ADS STUDIO AIR FINAL SUBMISSION

DESIGN JOURNALABPL30048_ARCHITECTURE DESIGN STUDIO:AIR

THE UNIVERSITY OF MELBOURNESTEPHANIE YEOW YUEN MEI 377364

DESIGN TUTORS : GWYLLIM JAHN & STANISLAV ROUDAVSKI

CONTESNT

EXPRESSION OF INTEREST

THE CASE FOR INNOVATION

INTRODUCTIONTHE WYNDHAM CITY GATEWAY PROJECT

RESEARCH PROJECT : DESIGN EXPLORATIONCUT// DEVELOP

DESIGN RESPONSE & INITIAL INVESTIGATION

THE SEA OF LIGHTS :VISUAL IDENTITY AND COLLAPSED SPACE

01 DIGITAL DESIGN : A NEW WAY OF APPROACHING ARCHITECTURAL STUDIES03 CONSTRUCTING MESSAGES : ARCHITECTURE AS A PLATFORM FOR IDEAS 05 DISINTEGRATION OF DESIGN HIERARCHY: ARCHITECTURE EMBRACING COMPLEXITY

ARCHITECTURE AS A DISCOURSE

PROJECT PROPOSAL

LEARNING OBJECTIVES/ OUTCOMES

COMPUTING IN ARCHITECTURE

PARAMETRIC MODELLING09 EMERGENCE THROUGH PARAMETRICS : LOOKING AT THE DESIGN PHILOSOPHY OF TOM WISCOMBE

61 LEARNING OUTCOMES65 REFERENCES

07 CROSSING BOUNDARIES : INTERDISCIPLINARY MEDIATION THROUGH COMPUTATION08 COMPUTATIONAL POSSIBILITIES : ARCHITECTURE WHICH SENSES AND RESPONDS

13 INTRODUCTION TO MATRIX OF COMBINATIONS15 ASSOCIATIVE TECHNIQUES : CASE STUDY17 REVERSE ENGINEERING : NED KAHN ARTICULATED CLOUD18 EXPERIMENTATION WITH DATA MAPPING20 VISUALISATION & MATERIAL EXPLORATION

33 BRIEF/SITE CRITERIA EXAMINATION35 CASE STUDIES39 INITIAL DESIGN EXPLORATION

43 VISUAL EXPERIENCE THROUGH THE LANDSCAPE47 DATA FLOW DIAGRAM53 MODEL MAKING PROCESS : BEHIND THE SCENES

INTRODUCTION...

This research journal represents the the rational investigation of the potential for digital architec-ture in the implementation of the proposal for the Western Gateway Design Project for Wynd-ham City.

The contents of this journal serve to justify an argument for performative design based on data mapping with a strong visual emphasis and relevance to the context of the site which is believed to be the most suitable and innovative approach in representing Wyndham City to the public. As a result, the design is to serve as a visual landmark to audiences on site as well as remain flexible to engage beyond the site towards a broader social context.

In order to accomplish these goals within the design, digital computation methods are adopted. This is because, as the fastest growing city in Melbourne it is important that Wyndham sets a radical new benchmark in design and architecture by engaging with digital tools which represent the city as a curator for the development of cutting edge technology. Nevertheless, the success of these goals would depend on the ability for this landmark to become an identity which brings together communities and can speak to and engage with those around it.

Therefore it is these main concepts which are the design goals for this project and will become the basis by which to judge the success of the design :

A) Performance in architectureDue to the capabilities of digital technology, architecture no longer inhabits a static form but can become animated with form being defined as a moment of frozen geometry ( Picon 2010 : 74 ). As such, this design aims to to remain animated within the capabilities of computational meth-ods and create a design which senses and responds to the environment, in order to bring the site to life.

B) Architecture which extends beyond the site and engages in the broader discourseArchitecture is best understood as an autonomous system of communication ( Schumacher 2011 : 1 ) . Therefore this design intends to participate within this ongoing system of communication in order to make reference towards the established architectural thinking and design methods based on well supported precedents which influence the design decisions made throughout the proposal and execution.

C) Visual branding achieved through architectureArchitecture can be perceived as signs and symbols representative of different meanings, all of which are highly visual. As such, engaging with architecture visually is one of the strongest methods of experiencing the design, therefore this design aims to connect visually and become a branding device by which to associate an identity towards in relation to what the design seeks to represent.

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“Contrary to other arts, architecture is rarely at ease with plastic gratituity. There must be reasons, even rules guiding the form-finding process.”

- Antoine Picon ( 2010 : 73 )

D) Architecture which strongly responds to the site and contextWithin the postmodern society, the need to create architecture that is unique and possesses char-acter is important and inherently related to the engagement with the immediate surroundings. This design aims to become an identity that is recognisable due its engagement with the site and context which it represents through design decisions made in regards to response towards the surrounding environment.

These main concepts will be explored within the journal which is divided into three parts ,the Expression of Interest document followed by the Project Proposal and the Learning Objectives and Outcomes.

The Expression of Interest document will develop the argument based on researched precedents in order to engage within the broader architectural discourse. Furthermore, this document will demonstrate the different ideas, techniques and skills explored, first broadly and then refined into a focused investigation towards the potential of data mapping and materiality in relation to light. As such, this document sets the foundation for developing the Project Proposal while maintaining the overall argument.

The Project Proposal is the design solution which will be proposed in response to the Western Gateway Design Project competition.Here, the proposal for the ‘Sea of Lights’ installation will be presented. The idea proposed will aim to demonstrate a strong response towards the brief and context based on aspects which are preceived to be the most relevant and pressing issues of the site that need to be addressed. Furthermore, there will be a discussion of the logic behind the design process as well as a demonstration of the technical process in relation to the conception and physi-cal manifestation of the design.

Nevertheless, it is important to read the journal as a narrative engaging in a continuous design pro-cess which is constantly being developed and refinement. As a second layer to the design argument and proposal, there is the perspective of a student which will record the challenges faces as well as critically evaluate different design decisions made throughout the proposal. As such, these choices will be evaluated and presented within the final chapter of this journal, the Learning Objectives and Outcome section, which aims to evaluate the overall design thinking and execution process in order to signify the development throughout the course and highlight the generation of a deeper and stronger appreciation for digital design and architecture.

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i. CASE FOR INNOVATION


i. CASE FOR INNOVATION

ARCHITECTURE ASA DISCOURSE

Through centuries of development, architecture has evolved into a communication system which is highly interconnected. As such, the discipline of architecture encompasses both built and unbuilt work yet the main element is the ideas and con-cepts behind the work that serve to communicate within the discourse. Therefore, it is these ideas that is representative here in this section to argue for the proposal based within the architectural discourse.

“Architecture as a system of communications is neither a merecollection of artefacts, nor a mere form of knowledge, nor merely a

particular professional practice. Rather it encompasses all threecategories: artefacts, knowledge and practices - all understood as

communications that connect to each other in an ongoing recursivenetwork”

- Patrick Schumacher (2011 : 1)

DIGITAL DESIGN

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ABPL30084 ARCHITECTURE DESIGN STUDIO : AIR

A NEW WAY OF APPROACHING ARCHITECTURAL STUDIES THE MODERN FLORIST : Virtual Environments [2010]

‘The Modern Florist’ is a relevant de-sign investigation to the potential of architectural experimentation, 3D modelling, paper fabrication and digi-tal photography on a small scale which can provide initiative for larger proj-ects. Specifically, this design project investigates modular building blocks, fluidity in fabricating form as well as reflecting and design documentation.

This project was an initiation under the ‘Headspace’ Virtual Environments studio run by Stanislav Roudavski at the University of Melbourne in 2010.

As one of the pioneering courses in digital architectural design at a foun-dation level in university , this studio advocates digital design thinking and practice for students as well as intro-duces a new way of thinking about and approaching architecture today.

In contrast to traditional architecture based studios, this studio required strong academic research in order to support the conception of ideas, there-fore involving a broad range of investi-gation and argument for design. Fur-thermore, the introduction of digital tools and conventions allowed explora-tion of ideas through modelling during the early conception stage of designing.Also, reflective thinking through de-sign journals were core to the study. In this context, this studio contributes to the architectural discourse by advocat-ing a new way of approaching architec-tural studies in relation to the develop-ment of digital culture and technology.

Therefore this studio as well as the de-sign techniques and skills taught within it represents the ability for long-stand-ing traditions such as architecture to

A NEW FORM OF DESIGN STUDY

IMAGE 1 : PAPER PROTOTYPING

IMAGE 2 : CLAY MODELLING

IMAGE 3 : DIGITAL FABRICATION

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CASE FOR INNOVATION : WEEK 1 ARCHITECTURE AS A DISCOURSE

(2)DESIGN WEBSITESSUCKERPUNCHDAILYBUTTERPAPER

(4)ARCHITECTURE & DESIGN FILM FESTIVALNEW YORK 2010

(3)MELBOURNE DESIGN AWARDS 2010

(1)INTERNATIONAL JOURNAL OF ARCHITECTURAL COMPUTING 'SELECTIVE JAMMING: DIGITAL ARCHITECTURAL DESIGN IN FOUNDATION COURSES' (2010), ROU-DAVSKI

AWARDS & RECOGNITION

FIGURE 1 : CHANGING DESIGN STRATEGIESIMAGE 4 : DESIGN EXPANSION AND ARTISTIC REPRESENTA-TION THROUGH PHOTOGRAPHY

TRADITIONAL ARCHITECTURAL STUDIO

VIRTUAL ENVIRONMENTSSTUDIO

continually adapt and respond to the surrounding environment.

