that is misleading, that is Architecture I look at and assume was designed with computer aid programs but was really all drawn, developed and refined by hand; a great example is the Eiffel Tower. Even though it didn’t use computation, and used an enormous amount of time and resources to be produced, its level of complexity is very captivating.

On another note, before discussing about my favourite architecture, I want to question and understand the definition of Architecture as inspired by this week’s reading - Exploring Visual Culture (2005) by Richard Williams. I am doing so not only to understand its definition but to comprehend its relation in term of our Project - The Gateway Project 2012.

What is Architecture?

I’ve always thought that architecture was simply a technical term for a building, no matter how it looked, whether art was integrated within its facades, or not. When I thought of architecture I thought of it as a building, commercial or industrial, uniquely to provide shelter from the external environment. I’ve learnt the obvious that buildings (houses, offices, religious buildings etc.) provide not only shelter but are a grand factor socially being enclosed spaces for human interaction. I never really thought of architecture as a piece of art, or a building with integrations of art. I never really thought of architecture as being different to art due to having parameters. I never really thought of architecture as a social and professional institution, and it clearly is, due to being a profession.

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‘Architecture’ is such a complex term. It has different meanings to many, and that is why I think that as per Williams the discourse of Architecture (the discussion derived by professionals, due producing the architecture, and the public, due to consuming the architecture) is such an important factor; because it defines architecture; whether it is at different points in time.

There are so many factors that make up architecture. But some make up a definite definition which ends up excluding many other factors. Nikolaus Pevsner, historian and critic, for example wrote that a building is any enclosure within which a human body can move (e.g. a bicycle shed), and architecture is only a building within which art is integrated1. Well then, what is the Eiffel Tower (1889) referred to as? Is it not Architecture?

I am using the Eiffel Tower here as

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the current fashion is, and ‘site’, being about the person wearing the dress; how it will affect them etc.), the inclusion of art (free-spirited ideas), and the expertise of various disciplines. Therefore, I am tempted disagree to call the Eiffel Tower Architecture simply because it involves project like factors, as I mentioned earlier.

Yet, the Eifel Tower was involved within the urban planning of Paris, and when I think of urban planning, I think about architecture. Why? That is because Architecture can be looked at from a small (building) and a large (city) scale. It is about the movement and interactions of (an) individual(s) but on a larger scale; the movement and interactions of the society. And the Eiffel Tower is part of that larger scale. The Eiffel Tower, a symbol of Paris, should not be considered as Architecture due to its broad projects aspects, but due to being part of Paris’s urban planning.Urban planning reflects urban experience which as per ‘Exploring Visual Culture’ defines part of Architecture 3.

Indeed the Eiffel Tower was a project. But what makes this; this piece of art; Architecture? Over much refection over this matter I must say that

an example, not only because it is one of my favourite Architecture, not only because it was mention in this week’s reading and made me wonder, but also because it is an icon, a representation of a period and of a place; it is a symbol; an Architecture as art, similar to our project – The Gateway Project.

The Eiffel Tower is not recognised as a building (and it isnt either according to my definition - excluding its restaurants, Le 58 tour Eiffel and Le Jules Verne, located on its first and second floor). But as per Pevsner’s definition of architecture, the Eiffel Tower isn’t architecture either. Is it a symbol? It is. To the majority of the public it represents Paris and France. To others it the icon marking the celebration of the Revolution of 1789, or will be remembered as the main attraction at the World Fair of 1889. Is it art? It is. It represents beauty and comes from the imagination of a designer. Is it engineering? Why not? Its wrought iron and truss structure is complex and sound and needed the expertise of an engineer – Gustave Eiffel (1832 -1923). Is it architecture? As per Williams’s idea it is. The Eiffel Tower definitely required planning and its project involved a client, parameters, and the expertise of various disciplines – that is architecture as per Williams2. Personally I want to disagree (not that the Eiffel Tower is Architecture, but with William’s definition); as per this definition the Eiffel Tower was what I would call a project.

Any kind of project, whether it’s an architecture project or fashion project, consists of planning, clients, parameters, thoughts about surroundings and site (for a fashion project I’m thinking about the design of a dress; ‘surrounding’ being what

EIFFEL TOWER2011

BY MASTER TRIGGERTRIGGERPIT.COM

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Eiffel Tower

Ok. So enough of my rambling about whether the Eiffel Tower is Architecture. In fact, back in the 1800s, during the beginning of the structure’s construction, Artists (including painters, writers, sculptors, and architects (the latter recognized as artists!) criticized the structure as a “hateful column of bolted sheet metal”. They didn’t the significant interconnection of architecture and engineering. Yet, the latter played such an important part in the development of tall buildings (tower, skyscrapers etc.)

The Tower was significant due to its height and I think this might have been a major influence to other architects in the early 1900s to aim for the erection of the tallest buildings – giving the sense of touching the sky, hence, this idea of being the most

significant, most strong, most powerful etc. It is the tallest structure in

Architecture is the interconnection of many; two of which include art (the visual and meaningful aspects - but in 3-Dimensional) and engineering (being structurally sound).

The definition is not a solid one because various Architecture have different features and characteristics and undergo various stages and thinking process by the Architect and other disciplines, and not to forget the public, which all characterises Architecture. Therefore it is important to agree with Williams, that one must

undertake Architecture as a discourse to ever be

able to define it.

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Reed and Barnes, 1879-81) aiming, like the Eiffel Tower, to look grand with its windows diminishing in size as they get higher.

It is amazing how inspiring the Eiffel Tower has been. It influenced the design of similar towers around the world, including the Tokyo Tower (1958). The Eiffel Tower’s structure also seems to have inspired Gustave Eiffel for the structure of the Statue of Liberty 1966, with the use of iron truss. Consequently, the Statue of Liberty was such an inspiration to Modern Architecture; it consists of a low-bearing structure supported by its internal structure (having adopted the same characteristics of a curtain wall!). The first curtain wall was designed in 1864 for the Oriel Chambers, London. I think that it is brilliant being able to adapt the same principle from one structure to a completely different one. However I must

Paris today and was the tallest building in the world for 41 years before the Chrysler Building (1930) was build.In fact, Gustave Eiffel was aiming for this grandiose effect! He compared the Tower with the Pyramids of Egypt. By that, he was clearly aiming for a structure that Paris would be represented by; an icon easily recognized by the world however it was represented, as the world recognizes the Pyramids.

What is interesting though is this reinforcement of making the structure look taller than it already is. It tricks the eyes, similar to buildings demanding grandeur. The Eiffel Tower, in this case, is strategically painted with 3 different colors, the darkest being at the bottom and lightest at the top! That reminds me a lot of Gothic Revival Architecture, such as Ormond College (by

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STATUE OF LIBERTYSURBROOK.DEVERMORE.NET

say that this is a strategy to being a successful architect, to learn and apply.

Another interesting aspect of the Eiffel Tower is how valuable and flexible it is. By flexible I don’t mean in terms of its material or wind resistance, but in terms of its adaptability. Not only is it valuable as a tourists attraction (for the walk, the views and the restaurants), but it is also used as a base for radio transmitters (located at the very top), and was during the WWI used for communication purposes – uses that were perhaps not thought of. In 1999, lights were added on the structure providing Paris with light shows nightly! Since 2004, an ice-skating rink on the first floor is hosted each winter! And that is what I mean by flexibility; the ability to adapt to new features to allow change and to become more valuable overtime. This shows how well

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ICE SKATING RINKHTTP://WWW.VISITPARISFORFREE.COM/BLOG/ONE-WEEK-LEFT-TO-ICE-SKATE-ON-THE-1ST-FLOOR-OF-THE-EIFFEL-TOWER

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RMIT DESIGN HUBSEAN GODSELLHTTP://WWW.SEANGODSELL.COM/RMIT-DESIGN-HUB

KEW STUDIOSEAN GODSELLHTTP://WWW.SEANGODSELL.COM/KEW-STUDIO

strong and resistant structures can withstand change. And this actually reminds me of many current architectural buildings aiming for this change overtime; architecture that is alive (is what I would call it). Such is evident in Sean Godsell’s architecture (e.g Kew Studio) where he uses particular materials for his building facades, such as rusted steel (e.g Corten Steel)4, which changes as it weathers. Another example of Sean Godsell, is the RMIT Design Hub which I come across everyday on my way to University. From Godsell’s talk at the University last semester, he mentioned that the current elements (known as cells and made up of photovoltaic cells) of the RMIT Design Hub’s facades can be easily replaced and that this action will be undertaken in the future as technology improves on solar energy. Similar to the Eiffel Tower, the RMIT

Design Hub has the ability to adapt to change, but in this case (RMIT building) it was a planned action to allow the architecture to grow and change along with the world.

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CCTV Headquarters

Another building that I want to quickly mention before ending this third of the chapter is the CCTV Headquarters (2004), also known as the ‘Pants Building’. I have always glanced at this building and thought how awesome it looked due to its overhanging form which seemingly pushes the boundaries of counstruction. Its form represents deconstructivism.

It’s form also tricks the eye about its perspective and gives a different impression (due to its height varying) depending on which façade or angle you are looking at.

I like architecture that makes the public stare and wonder; how is this functioning, how is this standing, how can it look so different from various views?

In fact, to my surprise through research, the public, as well as the media, have had a huge effect on the popularity of this building! The latter was named as large boxer pants; it was seen as someone seated on a toilet, and lastly the view that hasn’t been denied by Koolhaus, being the figure of a woman with her legs apart. What a picture! It is a “positive and shinning symbol of a changing world order”6 said the OMA. Whatever order OMA maybe referring to, the architecture should remain open to interpretation. Who knows, in 10 years or so, it may be known as a building introducing a new style of architecture.

Other than the experience it gives through its amazing appearance and its iconic figure which I love, it is important to also discuss the experience it provides inside the building. The top level is private space and the

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CCTV HEADQUATERS, BEIJINGARCHINFORM 2008

HTTP://ENG.ARCHINFORM.NET/PROJEKTE/19629.HTM

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INTERIOR LAYOUT OF THE CCTV HEADQUARTERS BUILDING

HTTP://IMAGES.BUSINESSWEEK.COM/SS/06/11/1109_CCTV/SOURCE/3.HTM

CCTV HEADQUARTERS BUILDING -OMA

HTTP://OPENPLAC.ES/TRIPS/CCTV-HEADQUARTERS-IN-BEIJING-BEIJING-CN

ground floor is the public space, hence the spaces within the building are strategically seperated making the interior experience clear.

However I want to criticize the circulation. I believe that one would think looking at the building for the first time, that its circulation is absurd as one has to travel through the entire top or lower level to go up and down. And that is the case, which I think is inneffective.

Furthermore, the placement of the elevators within both ‘legs’ is inefficient. Unlike a central curculation, this layout wastes both materials and space, sacrificed purely for asesthetics.

Summary

There are various topics which guides the development of discourse in architecture, including a building’s apearance, characteristics which not to forget drives the experience of the architecture. These characteristics as discussed in this chapter, include the buildings’s or structure’s height, its ability to change gradually overtime, its ability to adapt to change, its ability to provide a different feel at different view points, its ability to be unique in structure influencing new ways of construction methods, and so on. All these characteristics are what makes up a worth while discussion and contributes to the architectural discourse.

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Sources

1 Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew

Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 1032 Richard Williams, ‘Architecture and Visual Culture’, pp. 104, 1073 Richard Williams, ‘Architecture and Visual Culture’, pp. 1134 Ryan, D, ‘In architecture, rust never sleeps’, The Age, 29 November 2002, http://www.theage.com.au/

articles/2002/11/28/1038386258379.html6 Han, Z, ‘CCTV Tower under fire again’, Global Times, 26 August 2009, http://china.globaltimes.cn/society/2009-08/461190.html

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1 . 2 C O M P U T I N G I N A R C H I T E C T U R E

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Computers are great communication tools when it comes to the architectural design process. They can also help achieve the same results that would otherwise be achieved without it much neatly, conveniently and at a much faster pace. For example, back in high school when having to draft orthogonal drawings by hand, media would smudge on my white sheet of paper as careful as I tried to be. Hence, due to being a perfectionist I had to start again. It took me almost thrice as long as it would have taken me on the computer. And due to the imperfections of the hand-drawn forms, the viewer would take much longer to read, interpret and understand the form. The computer here would benefit as a representational tool for better communication.

Moreover, in terms of communication within the design process, computers expand access to information2 (Page 12) with the ability to

In this second third of Chapter 1, you will discover about the benefits of using computers as well as the role of computation througout the architectural design process. Moreoever you will read about Topology; a method of computational design which has contributed to a specific discourse within computational architecture, underwhich a few projects will be looked at.

