DESIGN ASDISCOURSE

AS DESIGN

ADS3AlexAnDrA Gower 201443

WYNDHAM GATEWAY PROPOSAL

Australian society is changing. Our sense of community and engagement is evolving with changes in methods of communication. Identity is also changing with distinction between suburbs eroding as outer lying sub-urbs join with the city and people of different cultures intersperse out of traditional areas of population.

WYNDHAM GATEWAY PROPOSAL Architecture is also changing. The introduction of parametric modeling allows designers to respond factually to site factors and removes many as-sumptions to allow a new freedom in design. Parametric design therefore enables the designer a fresh appraisal of their project, site and context and the ability to respond to the issues in a direct cause and effect manner.

As a suburb in flux, Wyndham is moving through these issues of com-munity, identity and the significance of this in 2012. In many ways this rapid change of a community can be perilous. Community identity can either be strengthened when guided in the right direction or completely broken down by the disturbance. It is therefore important for Wyndham to create an icon that engages with contemporary notion of identity and encourages all to enter the discourse. As only through discourse can a pos-itive direction be discovered.

PART ONE

DISCOURSE AS DESIGN

DISCOURSE AS DESIGN- Wyndham City Council- Innovation in Architecture: Callum Morton; Herzog and De Meuron- Computerisation: Mass customisation- Scripting Culture: R&Sie(n)

Great Australian Dream of the detached house = Urban sprawl Fastest growing municipality in Australia by percentage

Per week: 60 babies born and 120 new rubbish bins requested

Rose Garden, Fibonacci sequence

Former orchard farming area, mostly family run. Only

pockets now remain.

Site for filming one of the car chases from Mad Max, great

Australian cultural icon. Commented on the sustain-ability of our preoccupation with cars, petrol and speed.

WYNDHAM CITY COUNCIL

The Country Suburb

Werribee Mansion: -Historic landmark-Former nationwide recognized art competition, suspended due to financial difficulties

Werribee Races; former cultural event appreciated by general population, suspended due to track reorien-tated as quarantine for Melbourne Cup horses.

Melbourne’s outer west suburb

Werribee open range zoo, African animals with strong fur patterning

Yarra river referred to the spine of the country by local indigenous population

Callum Morton - Art interpreting Architecture

Design has always involved discourse. Sub-jective elements such as aesthetics tradition-ally compose a large portion of architectural composition. Innovation depends upon dis-course for stimulus and refinement. Dis-course as the final desired product of design however is a new phenomenon. To present ideas and stimulate discussion as ultimate purpose is a conceptual and luxurious notion. Poignant only to the first world, this form of architecture is concerned with the moral ele-vation of a society not their physical situation.

Discourse as design is contrary to object prized architecture. It is common for archi-tecture to be described purely as an aesthetic object, without critical reference to function, site or context. Although aesthetic objects do engage in the general discourse of architec-ture, they refer to ideas only familiar to those initiated and often use jargon to further alien-ate general society from reflection or input. However as stated by Williams, when dis-course is the aspired to product, it purpose-fully seeks participation from all members of society. This egalitarian approach is a core objective of identified in the brief for this project.

One method of materializing dis-coursed based design is replacing the focus upon the creation of an object with the creation of an emotional re-sponse. More subjective than aesthetics, this primal response cannot be validated by, nor requires previous knowledge or specific language in order to participate. The psy-chological effect of architecture has been acknowledged since the C19th with the over-whelming affect of the new building typol-ogy of the soaring skyscraper in the 1880‘s. More recently, the sameness of suburbia and housing estates have encouraged a particular type of depression in many residents includ-ing those from Wyndham. The purposeful provocation of an emotional response, while popular in cathedrals of the Gothic period and contemporary art appears under utilized in current architecture.

The art of Callum Morton works to highlight our relationship to, and interaction with, the built environment. Public and private space are explored with a focus upon how ‘we en-counter, perceive or experience personal or communal space often unconsciously.’ Val-halla was Australia’s inclusion in the Venice Biennial and is 1/3 scale model of the Morton family home which Morton’s architect father aspired to provide. In its representation for the biennial the building is not idealized as an object of perfect Australian Modernist ar-chitecture. Instead the badges of habitation and time are celebrated as Morton presents both personal and general stories of child-hood, family and the society of the time. This highlights the positive as well as the negative. Morton hoped that viewers would respond, either sympathetically or critically, to the no-tions of life presented in this physical form and in this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’ The design serves as a prompt for an emotional response and as a consequence, encourage discussion.

A design which aspires to provoke a speci-fied emotion is complicated in the Wyndham gateway project due to the breadth of users and context in which the piece will be experi-enced. As a consequence, the proposal shall focus upon the creation of an experience with which the user can engage. The poten-tial for this experience to evolve and change over time of the day and seasons will hope-fully encourage reflection and discussion by members of the Wyndham community of the present changes in their community and landscape also.

Notes1. Williams, ‘Architecture and Visual Culture,’ in Rampley, Ex-ploring Visual Culture, 20052. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012 3. (Morton, ‘Babylonia,’ in ACCA Education kit, Melbourne; ACCA, 2005)4. Wyndham CIty, Western Gateway Design Project, Melbourne;

Wyndham city council, 2011

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Design objective: Egalitarian discourse through the creation of an experience

Herzog and de Meuron - Ornament

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Ornament has consistently been a point of contention in architecture. The Art Nou-veau and Art deco styles illustrated with ornament the new dynamism and energy of the modern period. Previous explora-tions in ornament predominantly focused upon ornament as an applied fixture, very separate from the mass of the building. As a result, ornament was rejected by the In-ternational style as a extraneous trapping of past styles and not to be included in a new rational architecture based on the economy of industry.

Architecture materializes an extensive range of elements, some pragmatic but also many arbitrary, interrelated but often contradic-tory idealizations. These aspirations, while not entirely related to function, are what dif-ferentiates humanity from the animal king-dom and are a vital inclusion in our built form. It is due to these competing factions that successfully balanced architecture is by nature complex and cannot be comprised of a singular element. Nor can elements exist in isolation, as highlighted by the In-ternational style, as units such as ornament consequently loose all significance without

context. It is only when individual units are in dialogue as a whole that the dis-tinction between them dissolves and each alters the conception of the next to create an entirely new architectural expression. Herzog and DeMeuron re-frame ornament, form and structure to inves-tigate how ornament in this manner shifts the conception of space to something transient.

