semester twoaaron lougoon 328159

de itecture studio ignair

arch

contents: the case for innovation week one - architecture as discouse week two - computing in architecture week three - parametric modelling

cut case study project week four - argument + case study 1.0 week five - cut case study 2.0 week six - cut case study 2.0 week seven - cut case study 2.0 week eight - EOI presesntations

Wyndham gateway project week nine - journal first hand-in week ten - wind research week eleven - design development week twelve - design development week thirteen - design development week fourteen - deisgn development week fifteen - WG presentations

p. 3p. 7p. 11

p. 17p. 21p. 30p. 35p. 39

p. 45p. 49p. 51p. 56p. 61p. 73

case for innovation

Oh, Hello there! If your reading this I take it you want to get to know me a bit better. So here it goes, my name is Aaron Lougoon and i’m doing design studio air. Some things about me: I like to cook, play sport and watch movies. I play hockey and am loving that the olympics are on because its one of the only chances you get to watch the Aussie hockeys teams go at it! This is my first semester of my environments degree but I have previously finished a science degree. Why the change? Well its just something ive always occupied the idea of doing (having done some work experience at an architecture firm during school and then choosing predominantly design based breadth subjects during my science degree). I found that those design subjects were just as engaging as the anatomy and physiology subjects I was also doing. Even from a young age I guess I always loved making things, whether that was playing with lego or creating bush shelters with friends.Getting back to the now, the most recent designing subject ive done was Virtual Environments that took us through the process of choosing a natural process and abstracting it though a digital means and then constructing it with the help of plugings to Rhino (to help with the nothcing of the paper/card construction).

week one:architecture as discourse

My design was based around embroyonic development of cells multiplying and growing. This was conveyed both by the increasing size and number of interior rings of the balls. I think it was reasonably successful for its purpose. So, up until the start of this year I had had very little interaction with computer based design and it was through this subject that we were introduced to a range of different examples and applications of digital architecture. The main guide I gained from this means of design, was that when combind with model making model making is one of the greatest tools for learning about a project and expanding and improving upon it. That process of designing, making, improving, making again was done on a lesser degree in that subject but the idea of how well it works with computer design really stuck with me.It was also around this time that I saw the documentary Sketches for Frank Gehry and it just sort of reinstated how important that process can be, no matter how experienced you are.

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Favourite buildings are always fun to talk about but on the same hand deciding on more then one was difficult. Firstly i’ll talk about the one that took some time to come up with. Im not sure whether it actually is my second favourite building but since seeing it ive always been intrigued. The Manadnock building in Chicago was one of the early skyscrapers in the US. In terms of standard conventions and precedents there was very little, so in that sense it was part of the modern movement. However, with Daniel Burnham as one of the architects, its no real surprisethat it still holds some classical values, allbut subtly displayed. I think it was this subtleness that I was really drawn to, its slightly tapered base and abstract flared cornice add to the effect that it could be a giant column if it wasnt for all the bay windows. Another thing that really stands this building out is the colour, when considering what was to follow is also really rare (1893 Worlds Columbian Exposition and the “White City”, also framed by Burnham among others). Its seems to me that it was part of a one step forward ten steps back process (it being the one step forward). I feel that, that colour really does add to the monoloithic presense of the building. One of the last giant brick structures to reach for the sky. Its magnificent!

Daniel BurnhamManadnock Building

Falling Water or the Kauffman House in Bear Run has forever been amongst lists of the greatest buildings ever designed but my reasons were a bit more simple.The contrast of modern box intergrated into nature was perfected here, not only is it situated on a flowing creek but its cantilevered out over it too. It wasnt until I actually looked into more of Frank Llyod Wrights work and what was happening else where at the time that it really becomes a bit more significant. He was a master of siting a building and understanding the environment, both built and natural. I think thats what makes this incredible, creating a grace on this particular landscape. Something fitting such a pristine and natural space while also creating a path that emcompasses fantastic views. Another reason I love this building is because of him, who better to create this then the crazy man himself. Confidence is an understatment when considering the engineering prowess of this build and the hangover of the floors. This building was also quite distant from the utopian dream he was also trying to create during the tough economic middle war years. On one hand economical minded builds compared to this, which even in 1936 was super expensive. Quite happy to paralell those projects.