Benefits of using computers in the architectural design process

Kalay’s introduction in “Architectures New Media” not only opened my eyes to very clear designing processes undertaken by Architects to solve design problems, but it also made it clear that communication was the reason behind the introduction of computers in the architectural design process. This evolution of ways to communicate better in architecture has change architecture to its best. It not only introduced Architecture as a profession1 (Page 6) in the 1450s but it also introduced computers; a tool, or due to such close relationship to designers, a partner, on which one relies on to make their lives more enjoyable, but not for survival. It may be a silly definition but that is how I, as an architecture student, see my computer, especially when it comes to designing.

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KOOYONG HOUSE | MATT GIBSON

HTTP://WWW.HOMEDSGN.COM/2012/06/15/KOOYONG-HOUSE-BY-MATT-GIBSON-ARCHITECTURE/

communicate what is stored on record3 (Page 2) to partners (e.g. engineers, builders etc.). The latter can easily and quickly access, comprehend and edit the information. For example during the design process of Matt Gibson’s Kooyong House, builders had to make necessary changes, such as lowering the kitchen’s ceiling to make it even. These changes were made to the design’s computerised model. Consequently, the computer saved and kept track of updates4

(Page 3) making the design process very open and easy to keep up with5 (Page 3). KOOYONG HOUSE | KITCHEN

HTTP://DAILYHOMEDESIGN.COM/HOME-DESIGN/INTERIOR-DESIGN/KOOYONG-HOUSE-IN-ARMADALE-MELBOURNE/

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parallel with codes and “textural, numerical, graphical, and auditory messages”9 (Page 3). On another note, one method of programming is using the Rule-based design. It “derives its authority from the reputation of its author, which the disciples acknowledge and accept”10 (Page 21-22). “Disciples” here is such a strong word to describe designers working with the program! And yet this should be acceptable as designers have no choice but acknowledge and accept the limitations of programs they use. Like Alison mentioned in the lecture (Week 2), one could determine which program has been used when looking at a result design, due to the known limitations of programs.

Unless one inputs information, no outputs will be given. Like I said, computers are like partners. If you work along with them, by giving them what they need, you will get a better output. Moreover, they tend do best in what you are least good at, and vise visa! Hence, you as partners do so well together! For example, computers are best are rationalizing and searching, while designers are (unlike computers) creative and intuitive11 (Page 3). It is not that the designer cannot do both the computer’s job and their own; it is that the computer is more precise and faster at what it does best.

Another way the computer helps in communication is by facilitating the fabrication and construction process of scaled models6 (page 7) in a more efficient and effective way, due to its precision and fast processor.

Furthermore, having a model that can be quickly made to perfectly portray the intentional design eases the communication between the designer and the client as nowadays the latter is “less able to interpret the growing abstraction of architectural drawings”7 (Page 7).

Communication is also a cyclical process between the computer and the designer that “relies on shared knowledge and interpretation of information”8 (Page 3). Designers input or communicate information to the computer and consequently the computer outputs or communicates back to the designer, and so on. It is very much a process dependent on both entities. To say that designers nowadays just sit back and let the computer do all the work is very much, in a way, debatable. In fact, the initial coded inputs to the computer (e.g. programming) demand skills of a high standard because of the computer’s inability to interpret messages, unless coded. The program as a result eases the communication between the computer and designer, as it works in

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“Powerful symbiotic design system to solve design problems can be created with our abilities at best and the computer’s ability at best” - Branko Kolarevic

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as the idea of biomorphic forms/ bio-mimicry, are methods which back in the days could only be achieved manually through trial and error thus were extremely time consuming, inefficient (e.g. costly) and at times ineffective. Some successful yet over-budgeted projects which derived from biomorphic forms (such as catenary curves) include Gaudi’s La Sagrada Familia (still in construction today) and Eero Sarineen’s Gateway Arch (1965). Nowadays designers are successful in making use of computers to further excel in these ancient concepts to design. The computer facilitates the construction and fabrication process because “with the use of digital technologies, the design information is the construction information”.

Another point I want to make is that computers allow the making of complex designs, but it is the complex design ideas that influences the use of computers. As

The role of computation in Architecture

Computers contribute much more than just easing communication between partners, and clients by storing and saving new information; displaying neatly computerized presentations; and displaying digital models. It further contributes to specific stages in the design process, such as allowing development of complex geometries, such as curvilinear forms, during the development process, and allowing those complex geometries to take their physical form through a specific fabrication and construction process.The computer allows the generation of complex forms through various methods developed by writers and theorists in the past. Those methods, such as the idea of folding (le pli) idealised by Greg Lynn which involves folding geometry to create continuous curves and surfaces, as well

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LEFT: LA SAGRADA FAMILIA - ANTONI GAUDIHTTP://ARCHITECTURE.ABOUT.COM/OD/GREATBUILDINGS/IG/ANTONI-GAUD-/SAGRADA-FAMILIA-.HTM

TOP RIGHT: INTERIOR OF LA SAGRADA FAMILIA | RULED-SURFACE COLUMNS - ANTONI GAUDI

HTTP://NAIKPRANAV.WORDPRESS.COM/2010/08/30/14/

BOTTOM RIGHT: GATEWAY ARCH - EERO SAARINENHTTP://SCREEN--SHOTS.BLOGSPOT.COM.AU/2011/05/NORTH-4TH-STREET-SAINT-LOUIS-MISSOURI.HTML

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PROJECT BY ALISON FAIRLEY, ET AL

STUDIO AIR LECTURE | WEEK 3| SEMESTER 2 | 09.09.12http://app.lms.unimelb.edu.au/bbcswebdav/pid-3605438-dt-content-

rid-10896382_2/courses/ABPL30048_2012_SM2/Lecture_Week_03.pdf

This is similar to Gehry’s use of the program CATIA (Computer Aided three Dimensional Interactive Application); a program originally used for the design of airplane (due to facilitating the engineering aspects of designs, processing date and assimilating materials to calculate the construction mathematically), to design his projects, such

discussed earlier the computer influences the design but that is due to the computer program’s limitations. The initial use of computers is due to the complexity of today’s designs. Similarly to that “it is the aesthetic reasons which are [the] driving forces behind [building’s technology’s] use”12 – Eero Sarineen. That is the case with Alison’s parametric project (mentioned in the lecture - Week 3) where her team had developed and made prototypes of beams curving in two directions (refer below). To manufacturers this wasn’t an option as it had never been suggested! Yet it was possible! It is therefore only with the evolution of complex designs, that new technology and fabrication will be able to enter the architectural design process. And that is because Architects learn from other industries – they get precedents from industries which are more advance in technology - hence their designs deriving from those precedents tend to need the same/ similar technologies to be manufactured.

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as the Guggenheim Museum Bilbao. Gehry was interested in expressing movement in architecture, hence his influence in the design process and construction of airplanes, cars and boats13. The construction of the Museum was also only possible due to the local steel and shipbuilding industry. The latter used their expertise to produce and precisely assemble the large number of components, such as the Museum’s titanium cladding; low in density, strong corrosion-resistant, lighter and more flexible than steel. Architects tend to look outside the boundaries of their discipline; they learn from what has been built and are successful and apply it to their designs later on. Unfortunately, such procedure makes them behind in the use of digital technology. The complexity of the Guggenheim Museum Bilbao’s design has led to various interpretations by the public due to its unique form that was able to take shape because of the use of CATIA, its materials, and the assembly methods. And thus has become an icon in Spain.

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GUGGENHEIM MUSEUM, BILBAO - FRANK GEHRY

PHOTO BY ILLUMINDhttp://blog.illumind.com/?p=1322

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Topology

As per Branko Kolarevic, Frank Gehry’s Guggenheim Museum Bilbao can very much be described as Topological Architecture14.

I am first going to describe Topology and its sub-categories. Basically, typology is the surface of forms. There are three type of typology; First, there is the topology of basic primitive forms, such as a cube and a sphere, both of which have the same topology as a cube’s edges or control points can be manipulated to achieve the form of a sphere. In contrast, a Torus or a ‘donut’ form for example has a different typology because its edges, or control points, cannot be modified to achieve a sphere or cube. The second type of Topology is curved surface (such as the Guggenheim Museum Bilbao’s), or also known as ruled surface, that is, a surface which can be curved by being cut in straight lines. Hence, such curve can only be curved or bent in one direction. An example of a ruled-surfaced shape is the hyperboloid (page 34). Interestingly enough, such shape has been used for the construction of La Sagrada Familia’s interior columns (page 29).

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HYPERBOLOID

HTTP://WWW.EARTH-AUROVILLE.COM/GAUDI_PAGE_EN.PHP

Finally, the third type of Topology is minimal surface. This type of surface is a surface with a mean curvature of zero. The most basic and first minimal surface having been discovered is catenoid (bottom left image). The latter looks similar to a hyperloid but their properties are very different.

As per Kolarevic, Topological Architecture defines continuous, highly curvilinear surfaces that portray a “fluid logic of connectivity”. It moves away from the deconstructivist “logic of conflict and contradiction”12.

It moves away from Euclidean geometry, to represent extensive use of “rubber-sheet” geometry of continuous curves and surfaces; mathematically described as NURBS (Non-Uniform Rational B-splines) curves and surfaces, made of control points which can be moved to alter and produce different curves and surfaces.The Guggenheim Museum Bilbao has used Topological Architecture using CATIA to achieve its highly curvilinear surfaces. CATIA facilitated the process of modification of complex and unique geometric forms. The forms’ properties didn’t vary when modified

CATENOID

PHOTO BY EXPLORATORIUMHTTP://WWW.FLICKR.COM/PHOTOS/

EXPLORATORIUM/2421180181/

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making the process much more efficient as the digital model had to be modified several time to suit Gehry’s ideas. The program was also used for the design’s inherent qualities such as its external surfaces designed particularly to catch natural light. Using topological architecture made the building process much more for effective with the use of NURBS, where control points in CATIA were able to be identified in real-life space and thus allowing the project to be completed on time and on budget.

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Sources

1 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT

Press, 2004), pp. 62 Yehuda E. Kalay, Architecture’s New Media, pp. 123 Yehuda E. Kalay, Architecture’s New Media, pp. 24 Yehuda E. Kalay, Architecture’s New Media, pp. 35 Yehuda E. Kalay, Architecture’s New Media, pp. 36 Yehuda E. Kalay, Architecture’s New Media, pp. 77 Yehuda E. Kalay, Architecture’s New Media, pp. 78 Yehuda E. Kalay, Architecture’s New Media, pp. 39 Yehuda E. Kalay, Architecture’s New Media, pp. 310 Yehuda E. Kalay, Architecture’s New Media, pp. 21-2211 Yehuda E. Kalay, Architecture’s New Media, pp. 312 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 2813 Larson, Kent, Frank O. Gehry: Remembering William. J. Mitchell, YouTube, viewed 26th August 2012, < http://www.youtube.

com/watch?v=mXjQMgatL-4>14 Kolarevic, Branko 2000, Digital Morphogenesis and Computational Architectures, viewed 26th August 2012, <http://

cumincades.scix.net/data/works/att/fbc9.content.pdf>15 Charney, Noah 2011, Tge Secret History of Art, Blouin ArtInfo, viewed 26th August 2012, <http://blogs.artinfo.com/secrethistoryofart/2011/02/11/inside-the-masterpiece-frank-gehrys-guggenheim-museum-bilbao/>

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1 . 3 PA R A M E T R I C M O D E L L I N G

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What is so great about parametric modelling?

Parametric architecture is well known today, and will no doubt expand as a method of design used by Architecture firms in the future when they have the ability to use it. I describe parametric architecture as being ‘well known’ and not ‘popular’ because not many embrace it, and those are the ones who fear seeing it become adopted as the next great architectural style. Whether or not that happens, whether or not historians decide to name the current or near future architecture style under the name Parametricism, whether or not this new soon-to-be style will be above postmodernism and deconstructivism (as per Patrick Schumacher in ‘Let the style wars begin’), is not hugely important. Does it really matter what style with be next?

A style derives from the majority performing in a similar manner and getting similar results that eventually such similarities becomes so obvious that it is given a name which is recognised when one speaks of it, or better yet, in terms of architecture, it is “an expression of a certain mode of thought

and approach to architecture”1 (comment by Matei Denes). And if that is the case with parametricism, then, let it be.

In fact I think that parametricism is method that should be adopted by all architecture firms that can afford to, as it has many benefits to design processes. I emphasize on architecture firms that can afford it because parametric design – just like anything else – has its costs. For example, those undertaking parametric design tend to go for unconventional forms which are costly to construct – which is the reason why “most parametric designs are confined to the realm of paper architecture”2 - Adam Nathaniel Mayer. But other than the costs, many firms who are not currently undertaking this method and many within society tend to reject parametric design due to the current projects developed by it. They dislike the outcome hence reject the idea of parametric design. This ‘parametricism’ thus has become a singular image of aesthetic importance, “disrespectful of cities”2, that rejects all the other possibilities and capabilities of parametric design, such as the performance of the design that deals with relevant issues.