The two dominant walls of the Ricola-Europe SA, Production and Storage building are constructed with translucent poly carbonate panels which have been printed with a repet-itive plant motif. Although weight bearing, the effect of the patterned panels is more like a curtain or robe. Light filtered through the patterning transforms the appearance of the internal space during the day, as the volume seems to shift and recede. At night, the fa-cade material dominates, closing and sealing the volume within the confines of the form and becoming more akin to the concrete capping ends.

There is great potential for the Wyndham gateway to awaken visitors to the subtle qualities of the landscape and surrounding area. Ornament in this case has the potential to break down the solidity of the piece and meld it with elements of landscape to further highlight qualities of Wyndham often over-looked.

Notes1. Ching, Jarzombek, Prakash, A global history of Architecture, New Jersy; Wiley and sons, 20112. Jean-Francois Chevrier, Ornament, Structure, Space. A con-versation with Jacques Herzog, Basel, Winter 20063. Herzog de Meuron, Ricola Europe Storage Building, www.herzogde-meuron.com/index/projects/complete-works/076-100/094-ricola-europe-production-and-storage-building.html4. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012

Design objective: Ornament to enable an interplay

between sculpture and site

Design objective: Units in dialogue to make whole

COMPUTATION

The International style as defined by Hitchcock and Johnson’s influential book, The International Style: Ar-chitecture Since 1922, was a new building typology significant to all areas of the world. The apparent ease of technology to control the extreme temperatures of high altitude bombers in WWII encouraged more dog-matic Modernist architects to believe that this building type was applicable to all climates as a discrete unit, shut off from the environment and independently con-ditioned with machines to the ambient temperature of 24’C. Conditions were treated as black/white, yes/no, light and HVAC system on/off. Grey was not to exist.

A suggested alternative model is the camp fire. With a gradient of heat and light, the inhabitant is able to adjust their comfort by their proximity to the fire. Ad-ditionally external influences such as airflow, drafts ex-perienced by the inhabitant, type/condition of wood use etc will change the experience to create a more threshold/dynamic experience and offer a more flex-ible solution.

More akin to the comprehensive needs of hu-mans is this threshold manner. In order to con-vert this transient model of the campfire into the conclusive mode of built form, a highly complex object must be created. Consider-ation must occur of both the unit scale and the whole, how each affects the other and is also affected by environmental factors. Para-metric design is built around this notion of self organization, where the base geometry is populated by a unit that can be continually altered and updated. Elements respond and adapt to external stimuli which in turn affects the configuration of the adjacent component and the whole until equilibrium is achieved. An entirely unique space is created by an en-tirely unique manifestation of the form. In the case of Daniel Coll I Capdevila’s, ‘Strip Mor-phologies; Design Study for Environmentally Differentiated Healing Environments’ a unique wall configuration creates a specialized variety of conditioned spaces in the aim of terroriza-tion to each hospital, ward (wall itself altered) and ultimately patient (choice of appropriate rooms). As stated by LAB; Industrialization in this case no longer equates to stan-dardization but rather mass customisa-tion.

Like a renaissance sculpture, the Wyndham gateway project is to be viewed from a multi-tude of different angles and scales, both from those immediately going through the gateway and those viewing it from afar. It will also be viewed at a variety of different speeds and heights including pedestrian, car and truck cabin. With parametric design it is be pos-sible to account for each of these instances, and toggle parameters to create a complex work that will be successful from all vantage points while still maintaining it’s character as a whole.

Notes1. Sharp, D, Twentieth Century Architecture, New York; Facts on File, 1991, p102 2. Hensel and Menges, ‘Differentiation and Performance: Mul-tiperformance architectures and modulated environments,’ in Hensel, Menges and Weinstock (eds), Techniques and Technolo-gies in Morphogenetic design, London; Architectural design, 20053. Banham, The Architecture of the Well-Tempered Environment,Chicago, University of Chicago Press, 1973.4. Hensel, ‘Computing self organization: environmentally sensi-tive growth modelling’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Morphogenetic design, London; Architectural design, 20055. LAB architecture, Federation Square Fractal Facade, www.labar-chitecture.com

Design objective: Units in dialogue to make whole

COMPUTATION

Parametric design offers architecture, as a profession, the opportunity to reconsider the role of computers in design. Predominantly computers have simply been approached as alternative drawing implement to the pen and not to be involved in the conception stage due to the perceived risk of thwarting inspiration.

Parametric design places focus primarily upon the process of creation in scripting instead of the final object. The eventual form of the design therefore be-comes an inconsequential by product of this system-atic application of best suited component to script to meet the objective. The postwar functionalists found that this rule based generation of ideas was important when designing new building types that were without precedent. Form was limited by their then current knowledge of what was possible and applicable. Al-ternatively, parametric design as rule based de-sign can be a design tool whose determined focus upon the process enables systematic analysis of the site, brief and even concepts previously considered as ridiculous. Historical applications of this design mechanism include Lewis Carroll’s use of mathematics in his fiction, applying mathematics principles of symmetry and proportion to his writing in order to rationally consider the ab-surd.

R&Sie(n); dynamism

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R&Sie(n) have explored the potential for Parametric de-sign in creating new building types from existing func-tions. The code scripted for the FRAC Center project continued to grow and change from past performed iterations by further adding to it’s own future script. A machine controlled by the script is to adjust the loca-tion and extension of glass rods which projected into the courtyard space to form the circulation spaces for the building. The final outcome of the courtyard space is not a static object which can be idealized by the architects but rather a space which is informed by the history of the action of the machine. Although a chang-ing space is impractical for a programme space such as the intended circulation space for FRAC, the idea of dynamism in both conception and manifestation is something sadly lost in architecture today. Without the systematic approach to design of parametric design, the absurd nature of the project would overwhelm this objective of dynamism. The progressive script also pre-vents the architect from manipulating the script in or-der to achieve a certain preconceived notion of form. This fraudulent approach to parametric design is at risk of becoming commonplace, as designers aim for the parametric aesthetic without comprehending the moti-vations and possibilities of the tool.