Additionally, it represents architectural education as incorporating various ele-ments and techniques which involve inquiry and investigation into vari-ous other disciplines to create a com-plex and interesting design outcome.

Therefore, this precedent informs the Western Gateway Design Project in adopting new approaches for the de-sign through digital technology which represents a response to the changing cultural environment. Furthermore, it advocates the need for architecture to engage with various disciplines in order to incorporate different aspects to cre-ate a coherant outcome which reponds well within the architectural discourse

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CONSTRUCTING MESSAGESARCHITECTURE AS A PLATFORM FOR IDEASMUSEUM OF XXI CENTURY ARTS : Zaha Hadid Architects

Zaha Hadid’s MAXXI Museum of XXI Century Arts is an internationally renowned contribution to the ongoing architectural discourse as it intro-duces an innovative concept to understanding built space by breaking down the boundaries normally imposed by structures, and instead turning it into a ‘voice’ for communicating ideas of public space.

As a culturally significant public building, the MAXXI makes a statement and aims to put for-ward the idea of parametricism which has come to define Zaha Hadid’s work. Through the embodie-ment of this radical idea within a recognised and shared public space, Zaha allows her ideas of design thinking to be seen on an international platform.( Hadid 2012 )

(1)INNOVATION & DESIGN AWARDS; CONDE NAST

(2)RIBA AWARD (EUROPEAN UNION)

(3)RIBA STIRLING PRIZE

(4)WAF WORLD BUILDING OF THE YEAR


ARCHITECTURE AS A PUBLIC PLATFORM FOR IDEAS

IMAGE 1 : INTERIOR OF THE MAXXI THAT EMPHASIZES CIRCULATION

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Three words encapsulate the MAXXI vision :

innovationmulticulturalisminterdisciplinary

- Zaha Hadid Architects

IMAGE 1 : INTERIOR OF THE MAXXI THAT EMPHASIZES CIRCULATION

IMAGE 3 : THE MAXXI AND THE STRONG RELATION TO THE SURROUNDINGS

IMAGE 2 : SIMPLE DIAGRAM OUTLIN-ING THE CONCEPT OF CIRCULATION AND DYNAMISM WITHIN MAXXI

Hadid’s building represent a significant contribution to the architec-tural discourse as it formally represents the potential of multiplicity and flexibility within architecture enabled by parametric design. Through the abiguity of the spaces which are understood through circulating through the building, Hadid brings to the architectural discourse the idea of chang-ing experience which informs the understanding of the architecture. Therefore, her building itself is parametrically experienced and serves to highlight also the ability for architecture to become a platform for ideas, as the understanding of the building is not limited to the physical space are written and theorised within the broader discourse. Furthermore, the construction of the MAXXI within the economically challenged envi-ronment of Rome created a growth in local economy due to an influx of tourists. Therefore, this building communicates within the discourse, the impact of architecture within the social context that can be very influential .

Therefore, this building contributes to the Western Gateway Project proposal as it represents ideas which expand on the arguments for the proposal based on the potential of parametricly driven design. One way of incorporating performative design can be seen in Hadid’s use of ex-perience to inform the reading of the space. Furthermore, the visual branding of the proposal aims to promote similar ideas to Hadid as plat-forms for ideas to communicate to the Wyndham communite. Finally, the proposal aims to have similar engagement with the site although the response does not immediately involve the community at Wyndham.

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DISINTEGRATION OF DESIGN HIERARCHY

ARCHITECTURE EMBRACING COMPLEXITY

Swarm Morphology by Roland Snooks of Kokkugia is a state of the art research project based on multi-agent systems in the generation of architecture. This project aims to distribute design intent within a self-organising structure using computational tools.

Case StudyOne initiative under Swarm Morphology is the redevel-opment of the Melbourne Docklands proposal based on emergent capacities. This project involved developing a master algorithm to inform a set of local agents to inter-act and generate a complex urban system. This process consists of two initiatives, the encoding of intelligence onto urban elements and typologies while at the same time the development of design agents to self-organise the urban matter. Through this, a more complex and interesting urban design structure could be generated, utilizing bottom-up techniques through digital tools

MULTI AGENT SYSTEMS : Kokkugia [2010]


(1)EXHIBITED AT BEIJING BIENNALE 10

(2)PUBLISHED : WORLD ARCHITECTURE MAGA-ZINE VOLUME 230 AUGUST 2009

(3)EXHIBITED AT LIEU DE DESIGN IN PARIS

(4)EXHIBITED AT PARAMETRIC PROTOTYPES IN CHINA 2009

“The shift from plan to algorithm challenges the primacy of the two di-mensional plan. Swarm systems are capable of generating complex three di-mensional urban structures and networks.”

- Kokkugia

EMERGENCE AND INDETERMINANCY IN DESIGNIMAGE 1 : SWARM SYSTEMS GENERATING INTERESTING DENSE PATTERNS

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This initiation by Kokkugia contributes to the architec-tural discourse as it eliminates the design hierarchy and instead instigates local agents within a complex system to inform the design. Therefore, the outcome is unpredict-able yet it is based on strong relevance towards the site. In this sense, there is a strong dependency on digital tech-nology to mediate the activity of local agents and to or-ganise them logically within the system. As such, design seems to embrace complexity and to accept the ambigui-ties which reflect upon the reality of the human condition

In this context, the ideas behind Swarm Morpholo-gies are highly relevent in informing the argument for the Western Gateway Proposal Project. Much like the Melbourne Docklands iniative, this is also a large scale project and similar techniques can be applied to achieve effective management of the project. This is be-cause an interactive, performance based architecture can be tied closely towards the site by employing lo-cal based agents which are mediated by computational technologies in order to produce complex and sig-nificant outcomes. Furthermore, the complex nature of these outcomes could generate interesting discussion beyond the site, as it one of the main design intents.

COMPUTING INARCHITECTURE

MEDIATION THROUGH COMPUTATION

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CROSSING BOUNDARIESINTERDISCIPLINARY TRANSFORMATION Salon 2 [2011]

TOP : The sound memory living canvas being installedMIDDLE : Augmented Structures coming to life by integrat-

ing visual elements to the canvas.BOTTOM : Christmas Lights Projections 2011 at the St.

Paul Cathedral

AUGMENTING URBAN PUBLIC LANDSCAPE

Augmented Structures by Salon 2 is an interdisciplinary collaboration project held in Istanbul, Turkey that brings together the influence of sound, architecture and visual arts to create a public art exhibition with an urban experience. This project was carried out by creating an architectural surface based on sound memory, and then translat-ing this solid surface into animation through a visual performance.

As such, each discipline was forced to alter their material state as sound became math, math became architecture and architec-ture was transformed into a living canvas. This shift in under-standing each discipline questions the intersection between ar-chitecture and art and the point that they may reach in the future.

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CASE FOR INNOVATION : WEEK 2 COMPUTING IN ARCHITECTURE

This installation by Salon 2 is a strong representation of the capabilities and in-novative advantages of computation as it allows the crossing of boundaries between disciplines by mediating various medi-ums within interconnected platforms. This is important in generating com-plex, multilayered projects that function well within the urban landscape today.

Furthermore, computation also allows the advancement of new visual represen-tations such as augmented reality that incorporates sound, visual and physical medium to create exciting experiences

Nevertheless, the materialisation of these complex visual and physical design would not have been possible without computational technologies that enable digital modelling as well as fabrication to be executed quickly and effectively

This example highlights the relevance of computation within the design argument of this proposal. For example, the ability to mediate and create a multidisciplinary visual installation would require the tech-nology of computation in order to inte-grate various mediums together effectively.

Furthermore, the overlapping of these various mediums create a one of a kind outcome which represents a strong vi-sual identity taking root within the con-tributions of computational technologies

Finally, as the Western Gateway De-sign Proposal project will need to be physically materialised, the use of com-putational technologies will be highly relevant to ensure that it is executed ac-curately within the constraints of the site

IMAGE 1 : HIGHLY VISUAL ARTISTIC PERFORMANCE WITHIN URBAN LANDSCAPEIMAGE 2 : ASSEMBLING 3D SURFACE STRUCTURE USING FLEXIBLE MATERIAIMAGE 3 : A ARCHITECTURALLY INTERESTING JUXTAPOSITION OF SURFACE FORM IN RELATION TO ENVIRONMENTIMAGE 4 : SIMILAR TECHNIQUES IMPLEMENTED IN LOCAL MELBOURNE

COMPUTATIONAL POSSIBILITESDIGITAL WATER PAVILLION MIT + Carlo Ratti Associati [2007]

ARCHITECTURE WHICH SENSES AND RESPONDS

ARCHITECTURE THAT SENSES AND RESPONDS

The Digital Water Pavillion in 2007, and represents a unique innovation in creating architecture that senses and responds to the immediate envi-ronment. By utilising a flexible material together with the capabilities of digital technology, a unique synchronisation between both elements al-lows the pavillion to come to life and be changeable and moveable at once.