In this last third of Chapter 1, you will discover about the characteristics of parametric architecture. I’ll talk about its process, advantages and disadvantages in comparison to the traditional design process. Furthermore, you will discover two projects which undertook parametric modelling design process and how they stand within the parametric architecture discourse.

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“Parametrics, or the definition of systems which are based on relationships, is quickly becoming a powerful tool for architects to design buildings faster and more” - Adam Nathaniel Mayer

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What really is parametric architecture?

Parametric architecture or parametric modelling is a way of designing. It is a bottom-up approach to design; that is evaluating the problems of a design, setting-up a system of solutions to create a design. That is setting up a system of – as the name parametric architecture suggests – parameters (specific aspects of the design such as constraints). And that system, which involves the establishment of relationships between the parameters, can be time consuming for the designer. That is because without that system they won’t be able to generate any designs. But like I mentioned earlier, everything, every approach to design has their pros and cons. Yes constructing the system undertaking parametric modelling takes times, yes construction will be costly

if your design ends up being a ‘blobby’ form. But firstly, once the system is set up, an unlimited amount of designs can be generated through that system within a short amount of time in comparison with the top- down or the traditional approach, where one element is added onto another and the design is modified progressively. Secondly, while undertaking parametric design, whether or not you decide to make your design as a ‘blobby’ form is optional. Yes that organic form is easier to achieve through parametric design but that doesn’t mean that one must conform to that kind of outcome. Parametric design reflects the ‘blobby’ form because – as I mention earlier – current architecture firms, such as ZHA, undertake parametric architecture for organic and flowy architecture (page 45, 46).Instead it should reflect the success of computation; where the computer does the

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thinking after logically developing the system of relationships. Those relationships depend on one another; hence, changing or adding an element in the system will automatically update the design. In comparison to the traditional architecture, where each element is independent and if the one element is changed its surrounding will have to be manually updated, parametric architecture is much more effective, powerful and flexible. That is evident with Mesne’s Strange Attractor project that involved parametric design. They designed a walling for Phar Lap in the Melbourne Museum which consisted of slight openings allowing glimpse from visitors so they would see the horse once having visited the entire museum. To design such, they developed a system with constraints that allowed them to get thousands of wall designs with the same constraints from which they picked they could pick their favourite form.

One must remember that parametric design it about the system of parameters and not the form. The latter is easily and progressively derived from the parameters.

MESNE | STRANGE ATTRACTOR

STUDIO AIR LECTURE | WEEK 3| SEMESTER 2 | 09.09.12

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Nordpark Railway Stations

I am quite interested in ZHA’s work due to Schumacher’s strong opinion about them being the representation of Parametricism. So I am going to use, the Nordpark Cable Railway stations in Innsbruck, since he also mentioned as a “good example” in ‘Let the style wars begin’.

This built project includes 4 new stations for the 1.8km long NordPark Cable Railway in Innsbruck, Austria which opened in December 2007. The railway is from the center of Innsbruck to the top of the mountain. Hence it was inspired by its own surroundings and natural landscape, the natural formation, melting and movement of ice, which reflects the fluid “frozen stream”3 (- Zaha Hadid) like shape of the roofs. The roofs of the stations being made of double-curvature glass are

“the global benchmark […] in construction”4

- Zaha Hadid. Hence they are one of the main icons that reflect Austria, that reflect Nordpark Railway Stations, and that reflects ZHA’s parametric work. The parameters of the projects were the characteristics of ice as stated earlier (formation, melting and movement of ice) while “each station has its own unique context, topography, altitude, circulation” as well as “spatial quality”- Zaha Hadid. With the roof’s structure’s similarities, it is clear that parametric design came in use making the process much easier, alternating characteristics of each station including the context, topography and circulation, to suit the different environments. Yet others, such as Daniel undertaking a PHD on improving the flexibility of parametric design, reckons this project is the least parametric or in other words constraint design being “free from the parameters of sites, free from the parameters

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NORDPARK RAIL WAY STATIONS | ZAHA HADID

IMAGES COLLECTION OF CORNING MUSEUM OF GLASS, CORNING, NEW YORK, WWW.PETERBENNETTS.COM/PROJECT/VIEW/PROJECT/NORDPARK-CABLE-RAILWAY

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of culture, free from the parameters of tectonics, free from the parameters of the environment”. And again, since this project seem to concentrate on its aesthetic fluid form, that is what others believe, that parametric architecture is simply that; a form simply to look pretty, a meaningless random form pleasing to the eye, a “blobby” form, art; a structure that doesn’t comply and interact fairly to its surroundings, yet the parametric design was the only method which could ever “have achieved this coincidence of adaptive variation to different site conditions with genotypical coherence across those phenotypical variants”; put simply, parametric architecture was the only method that could use a variety of parameters to adapt to very different sites of various conditions.

NORDPARK RAIL WAY STATIONS | ZAHA HADID

IMAGES COLLECTION OF CORNING MUSEUM OF GLASS, CORNING, NEW YORK, WWW.PETERBENNETTS.COM/PROJECT/VIEW/PROJECT/NORDPARK-CABLE-RAILWAY

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Sources 1 Schumacher, Patrik 2010, Let the style wars begin, The Architects’ Journal, viewed on 26th August 2012, <http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article>

2 Mayer, Adam Nathaniel 2010, Style and the Pretense of ‘Parametric’ Architecture, Blogspot.com, viewed on 26th August 2012, <http://adamnathanielmayer.blogspot.com/2010/06/style and pretense of parametric.html>

3 Arcspace.com 2008, Zaha Hadid Architects Nordpark Cable Railway, Arcspace.com, viewed on 26th August 2012, < http://www.arcspace.com/architects/hadid/nordpark/nordpark.html>

4 e-architect, Nordpark Cable Railway Innsbruck: Architecture Information, e-architect, viewed on 26th August, <http://www.e-architect.co.uk/austria/nordpark_zaha_hadid.htm>

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C H A P T E R 2

C U T C A S E S T U D Y P R O J E C T

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C H A P T E R 2

C U T C A S E S T U D Y P R O J E C T

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2 . 1G R O U P R E S E A R C H A N D A R G U M E N T + C A S E S T U DY 1 . 0

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Parametric design is hard work

Ok, as long as I want to say how great parametric design is, it is worth saying that it is definitely tricky. Theoretically, it is a fantastic tool. Theoretically. And that is evident in the previous chapter (1.3) where I discuss about its advantages! In practice, I follow weekly grasshopper exercises, watch videos, ‘play around’, but there’s much more to it than just practice and knowing the components. There’s much more than connecting grasshopper components to one another and aiming for an outcome. Using grasshopper or parametric techniques is all about logical thinking; logical thinking which seems to involve several years of knowledge of – unfortunately - mathematics. With no knowledge of appropriate basic Math such as Math Methods, or Specialist Math, it is very hard for me to get into this specific logical way of thinking. It is almost like I need to go back in time to get that knowledge and come back with that skill which seems to be so necessary. And that can be so frustrating!

Ok, enough complaints. But I can see why every architecture firms are not undertaking parametric architecture… it is not user-friendly unless you have the knowledge. And at the moment my knowledge is ridiculously saddening. I am getting results and I am overexcited when I do! I think my results are amazing – there forms and ability to change within seconds! (And here I am only talking about small surfaces, forms e.g. small blobby forms) – It’s like click, click, click, and then ta-da! ; But only when I seem to have a set of instructions in front of me. Tell to reproduce it in clear steps and I am in a bit of trouble. The thorough understanding that seems to be needed is just not there. But that doesn’t mean that my initial thoughts of parametric design has changed, I still think it can be an amazing tool which saves precious time – and because the results are amazing. I think that with more focus and with my gradual understanding of it, I will continue to be amazed… hopefully.

Welcome to Chapter 2! In this first part of the chapter you will find out about how my digital and parametric journey is going so far! You will also read about the importance of the use of geometry; no not the old boring cube! Instead, geometry as a parametric design possibility that my team; Belinda and myself, are undertaking throughout this journey. Some interesting grasshopper definitions will also be illustrated, generated as from experimentations! Oh Joy.

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A FEW BASIC GEOMETRIES I HAVE GENERATED SO FAR USING GRASSHOPPER

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Factors for the Wyndham City gateway project

During the Studio (Week 4) we had an interesting discussion on what really makes great architecture. I found that very important in terms of relating it back to the Wyndham city gateway project which we are undertaking. We questioned about what makes users appreciate a building - it is important to think as a user because they are our target audience! - Is it how it looks? Its aesthetic? Is it the experience of the environment it provides its users with? Its function? It is the idea or concept that guided the development of the building? Is it the idea or concept the building is trying to portray? Some made out that one was more important than the other. But I think that they are all majorly and equally important; the look, the function, and concept, respectively. I name those 3 elements in such order, because to the majority of individuals design aesthetics always come first (hence why Zaha Hadid’s work is likable by many); “Ooo it’s so pretty and unique - i love it!”. The function is second and the concept is just an interesting aspect.

For example, as an individual (as a user - a non-professional architect) you would be more appealed by architecture that is unique in its form and that looks beautiful, hence, you are likely to interact with the building; by say visiting it, using its spaces, etc., and as a result may gain understanding of its purpose. This is a similar case with the Wyndham City Gateway project. Although it is not a building, the same elements can be applied. However the users of the Gateway project, being drivers and passengers using the freeway to and from Wyndham and Melbourne, do not have a choice whether or not to interact with the design. They do not get to physically interact with the design to state whether its function is being achieved. Instead they are appealed by the design’s beautiful form which they remember, being constantly and compelled to confront it, and gradually understand the purpose and concept which lies behind it. That is partly why Geometry as a parametric approach is the perfect approach to the Wyndham project. It concentrates on the design’s form which can be easily manipulated to portray its function.

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AESTHETIC of the design creates interest,

grabs one’s attention, is

memorable, is talked about, and

remains interesting everytime.

F U N C T I O Nof the design is determined as from

interest, defines the purpose of the

design, gives the design importance;

why does it exist? why is it there?

what does it do?

C O N C E P Tof the design is determined as from

interest and as from undertanding the

function, it is not always obvious, involves

research; how did the design come up?

what were the designer’s ideas and

thoughts?DESIGN PLAYGROUNDS | http://designplaygrounds.com/deviants/bloomberg-pavilion-by-akihisa-hirata-architecture/

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Geometry as a parametric approach

Geometry as a parametric approach is evident in various projects all of which consist of very interesting forms which are dominant and captivating at first sight - they are almost mezmorising! Hence why my team and myself have chosen to undertake geometry! There are various categories of geometry including geodesic, general form finding as well as ruled surfaces and minimal surfaces as I’ve discussed about earlier in Chapter 1.2 (page 32) - under Topology.

Minimal surfaces for the Wyndham city gateway project | Argument

We’ve decided to concentrate on minimal surfaces due to our high interest in their formation, as well as their fascinating aspects; such as their interesting and complex forms which contribute to remarkable shadows and perspectives, as well as their rigid and strong structures.

With no doubt an interesting form will be necessary for a freeway gateway project! And most importantly one must not forget the importance of resilient structure for freeway installations especially due to the constant strong winds on the freeway. Hence why minimal surfaces will greatly satisfy the job.

Various projects which have made use of minimal surfaces have greatly contributed the architectural discourse. I’ll look at a few examples to generate some some ideas of how minimal surfaces have been used, including their aesthetic aspects as well as their use of materials and fabrication.

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The Sab Gennaro North Gate by SoftLab

This project has used minimal surface as gateway installation. The minimal surface itself (a Lopez-Ros No-Go Theorem minimal surface - image below) is quite fascinating due to its double curvature giving the blurring the idea of the exterior and interior of the the surface.

The surface has made use of panelisation; that is the repetition of the same shape that is altered at different points on a form, to create in this case a minimal surface. I think that panelisation is an interesting approach due to its creation of pattern that alters at different points on the minimal surface. For instance the points at which the minimal surface is at stress, the panelised shapes are larger while the points at which the minimal surface is under the least amount of stress, the panelised shapes are smaller. Panalisation in this case allows flexibility and it allows the minimal surface to appear as if its made of different components.

LOPEZ-ROS NO-GO THEOREM MINIMAL SURFACEhttp://xahlee.info/surface/lopez-ros/lopez-ros.png

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Moreover, being a surface facilitated the installation process. As evident in the vedio above the surface, prefabricated with panels connected to one another, was first laid flat and pulled at its edges by cables attached to surrounding buildings allowing the surface to become rigid and take its shape. This strategy is usually undertaken to allow a minimal surface to take its shape. Another example where this is evident is at the Australian Wildlike Health Centre by Minifie Van Shaik Architects.