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Frank Llyod Wright“Falling Water”

week two:computers in architecture

This age of Information is chaging the way we think about all aspects of buildings; from conception to constrcuction and sustainability and the impacts on the environment. Through these digital technologies there is scope for greater holistic integration of the process from conception to production to living. When we think of iconic shapes that are defining this age we need not look furhter the in front of us most of the time; our phones, ipods, computers, cars etc all are a part of the a smooth architectural/design discourse. As a part of the digital conituum there is now more expanded exploration in architecture and these links can help in the speed of the entire process as this digital design information is essenitally the construction information (as shown in the ship building industry where there is no drawings anymore, just 3D digital models). Buildings have this same potenitally. By chagning the use of the computer from display tool to design tool, there is scope forfill the potential of the anaylitical machines they are.

In the past, computerisation In conventional design generally followed theprocess; ideas a drawn, translated to the computer, models are made and this process is refined to create a final product. Kalay breaks this up further into drafting and modeling, where the designer has full control and the computer has no knowledge, analylitical systems where the computer can model scenerios for energy, cost etc and ‘knowledge-based’ design that can propose ideas.Through exploring this last field of digital/computational architecture you soon begin to reviel a specific vocab that is begining to define it. The modelling types; generative, emergent, swarming, associative, morphogenesis, genetic, cellular autonomy, L-systems and parametric. Each of these individual methods for design use different computational techniques to reach their desired outcome and effect.

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Way back in 1994, Greg Lynn made the proposal towards using data from traffic and pedestrian flow to base his design around for the Port Authority Triple Bridge Gateway competition. By using animation software for form generation he let the information create the design for him. It was one of the first truly compter generated designs that was dependent on the set of information put through the animation.

Greg Lynn was the first person to use animation software not just as display tool but to generate forms. His project, Animate form, was part of this exploration into new ways of creating new forms. By using motion-based modelling techniques, he employed kinematics (among others) to show the motion of an object, or the result that motion has on a field of space. This was expanded upon through heirachy and led to his ideas of skin and skeleton structures.

Port Authority Triple Bridge Gateway Proposal Greg Lynn Studio

Through biomimicry and non-euclidean geometries, LAVA designed the Martian Embassy as a fusion of a whale and time travel. The space functions as a not-for-profit writing centre for young people in Sydney and needed a spark to trigger the imagination of the users. The design fully utelises the CNC milling and plywood to create the fluid geometry flowing the length of the structure. Broken up into sections by the plywood ribs, these in turn create spaces for seats, shelves, storage and displays as well as becoming some of these spaces.Once the project was oulined, it was as simple as notching the intersecting ribs and panels together. This was neseccary considering this was being constructed inside a larger building (quick and quite build was needed).

The Martian Embassy LAVA Studio

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Unlike conventional design (independent), computational design (dependent) has interelated parts that are predetermined by their relations to one another or to a deeper algorithm or formulae. With parametric modelling, those relations are determined by set parameters. Relationships defined and established by the designer to fit a certain criteria in its discourse. As a new part of the design process the designer must first though set down the logic that connects the design as a whole, By having a dynamic means, this method aims at representing change. Unlike traditional design, simply erasing lines, walls or sections of buildings is much more difficult as these become part of the whole (of interelated parts). Is this going to restrict imaginative exploration into projects by limiting options available.

week three:parametric modelling

Rocker Lange Architects in Hong Kong is using parametric modeling to try and define a new and unique Hong Kong streetscape. This comtemport city bench is part of a greater group of dynamic street furniture, with the ability to adapt to the already existing layout of the city. They all have similar properties because they are all based on similar parameters with varible environmental inputs, such as stairs and poles. The great positive about using parametric modelling for installations and furniture is that because it is on a small scale, more options can be processed further down the design process unlike architecture. This project shows some of the great capabilities of parametric design as new forms can be made by inputing physical environmental features (prebuilt environment) but also has a form with minimal inputs.