Furthermore, through an integration of engineering capacities, the roof is made moveable by hydraulic pistons, allowing a vast ar-ray of space configurations for the building based on people flows, moments of the day, weather conditions and program needs

IMAGE 2 : DIFFERENT VARIATIONS OF THE STRUCTURE ENABLED BY COMPUTER TECHNOLOGY

IMAGE 1 : A DIGITAL RENDERING OF THE FACADE WHICH RESPONDS TO ENVIRONMENT

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The Digital Water Pavillion also contrib-utes to the innovation and promise of computation as it changes the conception of architecture from static and permanent into a performative based event through the integration with technology. This is because real-time activity such as move-ment from surrounding spaces could in-form the form and even function of the space. In this sense there is an integral link between architecture and those who use it.

According to Kalay (2004 : 24 ), design-ers and architects no longer aim to mould external form, but allows an internally generated logic to guide the outcome. As such, a design is now able to incorpo-rate a variety of factors of consideration into the design, as a computer can allow the mediation and organisation of this information into logical output. There-fore it is the integration with technology that allows architecture to respond more closely to the immediate environment

In relation to the Western Gateway Proj-ect Proposal, it is therefore inherent that the capabilities of computational tech-nologies will allow an architecture which is performative driven and this aspect relates very will with engaging and re-sponding to the immediate surroud-ings and as this example proves, to those who use the space. Therefore, in order to argue for performative architecture, there will be a strong dependence on digital technological tools to achieve this.

Furthermore, computational technolo-gies also allow different materials such as water to be incorporated into the skin of architecture, therefore in arguing for a visually apparent design, materials which can be mediated computationally can be incorporated in order to create dynamism and interest towards the design outcome.

PARAMETRICMODELLING

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EMERGENCE THROUGH PARAMETRICSLOOKING AT THE DESIGN PHILOSOPHY OF TOM WISCOMBE

MoMA P.S.1 Urban Beach[2003]

THE DESIGN PHILOSOPHYPARAMETRICALLY ORGANISINGSYSTEMS IN ARCHITECTURE

Tom Wiscombe’s centerpiece for the ‘Urban Beach’ is an expansive programmatic landscape covered by a roof canopy designed for structural integrity through the use of non-hierarchical patterning of smaller units or cells. The position of these individual cells were determined parametrically by shading requirements, shear and moment reactions as well as the position and behaviour of neighbouring cells. Therefore, these cells began to work coherently in a ‘design ecology’.

Additionally, this method allowed various aspects of the designed landscape to be integrated into the structural supports for the canopy. Therefore, the metallic skin wrapped these elements into a singular form to provide shade during the day, and at night, the canopy dissolved into a swarm of light-emitting cells.

One the main goals of this project was to achieve fabrication and erection within two months. Thus, conceptual elements of the design had to be in-tegrated structurally from the beginning of the design process. Through the technology of com-putation and scripting, the structure was devel-oped as an interative system which was flexible to structural requirements, scope and existing con-ditions. The five hundred skin panels were gener-ated parametrically as a single curvature adap-tive geometry that could be easily fabricated.

The ideas for the ‘Urban Beach’ project reflects strongly on the Wiscombe’s design philosophy which suggests that architecture should function as emergent networks through collaboration of ex-pertise and materialities from various industries.

Wiscombe argues that architecture can benefit when adopting the idea of emergence into a design, facili-tated by computation which acts as a tool to sustain research, provide analysis and mediate information

This is because the unpredictability of emergent parts can produce a result which is beyond the ca-pabilities of inidividual components as emergent systems behave in a non-linear pattern. There-fore, experimentation through scripting can fa-cilitate this process of modifying individual com-ponents at a micro-scale by automating repetitive aspects of the process and facilitate a range of outcomes created over time (Burry 2011 : 8)

IMAGE 1 : DIFFERENT MODES OF THE PUBLIC STRUCTURE AS SEEN THROUGHOUT THE DAY WHICH IS ENABLED THROUGH NON HIERARCHI-CAL UNITS THAT CAN BE CONTROLLED INDIVIDUALLY YET FUNCTIONS SYSTEMATICALLY AS A WHOLE

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CASE FOR INNOVATION : WEEK 3 PARAMETRIC MODELLING

The unique advantages enabled by parametric modelling can be seen in this initiation by Wiscombe as the structure was much more fea-sible through this method as it allows quick fabrication and assembly of parts

Furthermore, the conception of the ‘Ur-ban Beach’ provides a criticism against the notion that parametrics only produces ornate architectural decoration therefore expanding the capabilities of parametri-cally driven designs to function effectively within the social and environmental con-text. (Meredith as cited in Burry 2011 : 18)

Parametric modelling also allows the overall installation to perform effective-ly as a system through the integration of analysis programs to gain feedback based on immediate design problems and simulate an instantaneous outcome. Therefore this technique is applicable on small as well as large scale projects

In relation to the Western Gateway Proj-ect Proposal, there is a strong significance in incorporating parametrically driven technology as it enables experimenta-tion to achieve variable outcomes within a limited amount of time. This is relevant in creating a visually significant proposal for the site and iterations of forms can be experimented with before decided upon so that the best can be chosen.

Furthermore, the incorporation of para-metrics enables a design exploration on a smaller scale to inform a larger outcome while maintaining the cor-relation between both factors. As such, the proposal will be a large scale in-stallation but initial explorations can begin at a feasible level beforehand

Finally parametric modelling will en-able a strategic and efficient approach to manufacturing and assembling the design within a high impact environ-ment (Wyndham City Council 2011 : 5 )

IMAGE 2 : THE URBAN BEACH INSTALLATION ON SITE


ii.RESEARCH PROJECT : DESIGN EXPLORATION


ii.RESEARCH PROJECT : DESIGN EXPLORATION

CUT/DEVELOP

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OUTPUTS INPUTS VARIATIONAT

TRA

CTO

R PO

INTS

When experimenting with the association technique of At-tractor Points with various In-puts and Outputs, it became evident that this was a power-ful too in influencing paramet-ric design and a point or points which could be represented in various ways provided interest-ing manipulations to surfaces.

This task of puzzle making was performed during this stage of experimentation as there was no goal at the start of the explo-ration yet once the technique was explored it became clear that this technique could sim-ulate growth in design which was an area of interest within

the exploration.

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CASE FOR INNOVATION : MATRIX OF COMBINATION

OUTPUTSINPUTSVARIATION

CU

RVE

ATTR

AC

TOR

The curve attractor func-tion similarly to the point attractor yet it enabled a strong three dimensional

manipulation of surfaces as curves were flexible could

take form

A similar approach of puzzle making was involved

in generating different outcomes based on this

technique to understand it better for the next stage in

experimentation.

One the different Grasshopper techniques were understood better, the goal of experi-mentation shifted to problem solving as an outcome was to be achieved based on the prec-edent that was supplied.

In this experimentation, the surface normal was extruded

and rotated according to a curve attractor along the sur-face, representing the sinusoi-dal effect of the wind against the Ligo Wave Wall (refer to

image)

This produced interesting re-sults pertaining to growth, and

manipulation which mimics that of the natural environ-

ment

Precedent of Ligo Wave Wall

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Searching For a Form

EXPLORATION BASED ON PRECEDENT

IMAGE 1 : THE LIGO WAVE WALL AT THE LIV-INGSTON OBSERVATORY, LOUISIANA BY ESKEW+DUMEZ+RIPPLE ARCHITECTS

The Articulated Cloud by Ned Kahn was an interesting case study for the reverse engineering process as it was an art sculpture built entirely without the use of computers or technology.In reproducing this design in Grasshopper with the help of Kangaroo physics, it was intended that this knowledge would lead to futher manipulations based on computational techniques such as different kinds of surfaces or modes of producing the movement or ‘wind’. However this goal was not achieved due to limitations in knowledge regarding the program. Nevertheless impor-tant lessons regarding understanding architecture which responds as well as the scope of digital tools which were available made this exploration valuable for the next stage in experimentation.

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CASE FOR INNOVATION : REVERSE ENGINEERING

NED KAHN : ARTICULATED CLOUD

Experimentation with a moving facade

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REVERSE ENGINEERING : FABRICATION

Manipulating movement on surfaces

This exploration was in response to the course outline in physically fabricating a reverse engineering explora-tion.

As such, the group explored a variety of methods to manipulate Ned Kahn’s articulated cloud to generate surfaces which were interesting and could respond to the environment

This exploration however lacked in that it did not utilise the potentials of parametric design to manipu-late the surface, or provide additionally explorations to Ned Kahn’s original design.