As an ever unfinished space, the user is required to consistently engage with the work in order to navi-gate the space. The transient nature of the space, the requirement of active engagement and finally the shock of the unique approach to space is intended by R&Sie(n) to shatter the indifference with which many people view their built environment. Habits and con-forming dull the senses of observation and reflection, so that subtle changes are not perceived. This is partic-ularly prevalent in commuting driving where boredom and habit slowly reduces the alertness of the driver to external stimulus other than the road. It therefore becomes vital for both safety and the success of the project as a point of discussion, that it pro-vides a unique and revolutionary response to the Wyndham Gateway project that continues to change, evolve and involve the user.

Notes1. Inaba, Clouette, Unfinished Business, François Roche Interviewed, C-Lab Columbia laboratory for architectural broadcasting, 2006, http://c-lab.colum-bia.edu/0063.html2. Herbert Matter, Charles Eames and R Buckminster Fuller, Prefabricated Housing, From Arts and Architecture, July 1944R&Sie(n), Olzweg, Paris, 2006 www.new-territories.com/welostit.htm3. Fornes, Scripted by purpose, Philadelphia; Fuel Gallery, 2007. http://script-edbypurpose.wordpress.com/participants/rsie-francois-roche/

Design objective: Revolutionary piece

through a systematic approach to design

DESIGN DEVICES - General Matrix- Reverse Engineer- Process to realize script- Bio-mentor- Project brainstorm- Form exploration - Assembly methods- Materiality and mode of assembly-Performance

1. RECTANGULAR GRID WITH IMAGE SAMPLER

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2. HEXAGONAL GRID WITH IMAGE SAMPLER

3. SETS ATTRACTED TO A CURVE

4. SETS ATTRACTED TO A POLYGON, WITH SETS IN THE NEGATIVE

5. SETS ATTRACTED TO A POLYGON, CHANGES NOT IN SEQUENCE

6. SETS ATTRACTED TO A POLY-GON, CHANGES NOT IN SEQUENCE, SQUARES

9. OBJECT MULTIPLIED AND ROTATED OFF GRID

With the sets attracted towards a central shape such as a star, the pattern could appear to migrate towards the central point and have a more three dimensional appear-ance. If larger numbers are cho-sen, the pattern begins to overlap. Although a little confusing with the hextagon shape (5), when squares are chosen, the over lap forms smaller squares for the over-all pattern (6).

To achieve a further dynamism, a rotation element was introduced to the script. Although the finer grain in the original allows a pattern to be read (9), in the next instance (10) this became to hard to read with the differing sized pieces. The distinct orientation of the squares further emphasizes the rotation of the second to almost appear like a jittering pattern

6. SETS ATTRACTED TO A POLY-GON, CHANGES NOT IN SEQUENCE, SQUARES

7. SETS ATTRACTED TO A POLYGON, CHANGES IN SMALLER SEQUENCE 8. SETS ATTRACTED TO A POLYGON,

PENTAGON

10. SETS ATTRACTED TO A POLYGON, WITH SETS IN THE NEGATIVE IN SE-QUENCE AND ROTATED OFF THE GRID

11. SETS ATTRACTED TO A POLYGON, WITH SETS IN THE NEGATIVE IN SE-QUENCE AND ROTATED OFF THE GRID

When numbers are reduced to negatives, the pattern becomes more clear and fits snuggly within the space (7).

To achieve a further dynamism, a rotation element was introduced to the script. Although the finer grain in the original allows a pattern to be read (9), in the next instance (10) this became to hard to read with the differing sized pieces. The distinct orientation of the squares further emphasizes the rotation of the second to almost appear like a jittering pattern

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Cut pattern is independent of the em-bossing. Circles on a grid are altered in

diameter according to the contrast present in the image.

The ornament of the Herzog and DeMueron De Young Museum breaks up the solid appearance of the facade material to make a permeable skin that erodes the boundary between inside and outside of the building. This transient space within the project is a driver also identifi ed as important to the Wyndham Gateway project. Reverse engineering the parametric design will inform the design process of the Wyndham gateway project. The erosion of distinction in space is further enhanced by the patterns concep-tion from images of dappled sunlight through the trees immedi-ately surrounding the site.

Case study: CUT

The embossing varies in depth according to the contrast present in a different image. Positive embossing where white was present, neutral, as in the original fl at material sheet, for grey and negative debossing for black. This corresponded to the script as a re-mapped values of -1, 0 and +1 respectively

The ornament of the Herzog and DeMueron De Young Museum breaks up the solid appearance of the facade material to make a permeable skin that erodes the boundary between inside and outside of the building. This transient space within the project is a driver also identifi ed as important to the Wyndham Gateway project. Reverse engineering the parametric design will inform the design process of the Wyndham gateway project. The erosion of distinction in space is further enhanced by the patterns concep-tion from images of dappled sunlight through the trees immedi-ately surrounding the site.

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1. SURFACE NORMALPIXEL DATAEXTRUDE

2. GEOMETRY AP-PLIED VIA IMAGE SAMPLER

3. LOFTING GEOMETRYTO DIFFERINGRADII

4. EXTRUSION OF GEOMETRY VIAIMAGE SAMPLER

6. EXTRUSION OFGEOMETRY FROM LEVEL PLANE// HEIGHT DICTATED BY IMAGE DATA

The geometry within the im-age sampler was then adjusted to create the three dimen-sional dimples within the pat-tern (3). These lofts were then tweaked to respond in height (4) and both height and depth (5) of the image sampler also.

When this depth/height varia-tion was applied to the Her-zog and DeMeuron shape it was found that this was not the variation they actually had in the pattern (6). Instead the dimples needed to protrude and retract on either side of the sheet (7). This was then combined with the previous cut pattern to achieve the overall affect (8).