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Urban AdapterRocker Lange Architects

The “Yorkshire Diamond” project from Various Architects drew inspiration from the mining district. Drawing from diamonds and the mathematical features, biomimicry became the key parametric feature. The frame is made of inflatable tubes and are in place as the atomic structure of diamonds (hence the name) and allow for varying shapes to be hollowed out into the structure by following the structural patterns. The idea of a mobile pavillion needs to have this dynamic aspect to suit the needs at the time; small to large conferences/ public presentation.Stability in 3D structural shape.Yorkshire DiamondVarious Architects

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references:

pages 1,2 - ZHA : viewed 10 Nov 2012, <http://www.zaha-hadid.com/wp-content/files_mf/zhaquatic018.jpg>pages 5,6 - range of building images from wikipedia commons under names of buildings/structures viewed 14th Sep 2012, <http://www.wikicommons.com>page 9 - greg lynn : viewed 12th Aug 2012, <http://glform.com/buildings/port-authority-triple-bridge-gateway-competition>page 10 - lava : viewed 18th Aug 2012, <http://www.l-a-v-a.net/projects/martian-embassy/>page 12 - rocker lange architects : viewed 14th Aug 2012, <http://www.dezeen.com/2010/01/08/urban-adapter-by-rocker-lange-architects/>page 13 - various architects : viewed 12 Aug 2012, <http://www.evolo.us/architecture/the-yorkshire-diamond-pavilion-various-architects/>

cut case study project

experience so farAlthough I knew about quite a few of these design programs and the types of data inputs for them (Rhino, grasshopper, parametrics, data scapes, metamorphesis), I was blisssfully unaware how used they are by architectural community. Through exploring this ‘case for innovation’ I genuinely saw the advantages in adapting more of these technologies to help us better site/suite and fit our environment while also furthering the design discourse and bringing up new and intriging ideas for future exploration.Critical analysis is another new area for me (in this field anyway, come from a science background). Posing question like why are these buildings significant? What have they brought thats new or different to todays contempary architectural discourse? Why is this design more appropriate then another?Then trying to answer or further understand whats gone into the design has be really insightful.

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Why panelisation?

Potential for adaption and change - take on responsive qualities- enhance the panels by making operable/responsive to natural elements, light, wind or noise.Create level of interaction between Wyndham City locale and cars.Able to utelise a kit of parts - mass production methods- ease of fabrication (similar sized panels)

Why responsive?

Creation of dynamism via reactivity to outside elements would cre-ate a unique experience.Ability to create an experience when driving past the installation- possible reaction to the winds generat-ed by driving combined with air currents.Multiple possibilities for the surface to re-spond to the elements at any one time and hence create different experiences.

Expression of Interest Argument

Wyndham CityWestern Gateway Design project:Brief: exciting eye catching installation that inspires and enriches the municipality.

I joined a group with Jiin Kim and Sanjay Santhosh. In our first meeting during class we decided that we were all interested in panelisation as our parametric designing focus. Although we knew there was scope to adapt and as a secondary focus we also looked into responsive architecture. We looked at the case studies and came up with a few main points we liked and these points became our argument.

case study oneOMA - McCormick Tribune campus centre

The interior and facade glazing is patterned throughout OMAs McCormick Tribune on the IIT campus. As case study 1.0 we looked into how the designers were able to use parametric programs like Rhino and grasshopper to create variations on the surface of the glass from similar smaller individual images. In grasshopper to recreate the patterning we used similar small images and an image sampler to form our own variations, that then evolved into a range of other forms.