As his structure was constructed without the use of computers, this study tried to take it a step further a push was was capable when digital technologies inter-vene yet it fell short of achieving that.

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CASE FOR INNOVATION : REVERSE ENGINEERING

Nevertheless there were important learning outcomes from this setback ;

A ) We understood better the benefits of parametric modelling and realised our failures in fully harnessing it’s abilities

B) Developed a better understanding of architecture which responds to the environment

C) Explored the effects of lighting through perforated surfaces

This informed a shift away from the direction of creating a physical outcome to represent manipulation from the external environment and informed the direction to move towards digitally mapping data to create solutions which were much more flexible and dynamic.

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DIGITAL RESEARCH & EXPERIMENTATION

EXTRUSION BASED ON DATA FROM EXCEL SHEETS

KINETIC FORCE BASED ON DATA FROM

IPHONE APPLICATION

ATTRACTOR POINTS BASED ON DATA FROM REAL TIME

ONLINE FEEDS

DATA MAPPING FOR VARIOUS SOURCES

Excel SheetsBy manipulating data within an excel sheet and connect-ing it Grasshopper via gHowl, the position of the num-bers within the set table in Excel determined the extru-sion of the circles. This data would have to be personally modified yet achieve a basic aspect of data mapping and could be expanded further to include meaningful num-bers into the spreadsheet that would determine a form.

BreathOSC vs. FireflyThis connection between an external phone application and Grasshopper over the internet was a powerful explo-ration in harnessing real-time actions and translating it into usable data which controlled an internal simulation of wind. This generates a possibility to link the physical world to drive design outcomes

PachubeBy connecting to live global feeds from the internet, this tool enable a collection of significant data to drive design outcome. However, the limitations of the data supplied

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RESEARCH PROJECT : DIGITAL EXPERIMENTATION AND FABRICATION

ATTRACTOR POINTS BASED ON DATA FROM

VIDEO CAMERA

3D EXTRUSIONBASED ON DATA FROM

VIDEO CAMERA

compromised the outcome which was achieved as feeds could not be updated frequently, and information such as wind speeds were not particularly interesting nor did they make significant connections to society that we were looking for.

Video CameraThis was another interesting exploration that allowed a rapid response to real - time data as the video recording function on Firefly acted like an image sampler which was constantly updating the information. What was more important was understand how to map this data

creatively, and different manipulations were carried out based on attractor points and 3D extrusion. This idea could have been pushed further as the capabilities to create a strong connection between the audience and the design outcome was very evident and the tool itself was easy to understand and manipulate. However, as it relies on an image to sample data from instead of converting the data into numbers which can be manipulated like with the BreathOSC application, it limits the collec-tion of data to one which is based on the video which it captures.

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MESH PLASTIC DEFORMED SURFACE CLOTH

DEFORMED SURFACE MESH

EXPERIMENTATION WITH MATERIAL &SURFACE EFFECTS

INDIVIDUAL MATERIALS

MeshPerforated metal meshes gave an interesting reflec-tive effect as well as sparked interest through allow-ing projec tions to pass through the perforations PlasticPlastic sheets with irregular surfaces cre-ated a shiny effect that refracted light in vari-ous directions while softening the glareClothCloth created a much softer effect and the visualisa-tions were clearer as there was no refraction of light

DEFORMATION OF SURFACES

MeshBended metal sheets were very reflective yet retained a smooth continuity of bending light well around the cornersPlasticThe plastic surface in the form of a sphere acted much like a screen to give off a very clear and sharp reflection and there was not much refraction of the light at the curveClothCloth retained a smooth reflective surface even when bent to create complex surfaces and had a softening effect on the light

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RESEARCH PROJECT : FABRICATION & MATERIAL EXPLORATION

DEFORMED SURFACE MESH

DEFORMED SURFACE PLASTIC

LAYERING COMBINATION

LAYERING OF MATERIAL

MeshThis created interesting multiple images which seem to grow in size consecutively to create a patternClothCloth did not allow a smooth penetration of the vi-sualisations to achieve multiple layers but cre-ated a soft glow on the back of the first surfacePaperPaper did not allow light to pass through and therefore was generally ineffective.

USING COMBINATIONS

MeshThe combination of two different kinds of metal meshes with different perforation hole sizes created an interesting juxtaposition as the denser material seemed to reflect light sharply while the lighter material created a softer effect.

PROJECT PROPOSAL

i. DESIGN RESPONSE & INITIAL INVESTIGATION

PROJECT PROPOSAL

i. DESIGN RESPONSE & INITIAL INVESTIGATION

IMAGE 1 : NORTHBOUND ON THE PRINCESS HIGHWAY CAPTURED BY MARCUS WHITE

ATTRIBUTES OF WYNDHAM CITY• FASTEST GROWING MUNICIPALITY IN VICTORIA• UNDERGOING UPDATE OF OVERALL IMAGE• RICH IN NATURAL ENVIRONMENTS• STRONG CULTURE AND HERITAGE IN SUPPORT OF THE ARTS

ATTRIBUTES OF THE SITE• HIGH EXPOSURE LOCATION• ONLY MEAN OF ACCESS IS BY VEHICLE• VIEWED AT HIGH SPEEDS• MUST BE ABLE TO BE UNDERSTOOD QUICKLY• FLAT AND EXPANSIVE LANDSCAPE• LOW MAINTENANCE OF STRUCTURE ONCE INSTALLED• SAFETY, EASE OF MANAGEMENT AND LONGEVITY• EXCITING FOR VIEWERS IN DULL LANDSCAPE

BRIEF CRITERIA• ENHANCE THE PHYSICAL ENVIRONMENT• POSSESS LONGEVITY IN APPEAL• ENCOURAGE ONGOING INTEREST• CONTRIBUTES TO THE BROADER ARCHITECTURAL DISCOURSE• CONSIDER SCALE AND IMPACT ON SITE• CAN REMAIN ABSTRACT, BUT MUST BE ACCESIBLE TO AUDIENCE• MUST BE EYE-CATCHING BUT NOT DISTRACTIVE• INSPIRING AND ENRICHNING• PROVIDE A PROMINENT AND INNOVATE ENTRANCE TO WYNDHAM

BRIEF & SITE CRITERIA EXAMINATION : DETERMINING THE DESIGN PROBLEMS

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IMAGE 1 : NORTHBOUND ON THE PRINCESS HIGHWAY CAPTURED BY MARCUS WHITE

BRIEF & SITE CRITERIA EXAMINATION : DETERMINING THE DESIGN PROBLEMS

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PROJECT PROPOSAL : MAIN DESIGN PROBLEMS

MAIN DESIGN PROBLEMS

1. HOW TO CREATE AN EXCITING EXPERIENCE WHILE CON-FINED TO THE SPACES OF THE VEHICLE?

CREATE A DESIGN EXPERIENCE THAT FOCUSES ON A STRONG VI-SUAL ENGAGEMENT ON SITE AND REMAINED IDENTIFIABLE WHEN VIEWED OUTSIDE OF THE CONTEXT THROUGH CREATING A VI-SUAL BRAND AROUND IT

2. WHAT BEST REPRESENTS THE CITY WHICH WILL BECOME THE MAIN ELEMENT DRIVING THE DESIGN?

TAKE AN EVERYDAY ASPECT OF THE COMMUNITY WHICH IS INTE-GRAL TO THEIR LIVES AND ALLOW THIS TO CREATE A COLLECTIVE AND UNEXPECTED IMPACT MUCH LIKE A MULTI-AGENT SYSTEM

3. HOW TO CREATE AN IDENTITY FOR WYNDHAM WHICH CAN BECOME A VISUAL BRAND FOR THE SITE THAT WILL BE RECOGNISED OUTSIDE OF THE IMMEDIATE CONTEXT?

ALLOW DIGITAL TECHNOLOGIES SUCH AS COMPUTATION TO ME-DIATE A CAUSE AND EFFECT RELATIONSHIP BETWEEN THE SITE AND ITS INTENDED AREA OF SIGNIFICANCE IN ORDER TO COL-LAPSE SPACE, AND PUBLISH THIS ONLINE TO REACH A GREATER AUDIENCE BA SE

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MIKOLAJ MOLENDALIGHT INSTALLATION K73MAPPING & PROJECTING DATA

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Mikolaj Molenda’s holographic light projection on wire installa-tion was used as a case study to investigate the potentials of 3D projection within space in order to generate a light sculpture which had an interesting volume and was influenced by data mapped.

This example was used to examine the potential for a field of ‘sticks’ to be used as the basic elements for projection of light in order to cre-ate a visually exciting installation that could respond well to the site.

The idea that a simple structure like this would generate the points in 3D space for which to associate lights unto was interesting yet the tech-niques involved in achieving this was complex and required a greater insight into digital technologies.