GENERATE MINIMAL SURFACE

APPLY COLOUR USING THE GRADIENT COMPONENT

ORAPPLY COLOURED IMAGE USING IMAGE SAMPLER

PARAMETRIC DIAGRAM 1

UV GRID ON SURFACE

CREATE SHAPE FOR PATTERN / PANELISATION

PLACE SHAPES AT UV GRID INTERSECTIONS

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THE SAB GENNARO NORTH GATEARCHINECT | http://archinect.com/softlab/project/

san-gennaro-north-gate

GENERATE MINIMAL SURFACE

APPLY COLOUR USING THE GRADIENT COMPONENT

ORAPPLY COLOURED IMAGE USING IMAGE SAMPLER

PARAMETRIC DIAGRAM 2

CREATE CIRCLE FOR PATTERN / PANELISATION

UV GRID ON SURFACE

PLACE AND INTERSECT CIRCLES AT UV GRID

INTERSECTIONS

SELECT LARGEST AREA OF INTERSECTIONS TO SELECT

THE SHAPE FOR PANELS

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AUSTRALIAN WILDLIFE HEALTH CENTRE MINIFIE VAN SCHAIK ARCHITECTS | http://www.mvsarchitects.com.au/doku.php?id=home:projects:australian_wildlife_centre

GENERATE MINIMAL SURFACE

SELECT TOP HALF OF MINIMAL SURFACE

ORCUT MINIMAL SURFACE IN

HALF

SCALE MINIMAL SURFACE TO TAKE SHAPE OF ROOF’S

CENTREOR

ALTER X Y Z AXIS OF MINIMAL SURFACE TO TAKE SHAPE OF

ROOF’S CENTRE

PARAMETRIC DIAGRAM

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Australian Wildlife Health Centreby Minifie Van Schaik Architects

The Australian Wildlife Health Centre is a local project. Its roof, a minimal surface (a catenoid enneper perhaps?) , is probably the most well known and insteresting aspect of the centre. Its form provide its users with a different experience from both the outside and inside of the Centre.

In fact, its form is so fascinating that its function is not so evident until the researched or until the Centre is visited. The minimal surface here act as a passive ventilation, removing the need for air-conditioning. However, the function is clearly not obvious at first sight. Moreover, it seems that sustainable functions are applied to minimal surfaces simply so the design can be sold to clients due to sustainability being such a popular suject nowadays. Although the function is quite smart, I still believe the form needs be the priority to attract users in the first place for any interest in the project’s function.

AUSTRALIAN WILDLIFE HEALTH CENTRE MINIFIE VAN SCHAIK ARCHITECT |

http://www.mvsarchitects.com.au/doku.php?id=home:projects:australian_wildlife_centre

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Green Void by Lava

The Green Void by Lava is a sculptural minimal surface installation in the Atrium of the custom house in Sydney. It connects the building’s 5 floors with its ‘funnels’ like form. The form is said to have been originally derived from nature, such as from the formation plants and corals - almost like bio-mimicry, but that concept is not be evident to users - instead it simply looks like a striking complex green solid. Like all minimal surfaces,

GENERATE 5 CIRCLES AS THE FRAMED BOUNDARIES OF THE MINIMAL SURFACE

ALTER DIMENSIONS TO SATIFY SIZE OF EACH LEVELS WITHIN ATRIUM

CONNECT/LOFT ALL BOUNDARIES TO CREATE MINIMAL SURFACE

ALTER LENGTH AND WIDTHS OF ‘FUNNELS’ TO SUIT

SCALE OVERALL FORM TO APPROPRIATE SIZE

PARAMETRIC DIAGRAMGREEN VOIDARCH20 | http://www.arch2o.com/the-green-void-lava/

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LAVAhttp://www.dezeen.com/2008/12/16/green-void-by-lava/

this project tricks the users eyes. For instance, the minimal surface looks solid while it is simply made of a surface of lycra wrapped around alluminium profiles. Similar to the Sab Gennaro North Gate project, the form is stretched by stainless steel cables for the ability to achieve its form.

The majority of minimal surface projects make use of surfaces for their fabrication as would suggest the name ‘minimal surface’ – the projects are made of flexible materials as one whole area or as several pieces combined together as per the Sab Gennaro North Gate project. Consequently, when the surface gains the ability to be transformed into a solid, the construction becomes more complex and therefore interesting for the architectural discourse, as the Taichung Metro Opera House by Toyo Ito.

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Taichung Metropolitan Opera Houseby Toyo Ito

The Taichung Metropolitan Opera House itself a combination of catenoids connected to one another both sideways and on top of each other; extruded to be made into solid surfaces (refer to following page for process). It has and is continuously contributing to the architectural discourse due to its unique form and structure which has had to confront several engineering challenges since the beginning of its construction in 2009; the construction will be complete in december 2013. One of the most fascinating challenge which it successfully overame was the ability to construct three dimensional concrete curved surfaces, such as walls, which was originally thought to be impossible; the solution discovered is the use of spray concrete, as well as the formation of complicated steel bar reinforcements and steel trusses. Such strategies which will with no doubt be taken in consideration for the Wyndham Gateway project.

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GENERATE CATENOID

ALTER CATENOID AT X Y Z AXIS

CREATE 3-D GRID (10X10X4)

PLACE CATENOID NEXT TO AND ON TOP OF EACH OTHER

CLOSE SPACES BETWEEN CATENOIDS WITH SURFACES

EXTRUDE SURFACES (OF CATENOIDS AND FILLED IN SURFACES) TO MAKE SOLID

WALLS ETC

CUT SET OF CATENOIDS WITH A RECTANGULAR PRISM

SUITING SIZE OF BUILDING

OBTAIN RESULTING INTERSECTION OF PRISM AND

CATENOIDS

PARAMETRIC DIAGRAM

TAICHUNG METRO OPERA HOUSE MOEL (TOP, MIDDLE & BOTTOM LEFT)DESIGNBOOM | http://www.designboom.com/weblog/cat/9/view/9561/toyo-ito-taichung-metropolitan-opera.html

TAICHUNG METRO OPERA HOUSE IN CONSTRUCTION (BOTTOM RIGHT)DESIGNBOOM | http://www.designboom.com/weblog/cat/9/view/22004/architectural-guide-taiwan-by-ulf-meyer.html

66VECTOR LINEWORK OF PROCESS

Development of something interesting...After having a look at the OMA_demo.3dm and its grasshopper definition I wanted to use the referenced curves, that is the silhouttes of people, and place them on the surface of an interesting form. From, then I developed the process of applying the objects on my chosen form.

Firstly I wanted to create a faceted dome as my base form. I based it on a population of points, generated inside a box. Hence, alternating the size of the box at its x, y and z axis would consequently alter the size and form of the faceted dome. I gave the faceted dome surfaces by creating a collection of planar surfaces at each generated facet.

Then, I wanted to place the curves randomly on each facet. Therefore, I gave surfaces to the curves and distributed them randomly by basing them on a random value of a gradient.

Consequently I moves and oriented each random pattern to the center point of each facet. I also created a scaling factor based on the area of each facet thus being able to scale each oriented random pattern based on the area of the facet; so the smaller the facet the smaller the surfaces of people’s silhouettes.

Furthermore, I wanted to extrude the surfaces randomly on each facet. Hence, I created an extrusion path by scaling the normal vector of each facet randomly. Consequently, I extruded the scaled surfaces (people’s silhouettes) according to the extrusion path created.

Finally and happilly, I could easily alter the size of the box created at the beginning of the definition and watch the form change!

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Sources 1 ARCH2O.com, ‘The Green Void’ <http://www.arch2o.com/the-green-void-lava/> [Accessed September 2012].

2 designboom, ‘Toyo Ito: Taichung Metropolitan Opera’ <http://www.designboom.com/weblog/cat/9/view/9561/toyo-ito-taichung-metropolitan-opera.html> [Accessed September 2012].

3 Rose Etherington, ‘Green Void by Lava’ <http://www.dezeen.com/2008/12/16/green-void-by-lava/> [Accessed September 2012].

4 SOFTlab, ‘San Gennaro North Gate’ <http://archinect.com/softlab/project/san-gennaro-north-gate> [Accessed September 2012].

5 Minifie van Schaik Architects, ‘Australian Wildlife Health Centre’ <http://www.mvsarchitects.com.au/doku.php?id=home:projects:australian_wildlife_centre> [Accessed September 2012].

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2 . 2C U T C A S ES T U DY 2 . 0

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Harbour Study & Corner Study By Minifie Nixon

The Habour Study and Corner Study by Minifie Nixon simply investigate minimal surfaces - or to be precise ‘Triply-Periodic minimal surfaces’ - as inhabited spaces concentrating on the ‘Schoen’s unnamed 12’ and the ‘Pseudo Batwing’ minimal surfaces for both studies, respectively.

Triply-periodic minimal surface are minimal surfaces that is a minimal surface that can be infinitely connected as units.

For this section of Cut Case Study my team member and myself have decided to concentrate on Habour study rather than both Minifie Nixon’s studies, thus being able to concentrate on one particilar minimal surface.

Design Intent | Habour Study

My interpretation of Minifie Nixon’s design intent for the Harbour study is to portray the evolution of the ‘Schoen’s unnamed 12’ minimal surface in the form of series of building aligned next to each other to border the habour in Orleans, France. Such process was indeed successful from the use of a minimal surface evolver program. The program follows a set of mathematical rules (which consist of constraints) derived from a specific minimal surface ‘evolver file’ - in this case the Schoen’s unnamed 12 minimal

surface’s evolver file (which I easily obtained off the internet! - http://www.susqu.edu/brakke/evolver/examples/periodic/periodic.html#frdr). It wouldn’t be unlikely that Minifie Nixon obtained both of their mathematical rules for Harbour Study and Corner Study from this website. Anyhow, I think its amazing (and yet perhaps too easy?) how with the right set of mathematical rules, available at the palm of ones hand, and with the right program, one can generate multiple objects/forms/ buildings from what I would assume be the click of an ‘evolve’ button. Consequently, I believe that the program or the evolving process would be stopped at several intervals to save the different stages of the evolving Schoen’s unnamed 12 minimal surface- as is evident in the first 3 buildings (bottom image of Harbour Study - page 71) until the final one was generated (which I assume is displayed in the top right image - page 71 - as it portrays the exact form of an original Schoen’s unnamed 12 minimal surface).

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HARBOUR STUDYMINIFIE VAN SCHAIK ARCHITECTS | http://www.mvsarchitects.com.

au/doku.php?id=home:projects:archilab

CORNER STUDYMINIFIE VAN SCHAIK ARCHITECTS | http://www.mvsarchitects.com.

au/doku.php?id=home:projects:archilab:cont

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Recreation of Habour Study

Having had to use grasshopper to generate the Habour Study, an alternative approach had to be undertaken. Hence, I generated a grasshopper definition which processed mathematical equations into minimal surfaces.

Due to the unavailability of the equations for the Schoen’s unnamed 12 minimal surface, an alternative minimal surface - a double enneper minimal surface was taken into consideration because its curvature and form aesthetically is very similar to those of the Habour Study’s buildings. For example, I’ve compared one of the evolving inhabited spaces from the Habour Study with a basic double enneper. Consequently I found that if the double enneper is offset to become a solid and cut a its edges it would look very similar to the inhabited space.

LEFT: EVOLVING INHABITED SPACE CHOSEN TO WORK ON

MINIFIE VAN SCHAIK ARCHITECTS | http://www.mvsarchitects.com.au/doku.php?id=home:projects:archilab

RIGHT: DOUBLE ENNEPER GENERATED IN GRASSHOPPER

It is very interesting to see the number of minimal surfaces which resembles each other, whether or not they have fully evolved. For instance previously to finding the solution to generate the double enneper on grasshopper, I used a catenoid (page 34) to recreate the of the evolving inhabited space chosen. The following page shows the parametric process undertaken to generate the final the form.

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GENERATE DOUBLE ENNEPER

ALTER DOUBLE ENNEPER AT XAXIS

ALTER DOUBLE ENNEPER AT Y AXIS

ALTER DOUBLE ENNEPER AT Z AXIS

CAP DOUBLE ENNEPER TO TURN SURFACE INTO SOLID

CREATE CUBE OR RECTANGULAR PRISM AROUND

DOUBLE ENNEPER

ALTER SIZE OF PRISM & INTERSECT IT WITH THE DOUBLE

ENNEPER

SELECT SOLID INTERSECTION

EXPLODE SOLID INTERSECTION TO OBTAIN EXTERNAL SURFACE

OFFSET SURFACE INWARDS OR OUTWARDS

TRIM OFFSET SURFACE

CREATE EDGE SURFACE FROM DOUBLE ENNEPER’S SURFACE

AND OFFSET SURFACE

PARAMETRIC DIAGRAM

UNION ALL SURFACESJOIN THEM TO CREATE FINAL

SOLID

CREATE MULTIPLE OFFSETS AND SET THEM TO THE SAME

DISTANCE

74PROCESS OF RECREATING THE CASE STUDY PROJECT

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These steps basically follow the ones from the parametric diagram (page 73). Due to its parametric capabilities. Once the final form was created it could be further alternated at its x, y and z axis, be cut by a cube or rectangular prism as much or as little as necessary and be offset as many times as one could wish for at any distance necessary. And that I believe is the beauty of parametric design - flexibility at its best.