201. simple slider variation on the grasshopper defintion given

2. replaced the surfaces with objects. spheres at the same height then at varying heights

3. data driven extrusion

4. data driven rotation

5. data driven

Art615by Aalborg University students

case study 2.0

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Groups of second year University of Aalborg architecture and design students, were assigned the task of digitally designing an art pavilion for a park in Aalborg. The concept had to pledge the feeling of a safer environment as the park was crime-related. The project explored the development of dynamic architecture that utelised both understanding complex social interactions and advanced digital design methods from conception to fabrication. Their research sought the community engagment to establish a safer park through perfomances and interactive light systems, advancing local culture, interactions and discussions.For the form and structure itself, Rhino and Grasshopper were used to for the development of the dynamic architectural concepts.

24Through the interior part of the installation, visitors were given the chance to ‘step into the art’ as the lighting systems gaged outside information and transformed it into a light show.The simple surface in Rhino created a semi-closed space, that with parametric modeling in Grasshopper allowed alterations until everyone involved was happy with the outcome. Underneath the panelled surafce is a structral waffle system that the panels are fixed to. “We wanted to work with the inside and outside of Art615 and also make a spatial connection between these two spaces. By perforating the shell, the scales are able take advantage of the displayed light on the inside and at the same time create a visual and audible connection between the two spaces.”

Series of curves referenced into grasshopper

Lofted surface created from curves

Surface divided into uv coordinates, based on sliders

Panels created from surface points

Fail. All panels paralell to xy plane. Try again.

26Surface broken down into surface frames (normal to surface)

Panels created from surface frames

Slider variations for number of panels

drawings of finished case study

28Creating the reverse engineered case study of Art615 pavilion was seamingly straight forward once we established how they went about it. Apart from the exact form of the structure, there still is a few other main differences. Unlike Art615, we had trouble with the intersections between our panels on the surface. We were unable to get the panels to overlap properly for actual fabrication. The case study also somehow established more uniform rows and columns of panels where the seperations were clearly defined for lighting effects, that we were only partially able to recreate. One thing we coouldnt really figure out was whether the angles of the panels we completely based on the normal of the surface or floated slightly away in conjunction with the overlapping panels. The last major difference which we noticed once we had completed the exercise was the type of waffle grid as the sub-structure and how to go about making the flat connections with the ground that theirs did.

So apart from those few differences, our case study was very similar in the working of the Grasshopper definition.

We to take it from here? As a group we have been looking into the effects wind can have on panels, or mimicking the patterns of wind itself (swirls of wind or ways to represent wind through form).

streaming text files multiple maths functions altered tile geometry alter profile geometry point attractor multiple point attractors

data driven rotation

data driven extrusion

data driven shading

image sampler

curve attractors

matrix

A variation of tile geometry made varying intersections between the tiles over the surface

streaming text files multiple maths functions altered tile geometry alter profile geometry point attractor multiple point attractors

A curve around the model directed the panels at each point to the closest part of the curve

An image sampler decided what shape panel would go in each position.

The frame/lofted surface was built from curves which were altered to create a new geometry with flowing motion in mind

A variation of tile geometry made varying intersections between the tiles over the surface

Grasshopper process of Final outcome for Mid-semester presentation

32Through the process of making a matrix of ideas we found a few processes that we became more fond of and tried to apply these to what we wanted from our final mid-sem design. We wanted to create a new form so we lengthened our initial curves for our lofted surface. We also liked the effect of attractor points and utelised multiple attractor points to try and create a more curving, wind like flowing panelisation. Lastly we wanted to apply the thought of what type of panels can reflect the motion we were trying to display in relation to the wind. We found that the point of the triangle was the more appropriate to try and get this message across.

Further precedents

Fragmented Sea - Ned KahnAfter looking further into the responsive side of panelisation and in particular the majority of works by Ned Kahn and how he attempts to replicate the natural elements, we thought about how we could go about appylying this to our project. The Fragmented Sea showcases the strengths and capabilities of panelisation. This particular project, which is composed of square panels that respond to wind, has effectively conveyed the designer’s intent to create a wind-animated screen around the Mesa Arts Centre. This generates the ever-changing illusion of rippling water enveloping the building.