3. LOFTING GEOMETRYTO DIFFERINGRADII

8. FINAL DIMPLED PANEL

6. EXTRUSION OFGEOMETRY FROM LEVEL PLANE// HEIGHT DICTATED BY IMAGE DATA

7. GEOMETRY EXTRUSION DICTATED BY IMAGE SAMPLER // DARK = POSITIVE SHIFT, LIGHT = NEGATIVE

5. CHANGE OF GEOMETRY TORECTANGLES// HEIGHT AND DEPTH DICTATED BY PIXEL DATA

The parametric design tool, Grasshopper, repeats a list of simple tasks in order to create a complex item. The hierarchy between the whole and the geometries which populate it, enables alterations to the in-dividual geometries to impact upon the form of the whole. Computerisation therefore enables quick visualization of forms and changes.

In learning this new program and application to design it was important to break the process down into stages and visualize the effect each com-ponent had upon the whole. Dramatic changes can even be made simply by altering the sequence of set components. A matrix enables clear visu-alization of which element in particular is working where, and which parameters are re-lated to another. The method of ‘Solution Development’, as outlined by Kalay, involves the defi nition of parameters and then the systematic applica-tion of trial and error to realize the end goal. Iterations are then compared to the end goal to determine their validity.

Notes1. Kalay, Architectures New Media, 20042. Burry, Scripting Cultures, 2011

To achieve the pattern, image samplers were used, fi rst one with a more stark contrast and second-ly, a picture more like that used by Herzog and DeMueron of dap-pled light through the trees with a greater variation of gradients. This would form the fi rst element of the pattern, the cut.

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3. Nature as Mentor – Biomimicry is a holistic way of viewing and valuing na-ture. It introduces an era based not on what we can extract from the natural world, but on what we can learn from it.

Janine M. Benyus

The forms of nature are produced by complex principles. Rather than sim-ply applying the given forms of nature, architecture can examine and interpret the underlying principles as a method or script to derive highly sophisticated forms.

Storey Hall was inspired by fractals, self similar patterns, which are commonly found in nature including Romanesque broccolis. The principle of self similar patterns was translated mathematically into the Penrose Tile pattern; flat and thin rhomboids which create a pattern that is identical at the finite small scale and the infinite large scale. At Storey Hall, the Penrose Tile pattern is utilized to organically cover and unite the ex-panse of the facade, walls, floor and ceiling.

The points of inspiration obtained from Wyndham will be approached in the manner of bio-mentor. They will be broken down to their essential prin-ciple and from this script the form of the project will grow. This will further extend the creative freedom produced by scripting through parametric design.

Notes1. Stuart Hanafin, Growth and Replication: Explor-ing Façade Subdivision based on Natural Processes, Geelong; Deakin University, 2011.2. Janine M. Benyus, Biomimicry: Innovation Inspired by Nature, New York; Harper Collins, 2002

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ING The transition between completely different elements by Escher

illustrates how the many complex items of the piece may be unified through morphing.

InnovationNovelty and Positive change

Establishment in context, acceptance is vitalTransforming meaning

BriefNew Identifier

Arrival experienceNew discourse

Integrate site inc service stationAppropriately scaled

Spatial QualityEfficiency

CamouflageCountershading Deer

Compensating application of graded colour. Darker on area likely to be lit by light and lighter

on darker areas so as to appear flat.

Dazzle Zebra:To confuse lions in chase. Difficult to estimate

speed and direction and discern individual animal from pack Materiality Brick: Experimental House by Alvar Aalto

breaks apart the flat surface on the house by manipu-lating bricks to create the appearance of an undulating surface.

The transition between completely different elements by Escher illustrates how the many complex items of the piece may be

unified through morphing.

The Werribee River was referred to as the ‘Spine’ by the local Indigenous people. The spine has connotations of stability as the back bone structure and implies fluid linear direction

Materiality Brick: Experimental House by Alvar Aalto breaks apart the flat surface on the house by manipu-lating bricks to create the appearance of an undulating surface.

The configuration of petals to create a rose is formed in accordance with the Fibonacci rule.

The Grand Alley was a landscaping technique employed in the C19th to heighten the sensation of an entrance. Throughout Australia, the wildlife cor-ridors or parkland by the side of the road often form a similar experience with the established gumtrees reaching over and forming an arch for the road. The dappled light produced by this affect is of great interest

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4. REVOLUTION OF CURVES ALONG A SURFACE AS PER IMAGE SAMPLERS

5. AP-PLIED TO SURFACE IN LIEU OF A

7. CURVES REVOLVED PER GUIDE CURVE WITH MULTIPLE PERP FRAMES

3. CURVES ALIGNED TO GUIDE CURVE AS PER IM-AGE SAMPLER

2. EXTRUSION OFGEOMETRY FROM LEVEL PLANE// HEIGHT DICTATED BY IMAGE DATA

1. CHANGE OF GEOMETRY TORECTANGLES// HEIGHT AND DEPTH DICTATED BY PIXEL DATA

The idea of a surface composed of smaller units which each responded differently to the gradients within a image correlated strongly with the design objectives of units and whole in dialogue (2). While the adjustment of height and depth for units was not appropriate for the Herzog script, we felt that this gave the surface a greater dynamism (1).

7. CURVES REVOLVED PER GUIDE CURVE WITH MULTIPLE PERP FRAMES

8. PRIOR ITERATION WITH ADDED LATERAL ROTATION AXIS FOR EACH SET

6. 3D ROTATION AROUND CURVE AS AXIS WITH MULTIPLE PERP FRAMES

The idea of a surface composed of smaller units which each responded differently to the gradients within a image correlated strongly with the design objectives of units and whole in dialogue (2). While the adjustment of height and depth for units was not appropriate for the Herzog script, we felt that this gave the surface a greater dynamism (1).

Spheres were arranged along a curv-ing surface (3/4/5) and finally a curve with diameter adjusting to an image sampler to achieve this same dyna-mism (6). As this overall form was completely script driven, it was inter-esting how different configurations of the script could produce very different results indicating the configuration of the script can be altered to suit the aesthetic of the designer

The spheres were then ad-justed to rotate also accord-ing to the image sampler to further push the form, and the possible control the script had in it’s configuration (8).