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Without a doubt there are various similarities and differences between the original Habour Study evolving building (page 70) and my own. The first major difference as previously discussed (page 72) is the process undertaken to achieve the form. The second major difference is the minimal surface itself; Minifie Nixon used a Schoen’s unnamed 12 minimal surface while I used a catenoid; two extremely different minimal surfaces of extremely different mathematical rules, and two extremely different processes for an almost very similar result. The basic form is similar. However my offset and cut catenoid lacks an internal building layout (if Minifie Nixon’s has any) and it also lacks the fancy and glamourous internal and external surface texture and render. Nevetherless, I think that the general surface, form and idea was successful! I also think that maintaining this concept of generating minimal surfaces, extruding or offsetting them to make them solids and conseqently cutting them at various angles using various prisms will be an interesting process to experiment with in the future. Furthermore, experimenting with the result’s surfaces for textures or effects, similar to this project (the Habour Study), will be also quite interesting.

FINAL FORM

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Sources 1 Xah Lee, ‘Double Enneper’ <http://xahlee.info/surface/double_enneper/_jv_double_enneper.html> [Accessed September 2012].

2 Ken Brakke, ‘Triply Periodic Minimal Surfaces’ <http://www.susqu.edu/brakke/evolver/examples/periodic/periodic.html> [Accessed September 2012].

4 Minifie van Schaik Architects, ‘Corner Study’ <http://www.mvsarchitects.com.au/doku.php?id=home:projects:archilab:cont> [Accessed September 2012].

5 Minifie van Schaik Architects, ‘Harbour Study & Corner Study’ <http://www.mvsarchitects.com.au/doku.php?id=home:projects:archilab> [Accessed September 2012].

MATRIX

A LITTLE DESCRIPTION OF THE MATRIX FOR THOSE UNFAMILIAR WITH MINIMAL SURFACES: 1ST ROW: MINIMAL SURFACES| 2ND ROW: CIRCLES APPLIED TO POINTS ON SURFACE | 3RD ROW: CIRCLES PROJECTED FROM TOP | 4TH ROW: CHOSEN PERFORATED SURFACE CUT BY SQUARE | 5TH ROW: CHOSEN PERFORATED SURFACE CUT BY SPHERE | 6TH ROW: CHOSEN PERFORATED SURFACE CUT BY RECTANGLE| 7TH ROW: CHOSEN PERFORATED SURFACE CUT BY CONE

1ST COLUMN: PRISMS INTERSECTING WITH MINIMAL SURFACES; SQUARE, SPHERE, RECTANGLE, CONE | 2ND COLUMN : ENNEPPER 4 SIDES | 3RD COLOUMN: ENNEPER 2 SIDES | 4TH COLUMN: CATENOID | 5TH COLUMN: BOUR 2 SIDES | 6TH COLUMN: BOUR 3 SIDES | 7TH COLUMN: BOUR 4 SIDES | 8TH COLUMN : BOUR 5 SIDES | 9TH COLUMN : HELICOID & CIRCLE PROJECTED FROM FRONT| 10TH COLUMN: CIRCLE PROJECTED FROM TOP | 11TH COLUMN : HELICOID & STAR PROJECTED FROM TOP | 12TH COLUMN: HELICOID & TRIANGLE PROJECTED FROM TOP

MATRIX

A LITTLE DESCRIPTION OF THE MATRIX FOR THOSE UNFAMILIAR WITH MINIMAL SURFACES: 1ST ROW: MINIMAL SURFACES| 2ND ROW: CIRCLES APPLIED TO POINTS ON SURFACE | 3RD ROW: CIRCLES PROJECTED FROM TOP | 4TH ROW: CHOSEN PERFORATED SURFACE CUT BY SQUARE | 5TH ROW: CHOSEN PERFORATED SURFACE CUT BY SPHERE | 6TH ROW: CHOSEN PERFORATED SURFACE CUT BY RECTANGLE| 7TH ROW: CHOSEN PERFORATED SURFACE CUT BY CONE

1ST COLUMN: PRISMS INTERSECTING WITH MINIMAL SURFACES; SQUARE, SPHERE, RECTANGLE, CONE | 2ND COLUMN : ENNEPPER 4 SIDES | 3RD COLOUMN: ENNEPER 2 SIDES | 4TH COLUMN: CATENOID | 5TH COLUMN: BOUR 2 SIDES | 6TH COLUMN: BOUR 3 SIDES | 7TH COLUMN: BOUR 4 SIDES | 8TH COLUMN : BOUR 5 SIDES | 9TH COLUMN : HELICOID & CIRCLE PROJECTED FROM FRONT| 10TH COLUMN: CIRCLE PROJECTED FROM TOP | 11TH COLUMN : HELICOID & STAR PROJECTED FROM TOP | 12TH COLUMN: HELICOID & TRIANGLE PROJECTED FROM TOP

Matrix

Our matrix consists of inputs, associations and outputs (below). The inputs are the generation of parametric minimal surfaces - easily . Some of the minimal surfaces, such as the bour and helicoid were altered according to their number of ‘legs’ or sides. Consiquently, the associations consisted of shapes applied and cut from the minimal surfaces - or as per our process the shapes were projected onto the surfaces at alternating angles, and the largest area of the surface was selected to obtain an interesting perforated minimal

surface. Finally the latter was cut by prisms; here we have used a square, circle, rectangle and cone to obtain various effects. In fact the effects obtained by each input, associations and outputs vary distinctively. Each of the results have their own aspects. Moreover they have their own advantages and disadvatages according to what we were looking for when we were developing the matrix.

Aspects considered

Throughout my research I’ve been concentrating on this iconic aspect of designs

and what the latter requires to stand out and contribute to the architectectural discourse. Hence when putting the matrix together I looked for

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a form that was unique, that would stand out by looking grand, and that would be known through its silhouette, such as my most favourite example, the Eiffel Tower. Moreover I looked for a form which would look different at various perspectives so it would remain interesting and captivating to the users or viewers, such as my other favourite example, as I have dicussed before, the CCTV building (page 18 - 20).

My two most favourite minimal surfaces which I thought clearly depicted the idea of changing and looking different from various perspectives are the enneper as well as the helicoid. The double curvature of the enneper is able to show this idea of change (such as this slight blur between the interior and exterior of the surface - similar to the Sab Gennaro North Gate minimal surface - page 57 - 59). This change from interior to exterior of surface would be especially noticeable if

the enneper is placed as a gateway across and over the freeway. That is something interesting to keep in mind - the ability to scale the surface parametrically if its used as a small scaled structure beside the freeway or at a larger scale across the freeway. Parametric design here I believe would play a huge role as changing scales and consequently changing aspects of the scaled model, such as materials. For instance, it would be easier and cheaper to construct a small scaled enneper out of concrete rather than to construct a larger scaled enneper over the freeway out of the same material. Similar to the Taichung Metropolitan Opera House, spray concrete could be used but that process may be impossible as it would probably penalise the use of the freeway.

I thought the helicoid would be perfect as a

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structure next to the freeway especially with appropriate projections created, as it would create this sense of illusion for the viewers; at 100km/h drivers and passengers will be given the impression that the holicoid is moving upwards or downwards according its location onsite.

Final form chosen

With the inclusion of the projection onto the minimal surfaces, my most favourite results were those with the projected circles on the surface. The circles are repetitive but remained simple due to having the least amount of edges in comparison to other shapes. They allowed the minimal surfaces themselves to gain emphasis, in comparison to complex shapes projected e.g. triangle, or star; such made the overall

form far too complex and not appealing to the eye.

Sustainability Moreover, I also started thinking of how the design could reflect a sustainable design. I took in consideration the collection of

FINAL FORMENNEPER | CIRCLES PROJECTED FROM RIGHT

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rainwater; with the maximum opened surface area on top of the surface could collect rain! - But thats just a possibility.

As for the minimal surfaces’ intersections with the prisms, my most favourite results were those intersected with cones. The cone’s form itself reflect this sense of grandeur due to becoming smaller at the top. As a result the intersection reflected that aspect.

Finally, I believe the final form chosen was perfect to reflect this iconic aspect, as well as the aspect of change. By change I mean for the form to look different and remain interesting at different views. By change I also mean the fact that the form will be structure that will reinforce the transition from Melbourne to Wyndham and vise versa. Moreover , it has potential for improvement in terms of sustainability as mentioned before. It also has potential to remain interesting and captivating through its own lighting and the shadows projected from the hollow sections of the surface.

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FINAL FORMENNEPER | CIRCLES PROJECTED FROM RIGHT

TOP ROW: PERPECTIVE VIEWSBOTTOM ROW: ORTHOGRAPHIC PROJECTIONS

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Further development

I developed the shape chosen (page 83)further by attempting to adapt it further to Wydham. I wanted the form to have more significance towards the project. Hence I decided to project the logo of Wydham City (top left image) onto the enneper, rather than the circle. I attempted this process several times as shown in the vector images on the right. After projecting the logo on its own, I decided to project several logo at once as per the previous and original technique (refer to matrix - page 78-79). I quite liked the effect it created, emphasizing the idea of have different perspective views rather than the same view as one would expect from a minimal surface- since it is a symmetrical surface having a mean curvature of zero.

I adapted the rest of the original technique (that is, obtaining the intersection of the enneper and cone) on the new enneper and obtain quite an interesting form.

Its concept, that is looking different at various views is interesting. However, if one looks at it for the first time I do not deny their thoughts would evolved around this the fact that it looks like its been destroyed, almost like something thats been disintegrating overtime, or as per Alison something thats been ripped apart by an animal, by the claws of something fierce and savage. But could that thought be reversed? Could it be that the form is in a stage of evolving - a stage of transformation - just like Wydham city is?

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EXPERIMENTATION WITH WYNDHAM LOGO

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FINAL EXPERIMENTATION WITH WYNDHAM LOGO

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Due to the form being overly complex - in terms of double curvature, asymmetry and thin aspects, it was made into a solid form: it was extruded hence facilitating the process of model making; in this case translating the digital model into a physical model through 3-D printing. Due to its thin elements, it would have been imposible to replicate the form as a surface into a hand-made physical model - just like it was thought impossible to 3-D

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print the form (Though, it hasnt yet been proven possible...). With no doubt part of the surface could have been physically made but such would completely cancel the purpose and the existance of the minimal surface.

Model

Instead I experimented with the hand-making of a catenoid on which circles have been cut from its surface points. Yes I know the final model (right image) looks nothing like the vector linework representation (top right illustration), but I was simply experimenting. I was mainly experimenting to comprehend the how to work with flexible fabric (loosely woven cotton, nylon or lycra), how to work with both wire (a hard and sharp material at its edges) and that paticular fabric, how to make holes through that particualr fabric without it ripping further when it’s stretched, and lastly how make a minimal surface take its form.

Process

Firstly I cut two rather long pieces of wire which I shaped into circles for the edges. Then, I cut many smaller pieces of wire with which I repeated the same process. I hot

glued the end of the pieces of wire after making into circles so the sharp edges would have no chance in ripping the tight’s fabric. Then I placed one of the edge circles onto the tight’s fabric and pushed it as far as I possibly could into the tight’s fabric until the latter was fully stretched. I then sewn black thread around the wire and fabric and cut the excess latter which wasn’t part of the catenoid. I repeating the same process of stretching the material as much as possible to sew the smaller circles on the surface and to sew the final edge of the catenoid (from top to bottom of catenoid). This process of stretching as much as possible to sew meant that the fabric even after being sewn could flex to its limit. Once all the sewing was completed, I attached 3 strings, equally spaces at each end of the catnoid and connected and tied all 3 strings at the same point for each ends of the catenoid. I attached the strings from both end to a custom frame while pulling the strings in opposite directions as much as possible for the catenoid (minimal surface) to take its form. I was quite happy with the results; if the stretched tights in the middle of each circle were to be cut it is probable that it wouldn’t affect the catenoid -yet, if the stitching werent properly done the catenoid would lose its shape.

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VECTOR LINEWORK ILLUSTRATION &EXPERIMENTAL MODEL | CATENOID

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FOIL ENNERPER

This is a quick prototype that I made out of foil to assist me visualising the potential form of the finished product. I had attempted making it out of paper but it was an inappropriate medium since paper does not fold in two directions.

The use of aluminium foil could not only fold appropriately but it also created an interesting surface pattern and texture which is clearly emphasized by lighting. I think it could be interesting to investigate this further.