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Voussoir CloudIwamotoScott architectsPanelisation in this context, allowed for the architects to break down the surface into both solid and open spaces. The translation of the surface into parametrically designed petal-shaped panels creates greater visual and experiential intrigue than a planar surface would have. Also, the exhibition display features unique and disperse voids between the 2300 petal-modules which play with light and shadow, and draws further attention to the structure.

Talee IsetanUN STUDIOThe Talee Isetan is another example of how panelisation has been utilised in a commercial context to create a distinct and memorable experience for people. For the redesigning of the facade, they decided to create a visual link to the Star Place adjacent to it, and at the same time create its own unique identity amongst the cityscape of Taiwan. The curved pattern on the face of the structure, made from twisting rays of panels from being horizontal to vertical, continues the trend by Star Palace while maintaining its individuality.

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fabrication

OUR MODEL WAS fabricated out of 2.7mm plywood, laser cut from the fab lab. After the waffle sub-structure was complete, the group went about placing the trianglar panels lengthways along the frame following the layout from our Grasshopper definition (with a few randomised panels to show some possible

responsive nature from the wind). Not that it was a complete hindsight, but the creation of indentations or notches for the panels to sit on on the frame would have made assebly quite alot faster and easier.

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EOI and presenation crit feedbackWhat we need to work on:Decide further on our take on wind.If we do look closer at wind spirals etc try to understand better fluidity through other forms.Incorperating direction, not only of the triangles (wind and shadows) and other ways to articulate it.We can/should start from illustrations or images of the forms/shapes that we like and are suitable to the site (looking more into viewpoints).

Fabrication:Waffle vs camouflage (with skin/panels)Changing waffle (if we keep it - therefore make some more models angeneral presentation notes check out specifications)Photos of models - were good but just need to work on positioning (but with a freestanding model we can fix this easily)

More precedents:Shadow pavilionDragon skin pavilion

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references:

pages 19 - OMA : viewed 22nd Aug 2012, <http://oma.eu/projects/2003/iit-mccormick-tribune-campus-center>page 21,22,23,24 - Art615 : viewed 24th Aug 2012, <http://www.archdaily.com/59960/art615-a-pavilion-by-aalborg-university-students/> page 33 - Ned Kahn : viewed 8th Sep 2012, <http://nedkahn.com/wind.html>page 34 - IwamotoScott architects : viewed 8th Sep 2012, <http://www.dezeen.com/2008/08/08/voussoir-cloud-by-iwamotoscott/>page 34 - UN studio : viewed 8th Sep 2012, <http://www.unstudio.com/projects/talee-isetan>

Wyndham citygateway project

Wyndham citygateway project

week_10week_11week_12week_13week_14presentationfeedback+change

p. 45p. 49p. 51p. 53p. 56p. 61p. 73

DURING THE BREAK we had to decide on the direction of where our design was heading and what further research was needed. We got the feedback that the panelling we had on our model wasnt as direction oriented to others as we hoped. Another area we really had to address was the mis-relation some of the ideas and images from

our presentation had, but in particular our images conveying the force and power of wind. We had imagined that the direction of the panels with its pointedness was going to have the same evocative prowess as the images of the powerful storms, we were decidedly wrong. They suggested we start instead from illustrations to establish

what specific qualities we want from the design as opposed to trying to fully let the parametricism of the project dictate the outcomes.

from the break - week 10

THE MAJOR EYESORE OF our finished mid-semester presentation though was the interaction of the panel to the sub-structure, in our case the waffle frame. Although, an experimentation with fabrication, our waffle frame was far out of scale in relation to the sizing of the panels. From here we had the alternative of, chagning the waffle or

going for a self supporting structure. Luckily, a group after us had done some of the research for us and provided us with the example above, the Dragon Pavilion. Designed by students at the Tampere University of Technology and built from formable plywood, its repeatative panels create a balance between the regular shape and its

irregular interconnections. Algorithmic procedures proveded the scripts for the intersection and a CNC-router moulded the pieces into shape. With the help of precisely ordered and numbered parts the pavilion was built in just 8 days. This was the preferred direction our group decied on for a future sub-structure.

dragon_paviliontampere university of technology students_2011

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ALTHOUGH OUR overriding idea now was to convey wind we had never, until now, sat down and described the characteristics of wind or even talked about was in which this natural system could be represented. In nature we looked at trees and how they and there counterparts, ie leaves, seeds, reacted to the wind, shapes of clouds

from the winds and we also contniued with our exploration into wind spirals, vortexs and tornado forms.What were the main characteristics we could or want to convey though? After group discussion and collaboration of research we chose the a set of characteristics for furthering our design. They were; direction, density,

height, tilt, rotation, twisting and magnitude.