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S The pattern was transferred to the tem-plate board of MDF via a grid which worked to easily locate and scale the pattern. The appropriate divots were then formed by making a small hole

into the board.

The end of a piece of dowel was whittled down to a more smooth,

tapered shape. This was then placed over the sheet of copper shim and

lightly tapped to slowly emboss the metal. This method was inspired by

the process of tempered metal.

Holes were achieved in a similar method but by using a sharper punch, like a sharpened head of a tech-screw

or nail punch

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MaterialityThe sliced form successfully illustrated the transition between each unit to evoke an idea of morphing. The em-bossed metal rosettes manipulate the surface to catch light in different ways according to the different position and intensity of the sun in the sky. The two prototypes produce very disparate re-sults and each is not able to convey both objectives. The sliced form is un-able to show the further break down from the intermediate unit to the detail and each rosette did not relate back to each other on the whole.

Evaluation according to Design ObjectivesThe first exploration of materials and assembly methods for the design ap-plied a systematic approach to all elements within the design. The various units that were included are brought together in dialogue due to the gen-erative process of parametric design. While the variety did produce a tran-sient effect due to relation of the object to the moving spectator in the car, this design objective is not strongly communicated in the form. Neither it-eration is able to provoke an emotional response and encourage dialogue.

PERFORMANCE

Studies performed in the car discovered that shadows do not interact with the car space as hoped but instead would be seen as a flicker due to the speed of the car. The model above highlights the power, which strips of light can have to create a spatial experience in a transient nature when singled out from surrounding shadow. This would effectively be seen on the road in front of the car.

Change in perspectiveThe form created was sliced and split apart to illustrate the gradual changes between two units. While this did enhance the sensation of movement as the form was broken down into rhythmic discrete objects, this experience created a distinct separation between the object and spectator. The design criteria of transitional space implies the idea that the experience is dynamic rather than sim-ply a discrete object and so greater integration of car, site and sculpture is required.

Light

EOI: COMPETITIVE ADVANTAGE

EOI: COMPETITIVE ADVANTAGE- Communication- Refinement- Scale and Experience- Refinement II- Competitive advantage- Learning objectives

As the Wyndham Gateway Project is an abstract sculpture without func-tional purpose, it is important to clearly articulate the message of the project through the object itself. As no clues can be gained from function, all ele-ments including the structure, experi-ence and form must contribute to, and enhance this message. If one element is not in dialogue with the other and is disconnected from the message, the strength of the message will be diluted. For this reason phase two has focused upon clearly communicating the intended message of the piece from all scales including: the small detail scale, the experience of moving through the space and the large scale of the point of observation from the other road. Some elements as a consequence were not scripted in a systematic approach but instead created with the sole objective of enhancing the communication of the message.

Of the design objectives previously identified, the third point of ‘egalitarian discourse through the creation of an experience’ was flagged as a key driver for the success of the project. While the others can be applied to varying degrees of intensity for the success of the project, it is most important that the project embodies and communicates the experience in the design.

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Response to Critique I

Design objectives: - Egalitarian discourse through the creation of an experience- Ornament to enable an interplay between sculpture and site- Units in dialogue to make whole- Revolutionary piece through a systematic approach to design

Response to Critique I

TILED APPLICATION OF DESIRED

GEOMETRY

REPLACEMENT OF HDM DIMPLES WITH MORE INTERACTIVE

TILED GEOMETRY TO HELP CONVEY FORM

CHANGE OF GEOMETRY TO

RECTANGLES// HEIGHT AND DEPTH DICTATED BY

PIXEL DATA

CONVERSION TOCURVED LOFTS WITH

OPENINGS TO ALLOW LIGHT ENTRY AND INTERPLAY

LOFTS APPLIED ACROSS GRADIENT

PATTERN TO CONTROL LIGHT FLOW AND INTERPLAY

REPLACEMENT OF HDM DIMPLES WITH MORE INTERACTIVE

TILED GEOMETRY TO HELP CONVEY FORM

REFINEMENT I

The prototype of phase two examined the manipulation of light through funnelling and the gradual manipula-tions of these forms. The angle of light required to suc-cessfully create an effect through the panel was too spe-cific for application to the project as it would only be effective in creating an emotional response through light to those spectators who visited at that particular time of day. The undulating surface however did capture light and shadow in a dramatic fashion to break up the sur-face form in an exciting manner.

These units were then applied to a general form that would enhance the experience of an emotionally charged space, a constricted dark tunnel that expands out to convey the feeling of release. It was hoped that this surface treatment would dissolve the blunt form a little more and push the object towards more of an ex-periential direction.

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The formal critique highlighted the importance of interrelating the project with the site and context. The scale of the project is much grander than that of past studios within the degree as an ur-ban design project. The specified rate, direction and route of experience is also prescribed due to the nature of car travel which is also unusual. There will be a finite moment in which the mes-sage of the piece must be convey with no chance for the spectator to pause nor take a second glance. Parametric design assists design in these circum-stances due to the simple addition of factors to the rules that generate the design and additionally the ability to rapid form test and alter.

Response to Critique II

Due to the parameters of the site and manner of experience, the start end concept of a tunnel has been discard-ed. Phase three has further developed and refined the successful communi-cation of the message of the project with these ideas particularly in mind. In responding directly to the site, the project will additionally have a greater possibility to be directly relevant to the people of Wyndham and be adopted as an identifier as per the brief. A more generally driven concept may not re-sound with enough conviction with the people of Wyndham for them to take ownership.

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The rule of morphing or gradient is now applied directly to the site to determine the location of units within the proj-ect. This is a shift from the creation of an arbitrary object which is populated with surface ornamentation and does not engage with the site or those experiencing the site. It is through this interaction, that it is more likely to provoke a stronger emotional response as identifi ed earlier. The units therefore become the surface ornamentation to the earth’s surface itself and the whole, linear shape of the site shall be utilized. The rule of morphing will determine the frequency of the units experienced. The node of mass concentrate will reference the camoufl age principle of dazzle from the zebras, where at the speed of the car the quicker frequency will make it hard to discern the individual from the whole.