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C H A P T E R 3

M I D S E M E S T E R E X P R E S S I O N O F I N T E R E S T

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C H A P T E R 3

M I D S E M E S T E R E X P R E S S I O N O F I N T E R E S T

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3 . 1E X P R E S S I O N O F I N T E R E S T P R E S E N TAT I O N

EXPRESSION OF INTEREST

ADS AIR | SEmESTER 2 | 2012BEl INDA YANg & ANAIS POuSS IN

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mINImAl SuRFACES

FREEWAY ART PROJECT

Minimal surfaces are naturally striking and interesting forms. Their uniqueness in form which changes at different views would create a memorable and addictive experience for freeway users. That idea of change – that we elaborate within our proposal - creates a very clear transition from one location to the other – perfect for a Gateway. However, they are most importantly profoundly structural; we believe that is a necessity for a freeway art. They are safe; as they will resist the strong winds of a freeway. There are various projects which use minimal surfaces, all of which are unique and remain interesting and captivating as a design and structure.

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The FRAC Centre, for example is a pavilion purely sculptural and structural – the structure itself is self-supporting and very strong – due to its design, material and fabrication. It has been successfully parametrically designed to achieve its form, perforations, assembly, hierarchy and fabrication.

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PRECEDENTS

FRAC CENTER

BY mARC FORNES

MARC FORNES & THEVERYMANYhttp://theverymany.com/constructs/10-frac-centre/

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ARCHINECThttp://archinect.com/softlab/project/san-gennaro-north-gate

The Sab Gennaro North Gate is a Lopez-Ros No-Go Theorem minimal surface, built with the use of penalisation – a repeated pattern - for its structure consequently held in tension by cable to make it rigid and take its form. Apart from its technical structure it is obvious that the minimal surface itself is what makes the form exciting and appealing.

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PRECEDENTS

SAB gENNARO NORTH gATE

BY SOFTlAB

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The Australian Wildlife has a minimal surface which is the immediate interesting aspect of the building due to its form and experience from outside and inside the building. It also has a valuable function acting as passive ventilation and removing the need for air-conditioning. But its function is not obvious at first sight, hence why the form needs to be the priority.

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PRECEDENTS

AuSTRAlIAN WIlDlIFE HEAlTH CENTRE

BY mINIFIE VAN SCHAIK ARCHITECTS

MINIFIE VAN SCHAIK ARCHITECTShttp://www.mvsarchitects.com.au/doku.php?id=home:projects:australian_

wildlife_centre

The Australian Wildlife has a minimal surface which is the immediate interesting aspect of the building due to its form and experience from outside and inside the building. It also has a valuable function acting as passive ventilation and removing the need for air-conditioning. But its function is not obvious at first sight, hence why the form needs to be the priority.

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PRECEDENTS

gREEN VOID

BY lAVA

ARCH20http://www.arch2o.com/the-green-void-lava/

The Green Void is a sculptural minimal surface installation in the Atrium of the custom house in Sydney. It connects 5 floors and is derived from nature but it is really its form and rather its structure that makes it appealing. For instance, looks solid and is yet made of lycra. The majority of projects use minimal surfaces as installations – these are made of flexible materials as one area or several pieces combined together.

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PRECEDENTS

TAICHuNg mETRO OPERA HOuSE

BY TOYO ITO

DESIGNBOOMhttp://www.designboom.com/weblog/cat/9/view/9561/toyo-ito-taichung-metropolitan-opera.html

The Taichung metro opera house however is itself a combination of catenoids connected to one another. It is in construction since 2009 and is contributing to the architectural discourse due to its engineering challenges, such as its three dimensional concrete curved walls which was thought to be impossible. Spray concrete became the solution to the curved surfaces, which is what our proposal may make use of.

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CONCEPT TECHNIQUE | MATRIX

mINImAl SuRFACE | PROJECTION | INTERSECTION

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CONCEPT TECHNIQUE | MATRIX

mINImAl SuRFACE | PROJECTION | INTERSECTION

Our technique to develop our proposal consisted of making a series of minimal surfaces, projecting and cutting shapes from the surface, and intersecting the result with form – like a cube, sphere and cone.

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A prototype model of an ordinary catenoid with projected circle – for an idea of the results from this technique – such as shadows.

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EXPERIMENTATIONmODEl

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EXPERIMENTATION

mODEl

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The result we thought achieved the best iconic and interesting feel was the enneper of 4 sides. We projected an elaborated shape onto the enneper and intersected it with a cone.

CHOSEN CONCEPT TECHNIQUE

ENNEPER FORM | LOGO PROJECTION | CONE INTERSECTION

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CHOSEN CONCEPT TECHNIQUE

ENNEPER FORM | LOGO PROJECTION | CONE INTERSECTION

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The technique achieved what we were aiming for – a form which seems to change at different angles, and which slightly tilts in in the upwards direction further reinforcing its iconic aspect.

PRESENT CONCEPT TECHNIQUE

CONCEPT OF CHANGE | VIEWS

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PRESENT CONCEPT TECHNIQUE

CONCEPT OF CHANGE | VIEWS

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The concept of change is also applied to the different interesting and changing shadows the form would project at different times of the day. As well as the changing feel of the form provides in different weathers – for example the form could be a small scaled sculpture besides the freeway, or a larger scale over the freeway – where the rain will have an interesting effect - a sort of water featured gateway) falling through the perforated form which the freeway users will be able to experience. PRESENT CONCEPT TECHNIQuE

ICONIC |CONCEPT OF CHANGE

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PRESENT CONCEPT TECHNIQuE

ICONIC |CONCEPT OF CHANGE

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DESIGN CONCEPT

DIGITAL MODEL

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The enneper itself - a structural and interesting form due to its double curvature – and its cuts makes our proposal very unique and captivating and will with no doubt be an iconic feature on the freeway seeming to constantly change and remaining interesting.

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DESIGN CONCEPT

DIGITAL MODEL

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3 . 2R E S P O N S E TO F E E D BAC K + F U R T H E R D E V E L O P M E N T

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Feedback and Response

I must say, that the feedback for our EOI presentation was quite critical. Which is great as it means there is room for improvement. But, where do I start? Let’s look at the positive first shall we?

…positiveFirst of all, the final design of the final outcome was appreciate for being “intriguing”! Yay! The complexity of the outcome due resulting from projected shapes was also liked. It’s is a good thing that the overall design as well as its complex form, was appreciated. However, I think that in terms of complexity and understanding the purpose of the design, being located on the freeway, it is going to change greatly. I personally don’t think that an overly complex design is suitable for the Gateway project as at 100km/h viewers will not be able to understand the meaning behind it.

…negativesLet’s now move on to the negative aspects of the design. To start with, the design didn’t engage with the essential techniques of parametric design. In other words “the same design could have been done in Rhino in the space of ten minutes” – Stanislav.

That is true.

However, I’m going to be critical of such criticism here because I think that anything you do in rhino you should be able to do in grasshopper and vise versa. It’s just that it takes much longer to design and modify designs in Rhino. I’m also pretty sure that it’d take you more than ten minutes to generate a minimal surface mathematically in rhino – or if that’s even possible with the available tools.

Moreover, the design didn’t explore minimal surface to its fullest potential. It was recommended for us to use Kangaroo,

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a sub-program for Grasshopper, to further explore form finding techniques in the future. It was also suggested to change our type of investigation. That is, to use points and lines, between which we would find minimal surfaces, rather than using mathematical functions to generate minimal surfaces, as we’ve been doing so far.

I think that is a great suggestion to use Kangaroo to further explore our investigations. I’ll definitely look into it as it’ll be interesting to see another method of generating minimal surfaces. I think however

that for this project we will mainly focus on geometry, rather than the development and formation of minimal surfaces. By geometry I mean experimenting with aspects such as repetition, and what we’ve already been looking at; subtraction of shapes through projections. For further experimentations it’ll be interesting to look at the additive aspect of geometry. This aspect has been explored by other projects such as Taichung Metro Opera House (page 64 and 65), where catenoids are repeated on the x y z axis.

LEFT: GENERAL FORM

MIDDLE: SUBTRACTIVE FORM

RIGHT: ADDITIVE FORM

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On another note, the presentation was criticised as being too much like an advert, which may be true. I do not want to be stubborn or anything, but doesn’t the presenter need to sell the design through, as much as the presentation does? Unless, our design and presentation panels didn’t sell so well; hence why speaking wise, it seemed as if we were trying to push for something which wasn’t so great… Either way, next time, the design will be explained thoroughly.

What’s next...

It is important at this stage to strongly consider the site, the clients, the people who will view the work, as well as the context of where the design will be located. I’ve

considered some of these aspects throughout the development of the current design.

SiteFor example if the design is a structure on the side of the highway, it will would be best for it to replace the current Road Safety roadside billboard, which is currently at the best location to grab the viewers’ attention (page 131; bottom right image; blue cross). Another option however, is for the design to go over the highway - in this case the one going towards the city due to the availability of the site. Depending on the scale and form of the design it would be a good idea to integrate the final structure alongside of Site A and B (page 131; bottom right image; blue arrows).

ViewersIn terms of aesthetic to grab viewers’

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CALTEXSERVICESTATION

CALTEXSERVICESTATION

SITE-B

SITE-A

SITE-C

CALTEXSERVICESTATION

SITE-B

SITE-A

SITE-C

TOP LEFT: GENERAL SITE PLAN

BOTTOM LEFT: EXISTING ROADS AND BUILDING STRUCTURE

TOP RIGHT: SITES FOR PROJECT - SITE A, SITE B, SITE C

BOTTOM RIGHT: CROSS - DESIGN AS A STRUCTURE, ARROWS - DESIGN BRIDGING FREEWAY.

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attention, I think it’ll be important to maintain the iconic concept of the design that we’ve been experimenting with along the way. Currently the design becomes smaller at the top (having been cut by a cone) emphasizing its height (Page 116 and 117). The height is especially important in this instant, not only to be grand and iconic, but to be viewed clearly from the highway going towards Wydham. After all, the design is the Gateway for Wydham. We want to promote, or emphasize Wydham City through this project. More importantly we want to emphasize the change that is currently taking place within the heart of Wydham City. We want viewers to remember the design, not as “a gateway to Melbourne City” but “a gateway to Wydham City”. We want the viewers to eventually make out the connection between the design and Wydham and its current development.

ContextIt is of course important to remember that it is a gateway between Wydham City and Melbourne City, and not only a gateway for Wydham City. It is therefore why while the design should look beautiful for the viewer’s coming into Wydham City, viewers going into Melbourne should also be able to appreciate the design.

Design AspectBack to the design aspect, I think from here it’ll be interesting to experiment and manipulate geometries (as I’ve mentioned earlier, through additive geometry, rather than subtractive geometry) for interesting forms and shadows while maintaining the idea of change and being an icon for Wydham.

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The development of a parametric technique is hard work that pays off

My experience with parametric design so far has with no doubt been interesting. There has been nice and flowy situations where grasshopper and its components have behaved nicely, but there were also frustrating moments, where research and help had to be seek to achieve the appropriate result. However, I cannot complain, as it is through that research and through looking at fellow grasshopper users’ definitions, that I was able to expand my knowledge and perfect my parametric design technique. After all, I think that is the process of learning.

My thoughts on parametric design are still positive. I believe that the effort of hard work pays off, and that is the exact process of parametric design. For example, in the case of this project, the parametric definition of the enneper with its projected shapes and cropping form was complex to achieve as it demanded knowledge and understanding of the available grasshopper tools. In the

end, however, the parameters (incl. number of sides of the enneper, its size – altered at x y z coordinates, the shape projected, the direction of the projections, the form to cut the enneper with, etc.) can now be altered to achieve various different forms and geometries, within seconds, rather than hours of re-making and re-modelling the design from scratch, or altering every elements of the current available design, to achieve a different result. And I think, in end, this is what parametric design is all about. It is a matter of simply changing one value of a parameter to achieve a different design, and repeating that quick process to achieve a more appropriate and suitable design. If that isn’t what parametric design is all about, then I don’t know what it.

I’d like to think that parametric design is as I’ve described it, because that is what I’ve learnt so far in this subject. To think that the parameters I’ve used for my current parametric definition is not portraying parametric design to its fullest potential is a bit discouraging, but it is definitely something I’ll look into.

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C H A P T E R 4

T H E G A T E WA Y P R O J E C T

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C H A P T E R 4

T H E G A T E WA Y P R O J E C T

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4 . 1D E V E L O P M E N T F O R T H E G AT E WAY P R O J E C T

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Design Development...

As I’ve mentioned previously we’ve now decided to focus on geometry rather than the concept of minimal surface itself. However, we do not want to entirely reject the idea of minimal surfaces - I think it’ll be still interesting to make use of a minimal surface within the design while collaborating it with other aspects of geometry. As per previous experimentations, I think that its fair to now use catenoids as an aspect of the design for the freeway.

Catenoids

Catenoids are one of the least complex type of minimal surfaces but they allow a great deal of experimentation; such as cut outs, as I have previously experimented with (page 89). They project intrinsic shadows due to being hollow, in comparison with other minimal surfaces, such as the enneper, which we have made use of previously - the enneper unfortunately requires further manipulation to project any kind of interesting shadows (page 133).