Nevertheless, this idea provided the basis for utilising a simple mass-ing of sticks in order to generate interesting 3D effects with light

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PROJECT PROPOSAL : CASE STUDY

TOP IMAGE : THE STICKS MADE OUT OF PROTECTIVE CORRUGATED PIPES TO ACHIEVE TRANSLUCENCYBOTTOM IMAGE : A SCREENSHOT OF THE DATA WHICH WOULD INFLUENCE THE PROJECTION OF HDTV PROJECTOR ONTO THIS FIELD OF STICKS

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D-TORENDOETINCHEM CITY ART SCULPTURECOLLECTING DATA TO INFLUENCE LIGHTS

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PROJECT PROPOSALS : CASE STUDY

D-TOREN or D-Tower is an art piece in Doetinchem, Netherlands which maps emotions of the inhabitants of the city and projects them as colours onto this ab-stract sculpture. The information driving the sculpture is based upon daily ques-tions in which the community responds with HAPPINESS, LOVE , FEAR or HATE.

The accuracy of the information mapped is questionable in regards to this project yet it is in outcome that is significant as it aims to incorporate this ab-stract sculpture into the community by relating its function within the emo-tions of the community. This integration and participation of the audience into the sculpture itself was influential in the design proposal to create a strong link towards the community of Wyndham City through an abstract struc-ture that could still be flexible to suit the demands and criteria of the site.

IMAGE 1 : DIFFERENT COLOURS OF THE ART PIECE IN RESPONSE TO THE DIFFERENT QUESTIONS ISSUED EACH DAY

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MAPPING AND PROJECTION ONTO 3D SURFACE

This initial design concept was focused around the idea of collect-ing data movements within Wyndham City and allow the move-ments to determine the colour of the projections onto a three dimen-sional surface. In order to achieve this, web camera’s would be set up in everyday spaces such as the shopping mall or a public square where any passerby could interact with the camera and generate a mov-ing image which would then be sampled to influence the projections.

To create an interesting surface, the geometry of a sail was used and as-sociated with a structural supporting wall and the image sampler was mapped against this surface, therefore each colour influenced by the im-age on the webcam could be confined to the boundaries of a single sail.

INITIAL DESIGN EXPLORATION EXTRUDED MODULAR ELEMENTS TO FORM A SCREEN

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PROJECT PROPOSAL : INITIAL DESIGN PROPOSAL

IMAGE 1 : THE INITIAL DESIGN

INITIAL DESIGN EXPLORATION EXTRUDED MODULAR ELEMENTS TO FORM A SCREEN

This initial design received criticism as it did not address the context of the site and was limited in creating a literal reading of a two dimensional screen.

Nevertheless, the argument for this de-sign was that it was within the techni-cal capacities of what had been explored earlier with the image sampler and that the focus was not on the physical out-come of the structure but rather the in-formation from the city of Wyndham which would influence the outcome.

Upon further reflection, the criti-cism received in regards to this ini-tial exploration was important in establishing a critical understand-ing of designing within the context.

Nevertheless, the lack of technical capacity seemed to be the problem when attempting to push the design further. Also, as there wasno previous knowledge regarding three dimensional projection, and as it was a factor that had to be considered to manufacture the final outcome, there was a deliberate design decision to keep the form simple and allow the techni-cal complexity to define the design.

However, this proved not to be suit-able and that a different approach had to be ensued in order to push the design further as it did not meet the design in-tent which we are arguing for. It was obvious that lack of technical capac-ity did not mean that the design would have to suffer. As such this design was adapted further to suit the site better.

CRITICISM AND ADAPTATION OF DESIGN

PROJECT PROPOSAL

i. THE SEA OF LIGHTS : VISUAL IDENTITY IN COLLAPSED SPACE

PROJECT PROPOSAL

i. THE SEA OF LIGHTS : VISUAL IDENTITY IN COLLAPSED SPACE

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THE SEA OF LIGHTS SEEKS TO CREATE NOT SIMPLY A SINGLE FREEWAY INSTALLATION BUT A VISUAL IDENTITY FOR THE CITY OF WYNDHAM. THE DESIGN RELIES ON PARAMETRIC RELATIONS BY EM-PLOYING DIGITAL MAPPING. THE DECISION TO INVESTIGATE DIGITAL MAPPING STEAMED FROM A DESIRE TO KEEP THE PARAMETRIC RELATIONSHIPS ACTIVE. THE MAPPING EXPRESSED THROUGH THE COLOURS OF THE LIGHTS, REFLECTS THE MOVEMENT OF THE COMMUNITY. THIS TANGIBLE LINK TO WYNDHAM CREATES A FORM THAT IS BOTH INTERACTIVE AND DYNAMIC, THUS EN-COURAGING COUNTINUAL ENGAGMENT WITH THE PROJECT. THE SEA OF LIGHTS EXPLORES IDEAS OF DENSITY THROUGH THE LAYERING OF INDIVIDUAL ELEMENTS. BEYOND THE SITE A WEBSITE WILL OPERATE AS A MAJOR PLATFORM FROM WHICH TO VIEW THIS INSTALLATION, ENABLING IT TO BE ACCESSIBLE TO ALL. THE WEBSITE OFFERS A DIFFERENT PERSPECTIVE OF THE PROJECT, RECORDING ITS CHANGES FROM ABOVE. VIEWED FROM A CAR , THE SEA OF LIGHTS ENGAGES WITH THE LANDSCAPE OF THE SITE BY ENHANCING THE TOPOGRAPHY. IN A MORE COMMERICAL SENSE THE DISTICT IMAGERY OF SEA OF LIGHT CAN BE USED BY THE COUNCIL FOR PROMOTIONAL MATERIAL. SEA OF LIGHTS OFFERS MULTIPLE LAYERS OF INTERACTION. IT APPEALS TO A BROAD CROSS SECTION OF THE COMMUNITY, IS HIGHLY SUITED TO COMMERCIAL INTERSTS WHILE ALSO ENCOURAGING ENGAGEMENT WITH A COMPLEX AND EMERGING FIELD OF DESIGN DISCOURSE.

THE SEA OF LIGHTS VISUAL EXPERIENCE THROUGH THE LANDSCAPE

The ‘Sea of Lights’ engages actively with the Princess Highway as the form is de-rived based on the topography of the land-scape. There are three stages in reading the design when driving past in a vehicle.

1. The ApproachThis represents an anticipation stage when a profile of lights can be seen from a distance yet the outcome is unknown

2. The SuspenseAt the start of the installation, there is a single line of lights which leads the eye around the raised topography where viewers are unaware of what lies beyond

3. The SubjectFinally at the end of the mound, a mass vol-ume of lights is revealed which have take on a distinct form and moves at different intervals with red, yellow and blue lights

The element of the sinuous curve was de-veloped in order to enhance the viewing experience of the driver on the freeway. The wave form generates an interesting pattern when moving along side it, each wave is offset in order to produce density in the mass and visual complexity. Fur-thermore, the height of each poles and designed in order to satisfy a typical range of depth for viewing at 13 meters away.

Finally as each wave is made up of a se-ries of organised poles that light up, a vi-sually exciting effect is derived based on data mapping which will be explored next

So far, these elements of the design an-swer and satisfy the main design ob-jectives which are : responds strongly to site and context , performance in architecture, visual branding

READING OF DESIGN & THE SINUOUS CURVE

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PROJECT PROPOSAL : THE SEA OF LIGHTS

100°

13m

APPROACH

SUSPENSE

SUBJECT

IMAGE 1 : THE THREE DIFFERENT STAGES OF APPROACHING THE DESIGN

IMAGE 2 : DEVELOPMENT OF THE SINUOUS CURVE IN RELATION TO THE TYPICAL FIELD OF VIEW, EACH WAVE WAS OFFSET IN ORDER TO CREATE A VISUALLY APPEALING VOLUME SO THE DESIGN WOULD NOT BE PERCEIVED AS BEING TOO SINGLE DIMENSIONAL ON THE SITE.

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IMAGE 1 : DIFFERENT COLOURS ARE ASSOCIATED TO DIFFERENT MODES OF MOVEMENT TO CREATE A DESIGN HIERARCY

In order to influence the lighting on the design proposal, there will be an installation of cameras around Wynd-ham City which will record the every-day movement of people within the city.

This is because, the suburban neigh-bourhood significantly depends on com-mute and movement in and around the city in order to stay connected due to the sprawl found in Melbourne.

As such, mapping of the movement would justfiy a key element within the lives of people at Wyndham City and their activities would have implications

in bringing to life the light sculp-ture on the Princess Freeway.

This also beckons the idea of collapsable space that is enable by digital technolo-gies. Nowdays as society gets closer to one another due to technology, there is a new factor of impact in regards to simple activities that are undertaken each day.

Therefore, as the community within Wynd-ham City go about their everyday activity, they in turn, unconscious or consciously are participating in a social event which brings to life their own symbol of identity

DATA MAPPING

RED : TRAINYELLOW : CARBLUE : PEDESTRIAN

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IMAGE 2: POSTERS AND POSTCARDS ALSO USED TO ADVERTISE THE DESIGN AND THE IDENTITY OF WYNDHAM

As there will need to be a connection between the activities at Wyndham City with those on site, a technological medium was introduced into the design proposal in the form of an online website. This website would show-case both the movement of people that have been recorded as well as the lights which are changing on site. Therefore, a connection can be made by those who have not previously been to the site, and those who have left.