Surface decoration will also be integrated within the units themselves and will also re-late to this over arching morph sequence. A boolean intersected organic sliver will gradu-ally regain the solidity of its original geom-etry before continuing on to become increas-ingly perforated to allow more light into the node with a higher concentration of forms. This application applies the camouflage prin-ciple of counter-shade, compensating for the mass of concentration with a more transient form. It was found that graduated rings cut from panels could both enable this surface treatment and punctuation on a small scale while boolean intersections were difficult to control in regards to pattern and depth

The units themselves are to also morph in shape from an arbitrary but organic curve to the rectilinear and literal symbol of the home. It is also important to invert the placement in phase two of the literal clue at the beginning of the experience as the speed of travel may require some interlude for the spectator to be prepared for the emotional climatic moment. As a consequence the literal moment has been moved to the middle and the form now comes together to make apparent the idea and then slowly dissolve away in the linear movement of experience.

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GE Werribee is one of the fastest growing suburbs of Melbourne’s metropolitan area. Traditionally it has been de-

scribed as the ‘country suburb’ however recently with this dramatic period of urban growth it’s demographic, and consequently community identity, is in a period of transition. The brief for the Wyndham Gateway project asks for a ‘new identifier for the municipality ...which proposes new, inspiring and brave ideas to generate a new discourse.’ It is for these reasons that this proposal for the Gateway responses directly to the surrounding landscape of the area and also includes a more conceptual element which explores and encourages reflection of where the identity of the municipality is and its future direction.

The strength of this proposal is it’s aspiration to encourage egalitarian discourse through the creation of an ex-perience. An experience, as said prior, cannot be validated or exclusionary by prior knowledge or jargon and is open to many different interpretations and readings by many different people and even the same person on different occasions. It is hoped that this will encourage a personal reflection from all those who travel through the site and enable discussion on the work and as a consequence the area of Wyndham.

Notes1. Wyndham CIty, Western Gateway Design Project, Melbourne; Wyndham city council, 2011

Prior to this subject, you could reason-ably say that I was a computer Luddite. I would hand draw all my plans and this heavily informed by design aesthetic; both in the forms conceived through sketching and how they were communi-cated with the softer, more human scaled value that hand drawn elevations give a project.

Although I had dabbled in computer pro-grams like Autocad and Adobe, this was only when I had been forced. Predomi-nantly I would get the job done and get out of the program back to drawing as quick as I could. Or I would proclaim it as too hard to learn, and stick with the time intense but safe method that I was comfortable with.

This subject so far has forced be to engage with the computer as a tool to further add to my design process. For me personally, Grasshopper has encouraged me to break down the components of my design into smaller rationalised pieces , critically view how they fit together conceptually and link these to create the form. It has been very interesting how this can be a form completely independent of my lim-ited conceptions and more appropriated from the influences gathered from the site to create a more site specific work.

An interesting discovery was the ac-knowledgement that some control and manipulation of the data was required by the designer in order to achieve a form that successfully communicated the mes-sage. In this way, the role of the designer is not made redundant by the program but in a way, made more relevant.

Additionally I now have a greater un-derstanding of how to learn a computer program. That often it is not step by step progressive learning but rather the sys-tematic exploration towards a desired end product. Throughout this course, the point from which I commenced within this system has been closer to the desired end product as my knowledge of the pro-gram, it’s grammar and components has improved.

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ESWerribee is one of the fastest growing suburbs of Melbourne’s metropolitan area. Traditionally it has been de-scribed as the ‘country suburb’ however recently with this dramatic period of urban growth it’s demographic, and consequently community identity, is in a period of transition. The brief for the Wyndham Gateway project asks for a ‘new identifier for the municipality ...which proposes new, inspiring and brave ideas to generate a new discourse.’ It is for these reasons that this proposal for the Gateway responses directly to the surrounding landscape of the area and also includes a more conceptual element which explores and encourages reflection of where the identity of the municipality is and its future direction.

The strength of this proposal is it’s aspiration to encourage egalitarian discourse through the creation of an ex-perience. An experience, as said prior, cannot be validated or exclusionary by prior knowledge or jargon and is open to many different interpretations and readings by many different people and even the same person on different occasions. It is hoped that this will encourage a personal reflection from all those who travel through the site and enable discussion on the work and as a consequence the area of Wyndham.

Notes1. Wyndham CIty, Western Gateway Design Project, Melbourne; Wyndham city council, 2011

PROJECT PROPOSAL

PROJECT PROPOSAL- An Intrinsic Experience- Day and night- Construction and parametric design- Process diagram- Refinement- Pattern and form iteration- Project conclusion- Learning objectives

An Intrinsic ExperienceThe road from the site that leads into the main town of Wyndham, Werribee is a wide boulevard, luxurious in space with mature gum trees draping over and forming a elegant archway to the town. Throughout the day, the light throughout this corridor filters through the leaves to create a soft, dappled pattern on the tarmac of the road. The pattern created by the trees, moves into and out of the car, involving the driver as the pattern changes with the angle of the sun or a passing cloud temporarily blocks the sun.

Rising out of the barren landscape of the site, the user will drive to-wards an organic member which appears to sway with the wind. This member then repeats, and the user drives through a distinct rhythm of light and dark strips. Gradually this rhythm shifts, the perforations in the members increase to create a soft dappled light on the tarmac in front of and into the car itself. The con-trast between black and white, shade and light and this more graduated, atmospheric light is thus highlighted. This climatic moment then fades away as the light pattern returns to the distinct strips at the end of the experience.

The dramatic shift in light for the piece will change throughout the day and seasons as the height and intensity of the sun changes. Commuters who regularly travel through the site at specific times will begin to measure the passing of the seasons by the depth of the pattern created by a lower sun.

An Intrinsic ExperienceThe road from the site that leads into the main town of Wyndham, Werribee is a wide boulevard, luxurious in space with mature gum trees draping over and forming a elegant archway to the town. Throughout the day, the light throughout this corridor filters through the leaves to create a soft, dappled pattern on the tarmac of the road. The pattern created by the trees, moves into and out of the car, involving the driver as the pattern changes with the angle of the sun or a passing cloud temporarily blocks the sun.