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IMAGES:

1 : CRAIGIEBURN BYPASS; FOODBRIDGE BY TONKIN ZULAIKHA GREER - http://www.architecturenewsplus.com/cdn/images/o/n/i/p/nipcwo1.jpg2 : ASPIRE BY WARREN LANGLEY - http://images.smh.com.au/2011/06/02/2403661/aspire-420x0.jpg3 : GATEWAY TO MELBOURNE BY DENTON CORKER MARSHALL - http://farm1.staticflickr.com/106/290910189_60be9d37c6.jpg4 : CRAIGIEBURN BYPASS; SCRIM WALL BY TONKIN ZULAIKHA GREER - http://www.architecturenewsplus.com/cdn/images/o/n/9/c/n9cxp6q.jpg5 : THE WATER DANCE BY ANNE NEIL - http://katrinabartley.files.wordpress.com/2012/01/cones-3491-web.jpg6 : SEEDS OF CHANGE BY GLENN BERRILL - http://www.redbubble.com/people/rflower/works/1690300-seeds-of-change?p=mounted-print7: DESIRING MACHINE BY SIMEON NELSON - http://www.contemporaryartsociety.org/media/uploads/2009/07/2072/20-3-desiringmachine-jpg.jpg

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Repetition

In terms of connecting geometry and catenoids, I think that the use of repetition would be an interesting approach. I’ve always been a fan of repetition, as this technique, or aspect of geometry, always allows the creation of interesting forms, patterns or effect.

We are exposed to geometry everyday, and everywhere. Lets take the most common example that most of us are exposed to, or

that is most associatable to this particular project - freeway art projects (refer to images above). Most freeway art designs make use of repetition as a strategical approach; they may be as simple as ‘sticks’, such as the Gateway to Melbourne project; however, their repetition makes them complex and interesting in their own way. Yet the overall design remains simple and enjoyable to drive past, as it is not confusing. I think that this is one of the main aspects that we should consider and that we will try to achieve for our design.

IMAGES:

1 : CRAIGIEBURN BYPASS; FOODBRIDGE BY TONKIN ZULAIKHA GREER - http://www.architecturenewsplus.com/cdn/images/o/n/i/p/nipcwo1.jpg2 : ASPIRE BY WARREN LANGLEY - http://images.smh.com.au/2011/06/02/2403661/aspire-420x0.jpg3 : GATEWAY TO MELBOURNE BY DENTON CORKER MARSHALL - http://farm1.staticflickr.com/106/290910189_60be9d37c6.jpg4 : CRAIGIEBURN BYPASS; SCRIM WALL BY TONKIN ZULAIKHA GREER - http://www.architecturenewsplus.com/cdn/images/o/n/9/c/n9cxp6q.jpg5 : THE WATER DANCE BY ANNE NEIL - http://katrinabartley.files.wordpress.com/2012/01/cones-3491-web.jpg6 : SEEDS OF CHANGE BY GLENN BERRILL - http://www.redbubble.com/people/rflower/works/1690300-seeds-of-change?p=mounted-print7: DESIRING MACHINE BY SIMEON NELSON - http://www.contemporaryartsociety.org/media/uploads/2009/07/2072/20-3-desiringmachine-jpg.jpg

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Digital model of catenoids in repetition

I’ve experimented with the use of repetition with catenoids, and the resulting effects were quite interesting (refer to following page). I’ve use grasshopper as an experimentational tool, to repeat catenoids forming interesting patterns with which I was quite happy with. I was happy to be proven right to the fact that it purely depends on an interesting pattern or repetition method for a simple form to become captivating.

EXPERIMENTING WITH THE REPETITION OF CATENOIDS USING GRASSHOPPER

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to attach all the threads attached to each catenoid’s lower wire frame to the same base and all the threads attached to the each catenoid’s upper wire frame to the same ‘roof’.

IssueAlthough the model is of a tiny scale, it was extremely time consuming to make. However, I’m glad I went all the way to finishing it up as it really showed me the importance of a frame, especially for objects in tension. It opened up the issue of having these objects on the freeway. How will they be held in tension? How will they be suspended?

On another note, I just want to point out that I guess it is in times like this that one realizes the importance of a model; that models are not only a 3-D representation of a design for the clients to look at, but it is a way of figuring out the technicality and issues behind the real construction of a project.

Physical model of catenoids in repetition

I’ve progressed to then make a model projecting a representation of repeated catenoids, truely representing the concept of minimal surfaces, as I’ve made each catenoids in tension. Similar to the catenoid I have made earlier in the semester (page 89), these smaller scaled catenoids were sewn while being stretched, but this time around the finger - due to their miniature sizes. The upper and lower wire frame were then sewn on which thread. Consequently thread was attached to each wire frame at 4 equally spaced corners to act as supports as they were pulled in tension. Unlike the original catenoid made (page 89) which was supported by its individual frame (a pole and base - on which the strings were held in tension), it was important to find another strategy to support 8 catenoids one next to each other. The best possible way was

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MODEL: EXPERIMENTING WITH THE REPETITION OF CATENOIDS

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Approaches to support catenoids

As I’ve mentioned the issue is now about how the catenoids will be held in tension for a freeway art project without negatively affecting its surroundings, such as freeway users, as well as nature.

Most of the precedents we’ve looked at, such as the The Sab Gennaro North Gate (page 57-59) and the Green Void (page 62-63) are suspended by already existing structures, such as surrounding buildings and the interior of an existing building, respectively - as per the two precedents. But when it comes to a freeway, an open space that has nothing for the catenoids to support onto, it becomes necessary to develop a new strategy.

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There are several solutions to this issue. For example, we can go the easy way and simply make the catenoids solid, for example making them out of concrete, such as Taichung Metropolitan Opera House (page 64-65), that does not require to be in suspension.

Or, we could develop an appropriate frame for the catenoids to intersect with to be held in tension. Belinda’s model is perfect to represent what I mean (image on the right).

Another solution, however, which I personally think would be more appropriate, would be to suspend the catenoids from cables, that are consequently attached to a frame, thus fully pulling the catenoids in tension to fully achieve the concept of minimal surfaces. I think that

catenoids completely in tension are more appropriate, not only because it relates back to our initial idea of making use of minimal surfaces (which are originally known as being tension while using minimal materials - hence is cost efficient), but because it part of what will make our freeway art design unique.

CATENOIDS IN TENSION BY INTERSECTING WITH FRAMEWORK. MODEL BY BELINDA YANG

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Suggestion for frames

First suggestionThe main question now is: what should the frame be like? We’ve come across a few design ideas through sketching. Our first idea is to have poles along the side of the freeway thus allowing the catenoids to hang freely while being suspended by cables and attached to the poles. This idea is quite interesting but other issues arise. For example the poles supporting the catenoids would have to be firmly in tension themselves. Such could be by constructing them firmly into the ground, but even then I think further tensile strength would be necessary. Attaching steel cables from the ground to the poles to hold them in tension might be a solution.

CATENOIDS

STEEL CABLES

STEEL POLES

STEEL CABLES

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CATENOIDS

STEEL CABLES

STEEL POLES

STEEL CABLES

IDEA 1Illustration of catenoids hanging free above ground being

suspended in tension by cables attached to beams.

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Second and most ideal suggestionAnother idea, that I believe we are going to stick with for our design, is to create individual frames for several or individual catenoids. Each individual frame can then be stacked on top of each other to create a larger frame. I very much like the idea of having individual elements as they can be manipulated and repeated for an interesting design. I also think that it opens a door that allows experimention with geometry through simple elements. Also, the structure of these individual frames are with no doubt structural, and thus can be further manipulated. There are 2 ways in which the catenoids can be attached to the frame (refer to following page), one of which seems to be the best possible option, that is Option 1.

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IDEA 2Illustration of catenoids held in tension within their

own frames. Within both situations catenoids can be rotated at different angles according to where within

the frame the cables are attached.

LEFT DIAGRAM: OPTION 1Catenoids in tension from cables attached to corners

of frame. Altering the length of each cable allows flexibility and change to the catenoid, both in terms of

rotation and overall form.

RIGHT DIAGRAM: OPTION 2Catenoids in tension from cables attached to the

same point. All the cables are at the same lengths thus limiting the flexibility that would be otherwise

available in Option 1.

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Relationship with design intent: concept of change

Moreover, I believe that the idea of building up from a simple element, really emphasizes our original design intent; the concept of change. Here, the buildup of each frame, or individual cell, would somehow be the represention of the building up and current changes within Wydham City.

Another aspect which I believe would be very interesting to integrate within the design is to have the catenoids changing in sizes and rotation within their own seperate frames, as that will also emphasize the idea of change.

Aspects of frame: attractor point, transparency, iconic

An appropriate and interesting way to make the catenoids inside the frames vary in sizes

would be to connect them all to an attractor point. Thus not only will it emphasize an order of change, but it will also look neater to the viewer’s eyes, rather than changing in sizes at random which I think would just confuse the viewers and won’t look as attractive.Other than that, we want to emphasis the catenoids within the frames, rather than the frames themselves. Hence, the frames should be able to merge into the landscape. An achievable way to do so, as suggested by Paul, is according to the frame’s material. For example, high polished steel would be able to reflect the landscape thus won’t particularly stand out next to the catenoids.

Another main aspect of the frame, or the overall design of the framework, would be for it to be iconic. I think that’s what any design should aim to be. In this case however, our design should aim to be grand and unique, thus being able to stand out, be remembered and be part of the architectural discourse.

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Site

The general intended located for design at this point, being the building of invidual frame of catenoid varying in sizes, would be to have it going over the freeway rather than on the side. I think that such location will allow the freeway users to appreciate and understand the framwork better.

SITE PLANBlue arrows along the princess freeway along Site-A and Site-B represent location of design.

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Digitally building up design

To build up the final digital design, we maintained the concept of having the catenoids within their frames and being repeated one on top of the other. We have decide that the frames within which the catenoids are enclosed, form a large frame themselves, hence reinforcing the concept of repetition. The design has been completely designed based on parameters.

FrameTo start with, it was necessary to create the beams using the member length and member square width as parameters. Then, holes were extruded in the member using an extrusion scale factor, as well as extrusion depth.

After, the joint was created. It was bases on the beam’s square width, extrusion depth and extrusion scale factor.

We then created a 2-D grid based on the member length and square width. Since it had been created in the x-z plane, it was necessary to specify the number of x cells and number of z cells.

The grid was filtered through an image sampler thus determining the outline of the final frame.

The grid was also duplicated in the y direction, however, depending on the number of times specified.

As for the joints, they were moved at each new grid point.

We had to find the lines on which we wanted to orient the finished members. We took the lines and aligned a new member along each one. Then we took the larger set of connecting lines and calculated the centre point of each cell using the diagonal line in each cell.

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CatenoidsTo create the catenoid we specified the end radius half height and aspect ratio of a catenary curve. We revolved the curve around the z-axis to create the inner catenoid surface.

Then, we offset the catenary curve and revolved it again around the z-axis to create the outer shell; an outer catenoid. We then created a capping surface from the end circles of the catenoids that is the inner and new outer catenoids, to join them into one solid catenoid.

In parrallel to this, we also created a normalised scale factor to ensure that the catenoid wouldn’t scale outside of the frame structure later in the definition.

After, we moved the catenoids into each position at the previously found cell centres.

Focal PointAs for the focal point, we created two curves on the adjoining roads based on the shape of the road. We then evaluated those curves at different factors along their lengths to determine their focal point (for scaling and positioning) and the attractor point (for rotation).

We moved the previous frame structure into position at the focal point and oriented the overall form perpendicular to the road.

We then created a scaling factor for the catenoids based on the distance of the catenoids from the focal point. Then we used this to scale the catenoids to the correct size. We took the scaled catenoids and created the correct rotation axis so that they would then be able to be rotated to face the attractor point previously defined.

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Finally, our last step was to find equally spaced points on the catenoids ends circles, such as at .25, .5, .75 and 1 and generated 4 joining wire structures, or cables, based on the closest point to the point on the circle. Together this forms the finish frame structure.

To emphasize repetition, however, we decided to repeat the overall structure along the freeway. To do that we alterned the focal and attractor points to create a new but similar structure; located at a different point along the freeway.

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RENDER OF FINAL DESIGN | THE FRAMEWORK FOR CHANGE

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THE FRAmEWORK FOR CHANgE gATEWAYWyndham Gateway Project

The Framework for Change Gateway is the future art installation representing the transition from Wyndham City to Melbourne City and from Melbourne City to Wyndham City. It symbolizes the change from both cities and particularly the current change in Wyndham’s growth. The steel installation is made of four frames made of repeated cells. Each frame and cell is differentiated by their suspended changeable forms, known as catenoids, for a richer experience for freeway users. The Framework for Change has been parametrically designed allowing flexibility for experiments to perfect the installation design.