RELATING OUR NOTION of the wind to the site, we could use to provide use with information, such as; the wind directions over the site overall (provided by the Bureau of Meterologys windrose of the area), predominantly Northerly during the summer months and South westerly during the winter months, we also though could look at the site plans

provided and determine how the wind would travel over areas of the site in relation to ground level and around and over the mounds and troughs throughout the site. Through loooking at these lines we could potentially use these curves to help us shape our design.Relating it back to the tornado, although not on the same scale in

Australia, Dust Devils (as pictured above) become quite visible as they pick up dust and dirt that gets shot through its vortex into the sky.Is there a way we can incorperate this notion into our design?Could we still use panelling to show this movement or could form be enough?

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spiral diagrams

WE STARTED LOOKING directly into spirals and vortexs and what could be achieved (while still loooking into the characteristics, density, height, direction etc.). We broke up and made these vector diagrams based these featrures by using a combination of maths functions and angular variations on our base spiral.

THIS WAS A GOOD start, but quite a literal translation that had many flaws, one in particular being construction of a vertical mass over a small area. We decided to look to other natural systems to see if any had similar properties, in order to better create that sense of direction. Trees provided us with more

ideas but also had the key features we wanted to display. By combining these natural systems, we could hopefully create a more holistic design. By incorperating root systems or branch systems

la voute de lefevrematter design_2012

root sculptureskim sun hyuk_2011

bonfire:rite_for_almere maarten vanden eynde_2008(clockwise)

WHILE LOOKING INTO other natural systems, exmaple of tree sculptuers were much more previlent then wind (apart from physical wind chimes etc). This example by Oloom Samuel Wilkinson showed just how a tree can be broken down into buildable planar surfaces to create both obscure seating and build the frame from the sun shade

above. Using mathematical function it should be simple enough to recreate tree and branch arrangments but the unique thing here is they have incorperated both the above ground and under ground systems of branches and roots inot an overall design. Maybe theres a way we can incorperate similar ideas into our plan for a

frame and sub-structure, in terms of creating something visually pleasing or different with the sub-structure.

l’arbre_de_flonvilleoloom samuel wilkinson_2008

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DEVELOPMENT OF DEVELOPMENT OF

DEVELOPMENT OF

DEVELOPMENT OF

design_variation_one

plan view

front elevation right elevation

right elevationfront elevation

plan view

design_variation_two

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FOR DESIGN VARIATION one we used data points along the curve of the spiral, we attempted to create one continuous strand that would spring in a linear fashion and align itself at an angle on site. While an interesting outcome, we kept part of this look for further designing. For design variation two, rather than using all

the points to generate curves, particular points along the curve were chosen to create strands that originated from the same point and spread in a seemingly varied but systematic way (similar to Shoal Fly).

We arrived at this physical model which depicted the parametric model we had made earlier, but felt that

it could be more complex and make better use of the tools provided by parametric modelling. And so, we revamped the design even further and used our idea of natural flows in a more interesting way.

singing _ringing_treetonkin liu_2004

THE SINGING RINGING tree drew our interest in its use of linear galvanised steel pipes to create an organic tree-like structure. It responded to its context by harnessing wind flow to create choral echoes in the region, and in doing so drew attention and revitalised interest in heritage and the arts of East Lancashire. With pipes fulfilling structural,

aesthetic or acoustic needs of the structure, it demonstrated the flexibility of design.