Therefore, these elements of the design answer and satisfy the main design objectives which is : architecture which extends beyond the site and engages in the broader discourse


THE SEA OF LIGHTS VISUAL EXPERIENCE THROUGH THE LANDSCAPE : STOP MOTION AND MAPPING

1. RED LIGHTS WERE MAPPED IN RELATION TO A SCENARIO AT THE WYNDHAM TRAIN STATION, THIS WOULD BE THE MAIN SWEEPING LIGHTS THAT WOULD OVERCOME THE ENTIRE SITE BUT AT LONGER INTERVALS THAT THE OTHER METHODS OF MOVEMENT MAPPED

3. BLUE LIGHTS WERE MAPPED IN RELATION TO PEDESTRIAN MOVEMENT HERE ILLUSTRATED IN THE FORM OF MOVEMENT TO AND FROM A SHOPPING MARKET. BLUE LIGHTS WOULD CONSTANTLY BE PRESENT THROUGHOUT THE SCULPTURE BUT ARE DISPERSED THROUGHOUT IN RELATION TO THE FLOW OF PEDESTRIAN TRAFFIC DURING DIFFERENT TIMES OF THE DAY

2. YELLOW LIGHTS REPRESENT AUTOMOBILES ON THE ROAD, THESE LIGHTS WOULD OCCUPY EVERY OTHER PAIR WITHIN THE OVERALL STRUCTURE. AUTOMOBILES ARE MAJOR ELEMENT OF WYNDHAM CITY AND THEREFORETHE APPEARANCE WITHIN THE SCULPTURE WOULD BE STRONGLY EMPHASISED


THE SEA OF LIGHTS VISUAL EXPERIENCE THROUGH THE LANDSCAPE : STOP MOTION AND MAPPING

1. RED LIGHTS WERE MAPPED IN RELATION TO A SCENARIO AT THE WYNDHAM TRAIN STATION, THIS WOULD BE THE MAIN SWEEPING LIGHTS THAT WOULD OVERCOME THE ENTIRE SITE BUT AT LONGER INTERVALS THAT THE OTHER METHODS OF MOVEMENT MAPPED

3. BLUE LIGHTS WERE MAPPED IN RELATION TO PEDESTRIAN MOVEMENT HERE ILLUSTRATED IN THE FORM OF MOVEMENT TO AND FROM A SHOPPING MARKET. BLUE LIGHTS WOULD CONSTANTLY BE PRESENT THROUGHOUT THE SCULPTURE BUT ARE DISPERSED THROUGHOUT IN RELATION TO THE FLOW OF PEDESTRIAN TRAFFIC DURING DIFFERENT TIMES OF THE DAY

2. YELLOW LIGHTS REPRESENT AUTOMOBILES ON THE ROAD, THESE LIGHTS WOULD OCCUPY EVERY OTHER PAIR WITHIN THE OVERALL STRUCTURE. AUTOMOBILES ARE MAJOR ELEMENT OF WYNDHAM CITY AND THEREFORETHE APPEARANCE WITHIN THE SCULPTURE WOULD BE STRONGLY EMPHASISED

BASE TRACK

BLUE SHADER

DIVISION OF TRACK

BASE GEOMETRY

BLUE POLES

MATH FUNCTION

WAVE FORMCONVERSION TO NUMBERGENERATE PATTERN

TOP OF POLES

REMAP DATA

MAPPING DATA

IMAGESAMPLING

LIGHTS

POSITION OF POLES

BLUE POLES

SINUOUS WAVE FORMCOLLECTED

INFORMATION

THE TRACKS ARE DRAWN BASED ON THE CONTOURS OF THE SITE AS THEY ADHERE TO THE CONSTRUCTION BOUNDARY. EACH TRACK IS OFFSET BY 200mm FROM THE NEXT WHICH CREATES THE VOLUME ASSOCIATED WITH THE OVERALL DESIGN

THE TRACKS ARE DIVIDED EQUALLY INTO SEGMENTS THROUGH A NUMBER SLIDER WHICH GENERATE EVENLY SPACED POINTS WHICH SIGNIFY THE LOCATION OF WHICH TO ERECT THE POLES. THIS IS AN IMPORTANT ASPECT AS EACH SUBSEQUENT TRACK IS DIVIDED DIFFERENTLY TO CREATE AN OFFSET SO THE POLES DO NOT ALIGN FOR A VISUAL EFFECT

IN ORDER TO POSITION THE POLES ACCURATELY ACCORDING TO THE TRACKS, A GEOMETRY WAS ASSOCI-ATED TO EACH POINT OF DIVISION ALONG THE TRACK. THIS GEOMETRY ASSOCIATED COULD BE ALTERED AND THE SQUARE GEOMETRY WAS CHOSEN FOR THE FINAL OUTCOME

THE SQUARE AREA OF THIS BASE GEOMETRY CAN BE ALTERED PARAMETRICALLY AS WELL KEEPING THE DESIGN FLEXIBLE AND ALLOWED EXPERIMENTATION AS TO THE APPROPRIATE GEOMETRY WHICH WOULD FACILITATE THE VISUAL EFFECT THE BEST

A BLUE SHADER WAS ASSOCIATED TO THE POLES AS THIS WAS THE INTENDED COLOUR TO REPRESENT A SEA OR ‘BODY OF WATER’.

THROUGH ASSOCIATION THE INTENDED VISUAL EFFECT COULD BE TESTED DIGITALLY AND REMAINED FLEXIBLE TO CHANGE IF NECESSARY

ULTIMATELY THE SINUOUS WAVE FORM WAS DIVIDED IN RELATION TO THE DIVISION OF THE TRACKS TO FORM THE TOP OF THE POLES WHERE THE LIGHT WOULD BE ASSOCIATED

THE LIGHTS WERE DERIVED AS CIRCULAR GEOMETRIES DURING DIGITAL MODELLING EXPERIMENTA-TION SITUATED AT THE APPROPRIATE POINTS ALONG THE SINUOUS WAVE FORM. THESE CIRCLE GEOMETRIES RECEIVED INPUT FROM THE IMAGE SAMPLER WHICH WAS REMAPPED ACROSS THE ENTIRE MODEL AND WOULD CHANGE COLOUR IN RELATION TO BRIGHTNESS OF THE IMAGE SAMPLED

THE POINTS GENERATED FROM DIVIDING THE TRACKS EQUALLY WHERE THEN CONVERTED INTO NUMERICAL VALUE SO THAT THEY COULD BECOME A FACTOR FOR A MATH FUNCTION TO CREATE A SINUOUS WAVE FORM. THIS WAS IMPORTANT PARAMETRICALLY AS POINTS WITHIN DIGITAL MODELLING SPACE COULD BE ASSOCIATED INTO TANGIBLE CALCULATION

THE MATH FUNCTION OF SIN(X) + 1.4 WAS USED IN ORDER TO GENERATE A SINUOUS WAVE FORM , WITH X BEING THE LOCATION OF EQUALLY SPACED POINTS ALONG THE INTENDED ROUTE FOR THE WAVE TO FOLLOW

EACH NUMERICAL VALUE ASSOCIATED FROM THE TRACKS WERE CULLED IN ORDER TO PRODUCE A PATTERN WHICH WOULD INFLUENCE THE OUTCOME OF THE FORM

THE MATHEMATICAL FUNCTIONS AS WELL AS THE POINTS GENERATED FROM THE PATTERN WERE THEN ASSOCIATED INTO A CONTINUOUS CURVE WHICH TOOK THE FORM OF A SINUOUS WAVE

IN ORDER FOR THE DATA COLLECTED TO BE MAPPED EFFECTIVELY ONTO THE IRREGU-LAR FORM ONSITE, THIS DATA HAS TO BE REMAPPED AROUND THE CONFINES OF THE LIGHTS AVAILABLE ON SITE.

THE IMAGE SAMPLER WAS USED HERE WHICH REPRESENTS THE TOOL THAT CONVERTS INFORMA-TION RECORDED AT WYNDHAM INTO VISUAL EFFECTS AT THE GATEWAY SITE

HERE THE DATA FROM THE STOP MOTION PROJECT WAS UTILISED AS COLOUR BLOCKS IN RELATION TO THE MOVEMENT OF TRAIN, CARS AND PEOPLE TO BE INPUT INTO THE IMAGE SAMPLER

THE BASE GEOMETRY WAS THEN EXTRUDED TOWARDS THE TOP OF THE POLES, WHICH WAS PARAMETRICALLY DERIVED THROUGH A MATHEMATICAL FUNCTION.