Parametric

The Framework for Change Gateway was effortlessly modified throughout its design process to deliver the best potential design for the Wyndham Gateway. The frames are fully parametric, from the length and cross section of each beams and joints to the overall form; from the thickness of each catenoid to the position of their cablings and their orientation. The orientation of the catenoids in each frame is defined by varying x, y, and z coordinates of attractor points located on Princess Highway entering Wydham city, while their sizes are based on the distance between arching frame to the ground.

The Gateway design is overly flexible and can be regenerated within minutes if in need of any changes, from the site changing to a matter of reorienting the catenoids.

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Aesthetic

The Framework for Change’s iconic structure is represented through both repeated and unique changing geometries. The members of each frame, beams and joints, are in recurrence creating cells within which catenoids, geometries known as minimal surface, are in tension. All catenoids are unique alternating in sizes and in orientation and allow both incoming and outgoing traffic to enjoy The Framework for Change at varying angles. Incoming traffic towards Wyndham is exposed to the orientations of the catenoids, while outgoing traffic is exposed to the experience of travelling under the frames.

The new Gateway, creates over-changing shadows throughout the day. Whilst the high glossed steel frame disappears in the

landscape due to its reflectivity and casts dark and defined shadows, the translucent latex catenoids allows light to partially filter through for softer shadows.

Overall Structure

The structure is constructed of beams and joints of the same sizes. Such allows the possibility for mass production for faster fabrication of members at a lower cost. All members are up to 3 meters long allowing flexible transportation to the site and easy assembly of members on-site (page 156; ‘Top Diagram’).

3000mm 250mm

150mm

250mm

DIMENSIONS OF EACH BEAM AND JOINT

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391731

12.5m 3.1m

Straps

SHS 3m long beams

REPRESENTATION OF EASY TRANSPORTATION

This is a representation of transportation of the 3m long beams on a 12.5m long semi trailer truck. A total of approximately 145 beams will be able to be transported per truck. Beams should be stacked on top the other as represented with 2 straps strongly securing each bundle of beams together.

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391731

12.5m 3.1m

Straps

SHS 3m long beams

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Dimensions

Overall frame: 49m x 3.5m x 16.5m

Beams: 3m long, .25m SHS

Joints: .25 x .25m. Universal joint for design

Cables: unique lengths, dependent upon catenoids. Cables of the lengths will be brought on-site and adjusted then. (refer to following page).

Connections

All joints are connected to beams on-site by being interlocked into one another and welded for strength and stability.

The cable system that holds the catenoids in tension, involves 4 steel cables equally spaced and attached to shouldered eyebolts which are consequently attached to the catenoids’ CHS steel top and bottom rings. The steel cables are attached to the SHS steel framing with standard eyebolt-turnbuckle connections.

TOP DIAGRAM:REPRESENTATION OF HOW TO CONNECT BEAMS AND

JOINTS.

BOTTOM DIAGRAM: REPRESENTATION OF CONNECTION BETWEEN A

CATENOID AND ITS FRAME. REFER TO FOLLOWING PAGE FOR DETAILS OF CONNECTION.

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CATENOID

STEEL CHS

EYE-BOLT

STEEL CABLE

FERRULE

TURNBUCKLE

EYE-BOLT

STEEL JOINT

STEEL SHS

DETAILED REPRESENTATION OF CONNECTION BETWEEN CATENOID AND ITS FRAME.

Undashed arrow represents that each cable can be adjusted to suit the tensioning of each catenoid.

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Site

Due to the site availability, the Framework for Change Gateway makes use of Site A and Site B which means that the design crosses over the Princess Freeway which leads towards Melbourne City.

Each foot of the frames are approximately 5 meters away from the Pricess Freeway. The height between the freeway and the frames themselves is 9 meters high, thus strongly complying to Vic Roads’ overhead clearance.

Due to the flatness of the site, the Framework for Change Gateway will not affect the site greatly. Excavation however will be a necessity in terms of installing the design itself.

Due to the scale of the frames, reinforced concrete bases and concrete piles will be necessary as footings. The depth of the piles will depend on the results of a geotechnical survey.

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DETAILED SECTION OF FOOTING | CONNECTION BETWEEN FRAME AND FOOTINGS

Arrow represents that depth of pile footings will depend on the site and soil conditions.

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is quite tricky; and it would have been even trickier to produce everything single cells for each frame. However, I guess the intention of a site plan is to basically show the location of the design onsite - hence the outline of the frames would do the trick.

Next I focussed on making the 1:20 model which would consist of 4 cells connected to one another. I used pine wood square dowelling of 12mm by 12mm which I cut out 150mm long pieces. Since 4 cells, or cubes, requires 36 edges, it was necessary to cut that same amount of members. I did so with a handsaw. After identifying the middle point of

Building up physical model

Model making was very crafty considering that every aspect of the models, with the exception of the exception of the boxboard contours which were laser cut, were cut and assembled from scratch. Apart from being excessiely time consuming, the models were quite interesting to create.

First I started by making the 1:500 frames for the site plan. I was hoping to make the frames according to the real design but unfortunately was restricted to making the outlines only, as cutting 1mm balsa wood and glueing them

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each cross section of the dowellings, I drilled holes in deep enough for the joints members to fit well into them.

The next step was the joints! I cut the same type - 12mm by 12mm square - of dowelling to get little cubes. Again, I handsaw 18 of them. Similar to the edges, the cubes were drilled into at their middle cross section areas, on all 6 sides.

Consequently, I glued match sticks into each hole of the joints with PVA glue, and them to dry overnight.

Then with the help of Belinda, I moved on to glueing circular pieces of wire frame with a hot glue gun, consiquently making the edges of the wire smooth rather than sharp risking to tear the tight, for the body of the catenoids, apart.

STAGES OF MODEL-MAKIING

MODEL-MAKING | CATENOIDS

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After the first ring, or circular wire, has been sewn on with the tights, the same procedure is repeated to the other ring, to create a catenoid. The same procedure was repeated trice to result in 4 catenoids to fit in the four cells.Then, fishing lines were equally spaced and attached to each ring of each catenoids.

After spray painting all the pieces of pine, as well as the outline of the frames (for the 1:500 site plan) of a chrome colour, thus reflecting the true materiality of the beams and joints of the design, the fishing line the attached to the vertices of the frames.

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FINAL 1:20 MODEL

LEFT IMAGEVIEW OF CATENOIDS FROM THE ATTRACTOR POINT

RIGHT IMAGESCLOSE UP IMAGES; JOINT BETWEEN CATENOID AND FISHING

LINE, JOINTS BETWEEN FISHING LINE AND MEMBERS, AND JOINT BETWEEN MEMBERS

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FINAL 1:20 MODEL

LEFT IMAGEINTERESTING EFFECT AND PATTERN CREATED BY REPEATED CATENOIDS AT A DIFFERENT ANGLE

RIGHT IMAGESHADOW PROJECTED BY DESIGN ; FRAME’S STRONG SHADOW VS. CATENOID’S TRANSLUCENT-LIKE SHADOW

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FINAL 1:500 SITE PLAN MODEL

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4 . 2F I N A L P R E S E N TAT I O N

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FRAMEWORK FOR CHANGE

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ADS AIR | SEmESTER 2 | 2012BEl INDA YANg & ANAIS POuSS IN

FRAMEWORK FOR CHANGE

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mINImAl SuRFACES

FREEWAY ART PROJECT

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PRECEDENTS

FRAC CENTER

BY mARC FORNES

MARC FORNES & THEVERYMANYhttp://theverymany.com/constructs/10-frac-centre/

182ARCHINECT

http://archinect.com/softlab/project/san-gennaro-north-gate

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PRECEDENTS

SAB gENNARO NORTH gATE

BY SOFTlAB

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PRECEDENTS

AuSTRAlIAN WIlDlIFE HEAlTH CENTRE

BY mINIFIE VAN SCHAIK ARCHITECTS

MINIFIE VAN SCHAIK ARCHITECTShttp://www.mvsarchitects.com.au/doku.php?id=home:projects:australian_

wildlife_centre

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PRECEDENTS

gREEN VOID

BY lAVA

ARCH20http://www.arch2o.com/the-green-void-lava/

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PRECEDENTS

TAICHuNg mETRO OPERA HOuSE

BY TOYO ITO

DESIGNBOOMhttp://www.designboom.com/weblog/cat/9/view/9561/toyo-ito-taichung-metropolitan-opera.html

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CONCEPT TECHNIQUE | MATRIX

mINImAl SuRFACE | PROJECTION | INTERSECTION

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CONCEPT TECHNIQUE | MATRIX

mINImAl SuRFACE | PROJECTION | INTERSECTION

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EXPERIMENTATIONmODEl

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EXPERIMENTATION

mODEl

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DESIGN CONCEPT

DIGITAL MODEL

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DEVELOPMENT

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FINAL DESIGN DIGITAL MODEL

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SITE PLANDIGITAL MODEL

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NORTH EAST ELEVATION

NORTH WEST ELEVATION

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ELEVATIONSDIGITAL MODEL

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SECTIONSDIGITAL MODEL

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Depth of pile fdependent upon the conditions of the site

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STRUCTUREDIGITAL MODEL

Depth of pile footings are dependent upon the conditions of the site

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DETAILED MODELSHADOW

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DETAILED MODELSHADOW

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SITE MODELAFTERNOON SUN

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SITE MODELAFTERNOON SUN

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The Framework for ChangeWYNDHAM GATEWAY PROJECT

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The Framework for ChangeWYNDHAM GATEWAY PROJECT

Depth of pile footings are dependent upon the conditions of the site

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4 . 3F I N A L A N A LY S I S

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Feedback and Response

There is definitely room for improvement for the final design – The Formwork for Change Gateway, and the feedback given from the final presentation really shows that. The overall design wasn’t 100% successful and that is true. I think that the presentation wasn’t laid out well enough to pass across to the critique panel that we had chosen to move away from the concept of minimal surfaces to focus mainly on the use of geometry, which is a shame. Due to the layout of the presentation, it seemed that minimal surfaces was given importance and wasn’t taken completely away from the final design.

Having said that if we’ve had more time we would definitely have made the layout of

the presentation much clearer to portray the transition from our initial idea to our final design. Moreover we would have integrated more of our previous definition into our new one (for the final design). For example it would have been interesting to integrate cut out through the catenoids for further interesting effects and shadows.

As from the feedback, we would have also looked more into materiality if more time had been available. For example, we were determined to make the overall steel frame highly polished so it would look transparent reflecting its surroundings –as recommended by Paul; however we failed to consider how such material would affect the freeway users – how the reflectiveness would affect the viewer’s sight. We were also determined

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to make the catenoids translucent so their shadows would contrast with the strong shadows of the frame – but as a result, that unfortunately meant that the frame became more dominant ,which was not what we were aiming for, as the frame was purely a strategy to hold the catenoids in place.

Another critique from the panel, was again relating back to the prominence of the frame. It was said that the cells of the frame should have been bigger. I think that was a good suggestion, as the bigger the cell would be the less amount of frame would have been necessary. This had been considered however prior establishing on the final design. However we thought that the effect of having less catenoids was not as effective as the amount of catenoids chosen.

Again, presentation wise, we weren’t as successful as we spoke too much about we had achieve for the Mid Semester. As a result we didn’t get a chance to present sufficiently on the final design.

On a positive note however the models that we had developed throughout the semester as well as the final models were very much appreciated, which is great considering they were all hand-crafted; from cutting and drilling pine-wood to stitching up the catenoids. Moreover, they required a lot time to be completed; however, it was definitely worthwhile.

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Digital and parametric tools are potentially the most effective and efficient tools to design with...

Personally, I’ve really enjoyed my experience using digital and parametric tools. I think that these tools allow plenty of flexibility in many ways which have been very useful throughout the semester.

Firstly I want to say that I’ve really enjoyed working using digital tools, from making digital diagrams to compiling a digital journal and presenting digitally. Not only do I think that it has been time efficient, but I’ve found it extremely effective, especially in the last week where the design was still being finalized – I think that if everything that had been done had to be completed, or submitted as a hard copy, much more time would have been necessary to be able to submit everything on time and to the same standard. That is why I love digital tools so much.

I believe that parametric tools are as efficient and effective. My thoughts on parametric

design haven’t change greatly throughout the semester. Such way of designing is extremely time consuming, from what I have experienced, especially in the last few weeks while have had to develop a completely new definition. I must admit however that the appropriate method one uses to design really depends on the type of project, or intended result. I think that the more complex the design is the better it would be to use parametric tools because the design (both throughout its production and as the final product) can be easily altered; if one element needs altering, the rest of the design will alter along with it. However for simpler designs or concept design (that wouldn’t need altering), I think that I would rather use the usual way of designing- that is using the traditional or top-down approach. From the readings and research I’ve done at the beginning of the semester on parametric design promoting its potential, I can say that I have been proven to the effectiveness of parametric design. Whether I would engage with this approach in the future depends on the type of project and definitely the amount of time I would have available.

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THE FORMWORK FOR CHANGE GATEWAY

2012