Rising out of the barren landscape of the site, the user will drive to-wards an organic member which appears to sway with the wind. This member then repeats, and the user drives through a distinct rhythm of light and dark strips. Gradually this rhythm shifts, the perforations in the members increase to create a soft dappled light on the tarmac in front of and into the car itself. The con-trast between black and white, shade and light and this more graduated, atmospheric light is thus highlighted. This climatic moment then fades away as the light pattern returns to the distinct strips at the end of the experience.

The dramatic shift in light for the piece will change throughout the day and seasons as the height and intensity of the sun changes. Commuters who regularly travel through the site at specific times will begin to measure the passing of the seasons by the depth of the pattern created by a lower sun.

The sculpture itself forms a dialogue with the sur-rounding landscape by referring to the two vastly different landscape types nearby. When approaching from Geelong, the piece begins organic and devoid of surface treatment. As one progresses through, the members change intensifying the experience. The organic, as reference to the surrounding landscape, morphs into the rectilinear and more recogniz-able symbol of the home. This is the embodiment of Wyndam’s evolving state as a suburb. The form then returns back to an organic form to illustrate how Wyndham’s connection to the city as a suburb is not yet consolidated.

It was important that each member read as a contri-bution to the experience itself and not an individual object. In order to achieve this, the pattern of light and shade created by the members was manipulat-ed to form a striking and engaging experience. The rhythm of the members quickens and their thickness increases towards the middle point almost joining to eliminate the large punctuating strips of light. The principle of countershading camoufl age was applied to increase the perforations at this darkest point to shift to a new dynamic play of light. The testing of prototypes has highlighted that this central point forms the climactic moment of the experience.

In a nod to the nearby icon of the Werribee open range zoo, the form of the design itself employs a technique similar to the dazzling camoufl age of the zebra. This softens the outline of each discrete member and the surrounding landscape, dissolving the distinction and enabling each to add to the read-ing of the other. In this way, a dialogue is formed between the work and the site to better integrate the two.

The Experience Driving through

The change in experience throughout the day

North East Elevation

South West Elevation

North West Elevation

North West Elevation South East Elevation

DAY AND NIGHT

The nature of the project changes dramatically again when experienced at night. The headlights of the cars travelling through the project will light up the perforations and strips of light will emanate out of the project in stark contrast to dark night. As the cars travel through, these strips of light will move in angle relative to the location of the headlights. As viewed in the stills from the stop motion movie, this cre-ates an exciting and dynamic sequence that emphasizes the proximity and position of the headlights relative to the proj-ect. This will ensure that the project remains a dynamic and experience orientated sculpture rather than just the dramatic spot lighting affect common to road side sculpture. This will best be experienced by those travelling along the Geelong bound road, essentially includ-ing all parts of the site. The op-position of direction and speed will further enhance the feeling of dynamism for the project. As the source of the light and the viewer hurtle towards each other, the sense of a climatic moment for the project is strengthened in this case.

Digital design has radically altered the clear distinction between professional services and the idea of authorship. Throughout their en-gagement with digital design, McBride Charles Ryan have found that their work flow and re-lation to other professions has also had to al-ter in order to achieve this new building type. With the traditional linear work flow, it is be-grudgingly accepted that each profession will alter, shift and slightly corrupt the initial idea to a point where it is hard to recognise. File sharing and the complete integration of all professions from the very beginning enabled McBride Charles Ryan to best avoid this cor-ruption for the VCCC. Collaboration with all involved parties throughout the entire design and construction process ensured that all par-ties know of the limitations and advantages of a particular chosen method to create a more integrated and unified product rather than try-ing to force fit a solution at the end of design. This proved to be a far more efficient and ac-curate method of design and is hoped to pre-vent a significant proportion of problems and errors encountered on site which result in lengthy time delays and increased costs.

This integrated design process will ensure that the complexities of this proposal for Wynd-ham are realized in a sophisticated and uni-fied manner. The prior resolution of the design as a built object will also provide accurate cal-culations of the steel required for the project, estimated cost, and schedules for construc-tion. Together these will minimise disruption to the use of the road and ensure an efficient construction period.

To maintain the curvaceous lines of the mem-bers of the project in built form, inspiration was taken from Gehry’s Bilbao. A frame of structural steel was divided into segments to create a truss that closely followed the line of the curve. Angles were then further smoothed by cleats which projected out from the frame

CONSTRUCTION AND PARAMETRIC DESIGN

and over which the sheet metal of the cladding was stretched over like fabric. These projec-tion of these cleats could be easily adjusted on site to best create the curve with the inclusion of large notches for movement tolerance. A bracket which holds all five sheets of the per-forated sheet metal would be required for the road side panels of this proposal for the Wyn-dham Gateway.

The line of the curve could be best replicated by cutting the profile of the steel sections to match the line. This can be seen in Denton Corker Marshall’s South Bank Arbour, Bris-bane, discovered late in the design process. This project however is of a significantly small-er scale and without the dramatic cantilever as seen in the proposal for the Wyndham Gate-way. As a consequence, the greater strength and material efficiency inherent in a truss is required for this project.

A ridge beam and bracing, reminiscent of house construction would extend from the middle member This member is connected to both sides of the road and from which the other cantilevered members could hang from like a curtain wall. An extensive footing sys-tem would be required for each member to counteract this weight.

Notes:1. Williamson, ‘Studio Air 2012: Lecture 09 Project Delivery - Digital Fabrication’ Melbourne; University of Melbourne, 2012. 2. Iyengar, Novak, Sinn, Zils, ‘Steel Flower,’ in Modern Steel Con-structions, July 1998.3. DCM, ‘South Bank Arbour,’ Melbourne; DCM.