more precedents 56

SHOAL FLY IS PART OF the sculptural series in the Docklands used the natural system of a shoal of fish as the starting point for the design, which seems random and erratic but has an underlying the organisation to control its formation. This became our prime example for us in its parametric translation of a natural system in human design. Its use of

flowing wires to portray this system of “disorderly order” was one we took onboard for our material use.

shoal_flybellemo & cat_2006

LOOKING AT THIS deconstructivist sculpture for the 2012 London Olympics, our point of interest was not so much the trunk – (the tower in the middle), but the red tube of steel that twists and loops around the it. Its an example that despite appearing to be a feat of engineering of a steel giant, it was also an example to us of an

flowing structure engineered parametrically as a work of art. Like us, there goal was to create an icon and it demonstrates how a sculpture could capture national and international attention.

arcelormittal_orbit_toweraniish kapoor_2012

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our three groups right elevation

front elevation

plan view

right elevation

front elevation

FINAL MODEL

right elevationfront elevation

plan view

OUR FINAL DESIGN makes use of three profile curves to frame the topography of the site. These curves were duplicated parametrically and then shifted in both the Z-and-X axes using a distorted sine wave to create a series of undulating curves in different ways. As a result of this process as well, the contraction, bundling and entwining within the three

branches was created. Strands spanning between certain curves were included to add to the structural integrity of the form and to increase its complexity and visual appeal. The method we propose for the construction of our model is the use of computer numerical control, or CNC Wire forming and bending. With this manufacturing process, it is possible to

have accurately fabricated segments with consistent quality and repeatability. The choice to use aluminium was based on its light weight and the occurrence of aluminium oxide which protects it from corrosion. The cross strands, seen in red, are to be made of copper which will oxidise and change from red to green over time – showing its change over time.

SITE

THE SITE WE CHOSE WAS the northern-eastern most tip of site A. This is the true start to the site which we though would be suitable for the Gateway Project. It also encompassed the ideals of our design, starting at a point and expanding along the site, similarily to our design. It was also chosen for its proximity to the start of the mound on the site, which

at 4m high (from road level) would be perfect to base our curves off and also give use higher points to create grounding points for our sculpture. This mound also gives us two distinct view points coming from either direction; expanding going towards Wyndham and appearing from behind the mound and contracting going towards the city.

On this site to be visible over a few seconds from a passing car (also at a closer distance, less then 5m from road side) we decided on making the length of the sculpture 50m long and 5m tall (just higher then the mound its curves are based on). This should allow enough time to get the effect of expansion and contraction we want.

site information

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CONSTRUCTION DETAILS -

CONSTRUCTION DETAILS -

REAL LIFE FABRICATION of the interconnecting strands and beams would be done with saddle joints bolted to each section (as shown in the diagram above left). The tectonics of the structure would involve having concrete footings with steel reinforcement that would transfer the loads carried by the structure to the ground. By marking

on site the points where the structure is grounded as well as at the origin, the spaces where footings are necessary can be accommodated for. The aluminium tubing is fixed in segments that are linked to spurs at the ends of the pipe-work that are embedded into the concrete to hold it in place and transfer the loads (like images right).

construction details

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FOR CONSTRCUTION OF our model we made use of two types of metal, 0.71mm tin and 0.4mm copper wires. Initially, using similar metal we thought we would be able to solder all the joint and super glue the ground point to the foam board, but once we found a thin enough wire (for a correct scale), we also found outthat because of the

material soldering was no longer an option (due to melting points of the metals). We tested, making slits in the metal and wrapping the copper but it wasnt sturdy enough to be moved. So, we opted to glue all the intersections of the main metal strands and the copper beams that run across the strands. Before we could glue though we had to work

out how to go about bending the wires to the right angles so we made templates for each direction and bent them to suit. Once all bent, we had a grid set out and worked out the positions for the start and end and worked our way across the structure gluing as we went. Then we attached the copper beams the set distances away from the

model making

origin point. For our site model, we utelised the site information files and using each of the levels which we roughly 0.25m apart, we constructed the sites A and B. However, once we glued the mound on site A we realised that our model did not have the same vertical and horizontal scale. But due to time constraints at this stage we couldnt make another.