THIS ENSURED THE POLES TO CORRE-LATED WITH THE INTENDED SINUOUS WAVE FORM

THE SEA OF LIGHTS

VISUAL EXPERIENCE TH

ROUGH TH

E LANDSCAPE

This table shows the relationship of the parametric elements to the overall design of the ‘Sea of Lights’ installation

PARAMETRIC INFLUENCE

BASE TRACK

BLUE SHADER

DIVISION OF TRACK

BASE GEOMETRY

BLUE POLES

MATH FUNCTION

WAVE FORMCONVERSION TO NUMBERGENERATE PATTERN

TOP OF POLES

REMAP DATA

MAPPING DATA

IMAGESAMPLING

LIGHTS

POSITION OF POLES

BLUE POLES

SINUOUS WAVE FORMCOLLECTED

INFORMATION

THE TRACKS ARE DRAWN BASED ON THE CONTOURS OF THE SITE AS THEY ADHERE TO THE CONSTRUCTION BOUNDARY. EACH TRACK IS OFFSET BY 200mm FROM THE NEXT WHICH CREATES THE VOLUME ASSOCIATED WITH THE OVERALL DESIGN

THE TRACKS ARE DIVIDED EQUALLY INTO SEGMENTS THROUGH A NUMBER SLIDER WHICH GENERATE EVENLY SPACED POINTS WHICH SIGNIFY THE LOCATION OF WHICH TO ERECT THE POLES. THIS IS AN IMPORTANT ASPECT AS EACH SUBSEQUENT TRACK IS DIVIDED DIFFERENTLY TO CREATE AN OFFSET SO THE POLES DO NOT ALIGN FOR A VISUAL EFFECT

IN ORDER TO POSITION THE POLES ACCURATELY ACCORDING TO THE TRACKS, A GEOMETRY WAS ASSOCI-ATED TO EACH POINT OF DIVISION ALONG THE TRACK. THIS GEOMETRY ASSOCIATED COULD BE ALTERED AND THE SQUARE GEOMETRY WAS CHOSEN FOR THE FINAL OUTCOME

THE SQUARE AREA OF THIS BASE GEOMETRY CAN BE ALTERED PARAMETRICALLY AS WELL KEEPING THE DESIGN FLEXIBLE AND ALLOWED EXPERIMENTATION AS TO THE APPROPRIATE GEOMETRY WHICH WOULD FACILITATE THE VISUAL EFFECT THE BEST

A BLUE SHADER WAS ASSOCIATED TO THE POLES AS THIS WAS THE INTENDED COLOUR TO REPRESENT A SEA OR ‘BODY OF WATER’.

THROUGH ASSOCIATION THE INTENDED VISUAL EFFECT COULD BE TESTED DIGITALLY AND REMAINED FLEXIBLE TO CHANGE IF NECESSARY

ULTIMATELY THE SINUOUS WAVE FORM WAS DIVIDED IN RELATION TO THE DIVISION OF THE TRACKS TO FORM THE TOP OF THE POLES WHERE THE LIGHT WOULD BE ASSOCIATED

THE LIGHTS WERE DERIVED AS CIRCULAR GEOMETRIES DURING DIGITAL MODELLING EXPERIMENTA-TION SITUATED AT THE APPROPRIATE POINTS ALONG THE SINUOUS WAVE FORM. THESE CIRCLE GEOMETRIES RECEIVED INPUT FROM THE IMAGE SAMPLER WHICH WAS REMAPPED ACROSS THE ENTIRE MODEL AND WOULD CHANGE COLOUR IN RELATION TO BRIGHTNESS OF THE IMAGE SAMPLED

THE POINTS GENERATED FROM DIVIDING THE TRACKS EQUALLY WHERE THEN CONVERTED INTO NUMERICAL VALUE SO THAT THEY COULD BECOME A FACTOR FOR A MATH FUNCTION TO CREATE A SINUOUS WAVE FORM. THIS WAS IMPORTANT PARAMETRICALLY AS POINTS WITHIN DIGITAL MODELLING SPACE COULD BE ASSOCIATED INTO TANGIBLE CALCULATION

THE MATH FUNCTION OF SIN(X) + 1.4 WAS USED IN ORDER TO GENERATE A SINUOUS WAVE FORM , WITH X BEING THE LOCATION OF EQUALLY SPACED POINTS ALONG THE INTENDED ROUTE FOR THE WAVE TO FOLLOW

EACH NUMERICAL VALUE ASSOCIATED FROM THE TRACKS WERE CULLED IN ORDER TO PRODUCE A PATTERN WHICH WOULD INFLUENCE THE OUTCOME OF THE FORM

THE MATHEMATICAL FUNCTIONS AS WELL AS THE POINTS GENERATED FROM THE PATTERN WERE THEN ASSOCIATED INTO A CONTINUOUS CURVE WHICH TOOK THE FORM OF A SINUOUS WAVE

IN ORDER FOR THE DATA COLLECTED TO BE MAPPED EFFECTIVELY ONTO THE IRREGU-LAR FORM ONSITE, THIS DATA HAS TO BE REMAPPED AROUND THE CONFINES OF THE LIGHTS AVAILABLE ON SITE.

THE IMAGE SAMPLER WAS USED HERE WHICH REPRESENTS THE TOOL THAT CONVERTS INFORMA-TION RECORDED AT WYNDHAM INTO VISUAL EFFECTS AT THE GATEWAY SITE

HERE THE DATA FROM THE STOP MOTION PROJECT WAS UTILISED AS COLOUR BLOCKS IN RELATION TO THE MOVEMENT OF TRAIN, CARS AND PEOPLE TO BE INPUT INTO THE IMAGE SAMPLER

THE BASE GEOMETRY WAS THEN EXTRUDED TOWARDS THE TOP OF THE POLES, WHICH WAS PARAMETRICALLY DERIVED THROUGH A MATHEMATICAL FUNCTION.

THIS ENSURED THE POLES TO CORRE-LATED WITH THE INTENDED SINUOUS WAVE FORM

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One of the main elements of the design is the effect when it is lighted up, which is most effectively portrayed at night. In this sense, the profile for which the individu-al lights were based on can clearly be seen.

Within the entire light scupture, each row is dedicated to blue lights, with every other pair of rows also able to light up in yellow while the entire sculpture can be lit red.

VIEWING THE SCULPTURE AT NIGHT

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The changing of the lights occur in a gradual manner sweeping from the south of the site to the north emphasising the flow of traffic to-wards Wyndham.

These images portray an aerial vantage point of the changing lights whereby the overall form can be seen. This view will be published on the online website in order to create a strong visual understanding of the project on site.


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IMAGE 1 : A PHOTOGRAPHIC RENDITION OF THE BLUE POLES ON SITE

The effect of the overall massing of lights depends inherently on the design of each individual light. Therefore these lights are carefully designed to have the following effects

1. Dense patterning at the bottom which slowly recedes towards the top to create an opening for the lights

2. Lights are position at the top of each pole pointing downwards to highlight the profile and not the be too distracting to drivers

DESIGNING THE LIGHTS


Driving alongside the installation will pro-vide the best effects of experiencing the site as the profile and volume has been carefully curated around the landscape.

1. Approaching the site, there is only a single strip of light with a strong profile seen from afar

2. The single strip of light begans to get closer as the boundaries of the site con-verge towards the road

3. There is evidence of a brighter field of lights ahead but it is hidden within the topography

4. Soon the single strip of light begins to diverge into rows of similar lights

5. Here is the main section of the site where sinuous curves run parallel to each other, each having been offset to create a volumetric effect

6. The mass of lights recede as the car be-gins to leave the site

7. Finally the strip of light recedes into the darkenss

MOVEMENT ALONG INSTALLATION

1

2

3

4

5

6

7

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5000

4000

3000

2000

1000

2000

200

TRA

IN

CA

RS

PE

OP

LE

ONSITE POWERGENERATOR

300mm TRENCH FOR WIRING

PARABOLIC ALUMINIZED REFLECTOR LIGHT150mm DIAMETER POINTED DOWNWARDS FOR EFFECTWIRING RUNS DOWN SIDE OF POLE INTO GROUND


IMAGE 1 : CROSS SECTION OF AN INDIVIDUAL LIGHT POLE AND THE INSTALLATION ON SITE TO THE SOURCE OF ELECTRICITY WHICH WILL POWER THE DESIGN

IMAGE 2 : FABRICATION DOCUMENTS DEPICTING SIZES AND PATTERN OF LIGHT POLES

1. The light poles are to be fabricated off site in acrylics with reflector lights positioned within them

2. There are a pair of lights for each height on each track

3. A parametrically driven patterning is applied to the surface of each pole in order to control the density of light that is allowed through each

4. The lights are powered by an onsite electrical generator

5. A set of 10 poles are installed onto a single track to ease with onsite installation

FABRICATION OF LIGHTS

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EDGES OF TRACK ARE POSITIONED ACCORDING TO COORDINATES

FIGURE C: THE LOGISTICS OF INSTALLING THE TRACKS ON SITE BASED ON GLOBAL POSITIONING SYSTEMS

By utilising the capabilities of digital tech-nologies, an efficient method of install-ing the proposal onsite can be achieved. This is through the Global Positioning System whereby the edges of each track is calculated in relation to the coordi-nates of the digital model developed off-site. Then, this information in translated onto the site using satellite position to obtain accuracy which is important for the lights to function effectively. Further-more this process can be executely quickly and is effective for the Princess Freeway.