Construction Vertical Section 1:200Horizontal Detail Section 1: 5

DCM, South Bank Arbour

Gehry, Guggenheim Bilbao

PROCESS DIAGRAM

Form segmented and divided Pattern and form integrated

Frame and pattern sheetsseparated. Pattern sheets unrolled. Frame includes an additional offset piece to which the pattern is attached. All laser cut

Perforations to follow pattern

Graduation and size adjusted to be more central

Frame and pattern sheetsseparated. Pattern sheets unrolled. Frame includes an additional offset piece to which the pattern is attached. All laser cut

Pattern sheets glued to frame sequentially

Capped by other frame Bracket glued to piece and screwed to board

The ability to quickly produce these iterations enabled us to further refine the proposal to better communicate the message intended by the piece

after the first prototype (1). The transi-tion from an organic line to the more

rectilinear was exaggerated to be more easily read from the car with the

smoothing of the organic ends and sharper angles for the rectilinear mem-bers (2). The diameter and graduation

between the layers of the perforation was adjusted after it was revealed in

the prototype that the pattern created by the shadows was diffused by the

larger holes (3). The grain of the pat-tern was also made finer so that it was

more possible to read (4).

REFINEMENT: COMMUNICATION OF THE MESSAGE

(1)

(2)

REFINEMENT: COMMUNICATION OF THE MESSAGE

(3)

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Surface divide u41

Surface divide u76

Surface divide u150

Surface divide v3

Surface divide v5

Surface divide v8

Surface divide v12 Image Sampler 6

Image Sampler 8

Image Sampler 14

Number of ColumnsInfluences the grain of the pat-tern, the middle value was chosen here as the number of columns best conveyed the pattern without overcrowding

PATTERN ITERATION

Image Sampler 1

Number of RowsInfluences the grain of the pattern, a larger value chosen to stretch the pattern to be read across the full shape .

Circle DiameterMiddle value chosen to best achieve a graduation in perfora-tion size without overcrowding

Finer grain, but over populates membersSurface Divide u150, v26,Image sampler 11

Image Sampler 6

Image Sampler 8

Image Sampler 14

Domain B3

Domain B5

Domain B12

Image Sampler 1

Circle DiameterMiddle value chosen to best achieve a graduation in perfora-tion size without overcrowding

Number of Rows, Columns and DiameterAbility to adjust all elements of the pattern in unison to achieve the best combination of elements.

Chosen Pattern, best communicates pattern, graduation and space for membersSurface Divide u76, v12,Image sampler 6, Domain B5

Graduation but pattern lost with gapsSurface Divide u44, v26,Domain 9

Engorged graduationSurface Divide u57,Image sampler 9

Simplified pattern without graduationSurface Divide u150, v26,Image sampler 15,Domain 16/14

FORM ITERATION

Member WidthThicker members allow greater area for patterning but will not al-low a finer graduation of the shape of the members from organic to rectilinear and out again

BalanceA balance between pattern area and quantity of members for a finer graduation in both member shape and degree of perforation

BalanceA balance between pattern area and quantity of members for a finer graduation in both member shape and degree of perforation

Quantity of MembersGreater quantity of members within the space will enable a smoother graduation of the mem-ber shape but skinnier members would be required.

PROJECT CONCLUSIONAn experience has the power to be appreciated in a mul-titude of different ways by different people or even by one person at different times of day, seasons or moods. It is also more egalitarian than an object as it does not rely upon prior knowledge or jargon for engagement.

The experience of the Wyndham Gateway will highlight the elements which comprise the site and the community of Wyndham to create an experience which will reso-nate strongly with all who travel through the site. The subtle changes which thus occur to the experience through different interpretations and changes in season and time will hopefully encourage both visitors and members of the community to reflect upon the area and the changes it is experiencing with pride.

FINAL LEARNING OBJECTIVES

In the second stage of this semester, many more of the learning objectives became apparent. Our focus in learn-ing shifted more towards the communi-cation of an idea and less upon basic Grasshopper skills. It was in this stage that I began to notice the more subtle benefits of Grasshopper and the new di-rection of design this presented.

This included the possibility of version-ing. As stated before, the designer is still required to manipulate the final produced form to best communicate the intended message and it is through versioning that this can easily occur. For this proposal, we produced many it-erations of the depth and concentration of the members and the corresponding size of the perforations. We then had the ability to chose the combinations which best conveyed our message of dappled light without too strong a feel-ing of enclosure.

Both this versioning and performance based work affected the time required for designing. The traditional process involves a period of refinement, usually aesthetic based and guesses on perfor-mance. Rhino enabled us to speed up this process, simulating performances and adjusting the design in real time to achieve the best result.

While the first stage of the project en-couraged the students to produce the most radical and parametrically driven piece possible, in the second stage it became more apparent those projects that had created works without regard to the site, context or purpose for which they were initially briefed upon. Many amazing forms on the computer screen looked at odds with the environment in which they were situated. Although the performance of their sculpture may have been tested in real time, their relation to the real world scale was not as highly polished. Our issues with scale further emphasized to me the importance of working with the site in real scale from the very beginning, regardless of work-ing by computer or hand.

One of the greatest strengths of this sub-ject not listed in the learning objectives however is the negotiation of group work. Although we have worked before in groups, never in a studio or for such a large project. It was very informa-tive for me personally, how our group approached each task and what meth-ods of approach were most effective. I learnt to better express my ideas at an earlier stage rather than waiting for a week or so for them to be more resolved for easier articulation. Being forced to explain a design at this stage would require me to realize the more vital parts of the idea and those which were weaker as I had more trouble convey-ing. One of the greatest challenges for our group was the union of very diverse aesthetic tastes, almost as diverse as the community of Wyndham itself. Being close friends, we were all very willing to compromise however in this there also lies a danger. Instead of a work that strongly articulates one message, initial-ly we attempted to express all in a very egalitarian manner. We were fortunate that our response to the brief in this case was similar and we had time over the semester to refine and strengthen the message of the work. This experience and the skills I have thus learnt will pre-pare me well for my next stage into pro-fessional practice next year.

In the future, I hope to engage with Grasshopper in a different manner. Rather than trying to dictate what should be built from ideas conceived by sketching and then as a consequence fighting to resolve the two different me-diums, I now believe that work intend-ed to be created in Grasshopper should start in Grasshopper. Sketching and ex-perimenting should therefore take place in Grasshopper as this will further ex-tend the piece away from simply what the designer can personally conceive to the breadth which rule based design can conjure.

The End