POST PRESENTATION blues. There were quite a few problems that were spotted out during our final presentation and lead to in our eyes a bit of a failure in terms of our final outcome and collection of works. Although there were a few points that were brought up that we knew details of they were not well conveyed through our

presentation which made the critics pose many more questions. Our diagrams of how it was to be grounded through the footings was not well displayed at how it would actually be (our diagrams had giant sparks coming from the metal strands into the footings, where they would be more cross-shaped and smaller, like our example). Another

main one was how the site related or dictated the design, again known but not explained through the curves of the mound of site A. Back to our intial ideals, the characteristics of wind and other natural systems, these were some what lost in our final, leading the critics relating our model to ‘spaghetti’. We had direction, as all the strands

feedback & change (post presentation)

originated from the same area, spreading out, but attributes such as density, rotation and twisting were not as strongly expressed as we hoped. Why did this happen and what could have lead to it?Personally I think our material shape and or choices lead to this outcome, as the form itself we thought did display

more of these features. How could we have changed or altered it?We lost part of the idea that we were trying to replicate something flowing with the wind not necessarily the wind it self. We lost what it was that we were conveying, we had the principle and charactertics we wanted but the materiality really dictated this factor.

Looking back at it, we should have experimented further with the how to wrap the form we had. Something as easy as making the aluminium strands into ribbons, immediately helps to convey that sense of floating/ flowing and may have some of those other attributes.

74

THERE WAS A LOT of changes that we undertook from our mid-semester presentation. We opted to focus on the geometry of the sculpture instead of remaining with panelisation. Its something in hindsight we didnt experiment with enough. We had a developed grasshopper definition, and a direction we wanted to head, and we

sort of halted this to chase something that we had little information about both in terms of designing tools and research, delaying what we had going for us during the break. Post final presentation we had a little discussion about how we felt it went and why things went wrong and what we as group would have had

liked to do. It was unanimous, we still had the desire to continue with what we had at mid-sem. There was still scope for a self-supporting structure that we looked into, with maybe variations on the pointed triangular panels, maybe 3D, who knows.Then again, every sculpture has its critics, good and bad and its all what you make of it.

references:

pages 45 - Tornado : viewed 6th Nov 2012, <http://www.xarj.net/wp-content/gallery/tornados/tornado24.jpg>page 46 - Dragon Pavilion : viewed 18th Sep 2012, <http://www.evolo.us/architecture/dragon-skin-pavilion-is-a-digitally-fabricated-plywood-sculpture/>page 47 - Wind swept tree : viewed 28th Sep 2012, <http://lonelytreegroup.blogspot.com.au/2007/02/wind-swept-tree.html>page 48 - Dust Devil : viewed 18th Sep 2012, <http://www.gympieweather.com/word/suprcell.html>page 51 - La Voute de lefevre : viewed 26th Sep 2012, <http://www.matterdesignstudio.com/>page 51 - Root sculptures : viewed 30th Sep 2012, <http://www.thisiscolossal.com/2011/09/root-sculptures-by-kim-sun-hyuk/>page 51 - Bonfire:Rite for Almere : viewed 18th Sep 2012, <http://www.genetologisch-onderzoek.nl/index.php/category/biologie/dendrology/>page 52 - L’arbre de Flonville : viewed 30th Sep 2012, <http://www.dezeen.com/2008/01/16/l’arbre-de-flonville-by-oloom-samuel-wilkinson/>page 56 - Sining Ringing Tree : viewed 2nd Nov 2012, <http://www.midpenninearts.org.uk/panopticons-singing-ringing-tree>page 57 - Shoal Fly : viewed 2nd Nov 2012, <http://www.bellemocat.com/public-art/shoal-fly-by/>page 58 - ArcelorMittal Orbit Tower : viewed 2nd Nov 2012, <http://anishkapoor.com/332/Orbit.html>

FINAL GRASSHOPPER MODEL