ON SITE INSTALLATION

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THE SEA OF LIGHTS MODEL MAKING PROCESS : BEHIND THE SCENES

In order to create a site model that was gradual and reflective of the site, paper mache was applied to smooth out the laser cut contours. This proved to be ineffective as the base warped due to the water. Then these contours were spray painted black so that they did not reflect the light during the photographing process.

In order to generate the photographs for the stop motion which depicted the changing lights, the rows of sticks were painted with UV light according to a digital model which had the mapping drawn from the stop - motion created earlier. This was the most effective method out of other options of 3D projection or installing actual lights as the scale was too small for both of those methods to work.

However it was discovered that as multiple layers of paint were coated onto the sticks, a different effect resulted which reduced the quality of the model. Nevertheless as it was intended for photomanipulation purposes, this was not such an issue as this allowed the lighting to appear and the facilitation of photography which mimic that of actually being on the road.

To generate the elements which would influence the data mapping scenario, a short stop motion animation was created with the use of cut out vectors. Pins were attached to the bottom of each figure and held up by pinning them onto styrofoam board and photographed at intervals

The stop motion was set up on white styrofoam board and home lighting to facilitate a studio environment. By arranging the cut out elements in order, they were also easily assembled to make the progress smoother.

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However it was discovered that as multiple layers of paint were coated onto the sticks, a different effect resulted which reduced the quality of the model. Nevertheless as it was intended for photomanipulation purposes, this was not such an issue as this allowed the lighting to appear and the facilitation of photography which mimic that of actually being on the road.

Throughout the process of painting and photographing the model, three cameras were set up to capture dif-ferent elements as the entire process would only occur once as once the sticks had been painted they could not be removed. Nevertheless this method was successfull in producing different variations of photographs which could be used to justify the design

In order to photograph the model in the optimum condi-tion, a set of UV lights were positioned above the painted sticks with all other light turned off. This meant that a variety of different manipulations could occur in terms of adjusting the exposure to demonstrate a greater light-ing effect. Overall it produced interesting results which justified the design.

The stop motion was set up on white styrofoam board and home lighting to facilitate a studio environment. By arranging the cut out elements in order, they were also easily assembled to make the progress smoother.

To demonstrate the effectiveness of each designed light, a 1:5 scale model was produced out of plastic sheets and coloured lighting. These lights had printed cut out patterning on them. However the overall model did not do justice to the design as it was difficult to hold up without a proper base. Furthermore, the plastic sheets were not as translucent as intended and therefore the lighting effects where different from what was expected

LEARNING OBJECTIVES AND OUTCOMES

i. DEMONSTRATION OF UNDERSTANDING

LEARNING OBJECTIVES AND OUTCOMES

i. DEMONSTRATION OF UNDERSTANDING

LEARNING OUTCOMES AND OBJECTIVES

PERSONAL LEARNING OUTCOMES AND EXPERIENCE

Overall the participation within the course was one that was extremely eye-opening to the pos-sibilities of digital design and architecture. I started out this course knowing nothing about pro-grams such as Grasshopper or Rhinocerous, and through participation and exploration for the course materials it became evident that these tools were important and could present many more design opportunities in the future if they were explored further.

A huge difficulty I faced was to understand the technical language behind these programs as they were difficult to grasp and there are numerous tools and possibilities that could come from one single component and therefore the difficulty was in where to begin and what could be done once there is a basic understanding of the tools. It seems that there were alot of different ‘functions’ but how to use them effectively was not an easy task. Furthermore, there was the challenge of not giving up whenever faced with a dead-end to design initiative, which I believe I faced quite often throughout the course.

Another major learning outcome in this course was to think within the architectural discourse and base such design decisions on research and not just on plain ‘intuition’. With so much design around me, I often do not realise the amount of thought and research has gone into each design as well as the consideration that the design has to participate within the social context, and therefore has to be relevant on a public level. Therefore, it was a change and step of the ‘high horse’ of think-ing that design could sprout from the top of my head just because something looks aesthetically pleasing or could be justified on a superficial level.

This is further emphasised with the use of parametric modelling tools as the core to designing was in understanding the logic that goes behind the design, and also the ability to map out this logic rationally so that it can be understood by the machine as well as by others. This design process was rigorous but through understanding design in this way, there was a more significant thought process to any design.

In regards to the final design project, I believed that we did not fully achieve the goal we intended to design as my group and I , as a team faced difficulties in terms of technical proficiency, time and access to facilities such as lasers cutters etc. It was difficult to produce models at such a large scale and the decision to hand make them was one that taught me the value of digital fabrication. I learnt a valuable lesson in the efficiency that computers can provide to produce outcomes which would have been at a far greater quality than we produced. Nevertheless, it was an attempt to make do with the resources we had, and I believe we tackled it quite innovatively with the use of UV lights that made the model light up. It was generally assummed that the models would not be the main focus of our project and that digital photography and manipulation would make up for

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lack in appropriate physical models. Nevertheless, it was a valuable lesson in realising that the physical models are an integral part to any project proposal and their appearances would make quite an impact especially in presentations.

In terms of working as a group, it was a very valuable experience and I believe that architecture does need collaboration as each person has their strengths and weaknesses and therefore a collective effort could en-hance the strenghts of the group. I believe that it was important to work as a group to facilitate the working environment in the future as well.

Therefore, I have come out of the course having dipped into digital architecture and parametric design and find myself wanting to learn more. It seems that there are endless possibilities that can be achieved with digital and parametric architecture, especially in performative architecture which I found very interesting and exciting. At the end of the this course I find myself much more open to the discourse around me as well as have gained some basic foundation for technical proficiency in Grasshopper.

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LEARNING OBJECTIVES AND OUTCOMES : WHAT I HAVE LEARNT...

LEARNING OUTCOMES AND OBJECTIVES

Throughout the course, various learning outcomes and objectives were achieved and are demon-strated as such :

1. Ability to situate design decisions in the broader context of the architectural discourse and to understand ideas and innovation in core precedent studies and readings

This is demonstrated in the Expression of Interest document in regards to the different examples chosen to support the arguments made in the Introduction (pg i, ii) from pages 1-16 as well as in the Project Proposal whereby the design is seen to have achieved the main arguments which were made in relation to examples, precedent studies and readings (pg 43 , 46 )

2. Ability to explain persuasively how design explorations satisfy/extend/challenge the gate-way-project brief.

This is effectively demonstrated through the statements of Main Design Problems ( pg 34) which are formulated in regards to the site and brief, as well as in the Project Proposal whereby these design problems are answered.

3. Ability to design and refine patterns and architectural elements using parametric model-ling.

This is shown in the Cut/Develop section whereby different combination of input, output and as-sociative techniques were implemented and most effectively shown in the Exploration Based on Precedent on (page 27)

4. Ability to select, understand and achieve specific design effects through parametric and physical modelling.

This is shown through the further exploration of data mapping techniques such as Pachube, Excel and Firefly Webcam Sampler on ( page 27 - 28 )

5. Ability to select and present design outcomes, demonstrating its strengths/weaknesses.This is shown during the Initial Design Exploration (pg 39-40) whereby the design outcome was evaluated to reveal its strengths and weaknesses which resulted in a change of direction in the design

6. Ability to innovate and formulate an original approach to design challengesThis is shown in the innovation for the stop motion animation (pg 49-50 ) as well as (pg 53 -54 ) in the incorporation of different lighting techniques to showcase the design.

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9. Ability to optimise, detail, fabricate and assemble complex geometries.This is shown in the construction fabrication documents and detailing on ( pg. 55 )

10. Ability to clearly describe complex technical processes utilizing Grasshopper as a parametric modelling environment which demonstrates the understand the basic stages of data flow.This is shown in the parametric data design flow diagram (pg. 47-48 ) which explains the development process of the design.

11. Ability to produce high-quality publication ready contentThis is demonstrated through the documentation , photography and layout of this journal

12. Ability to reverse-engineer existing precedents and implement technical solutions achieving analogous outcomesThis is demonstrated in the Reverse Engineering Case Study of Ned Kahn (pg. 24)

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LEARNING OBJECTIVES AND OUTCOMES : WHAT I HAVE LEARNT...

REFERENCES :

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Burry, Mark. 2011 Scripting Cultures: Architectural Design and Programming (Chichester: Wiley)

Picon , Antoine. 2010. Digital Culture in Architecture ( Germany : Birkhauser Architecture)

Kalay, Yehuda E. 2004. Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press)

Kolarevic, Branko. 2003 Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press)

Schumacher, Patrik. 2011 ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Archi-tecture (Chichester: J. Wiley )

Wiscombe, Tom. 2010 Emergent Models in Architectural Practice . (Unknown : Perspecta 38)

Wyndham City Council, 2011 Competition Document (Werribee, Wyndham City Council)

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REFERENCES

Documents

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