FINAL JOURNAL

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WEEK 01ARCHITECTURAL DISCOURSEZAHA HADID|GUANGZHOUOPERAHOUSEThe state of the art opera house was designed and constructed over 8 years (2003-2010) reflects Hadids love of contemporay yet simultaneously naturalistic form. The form resembles two large boulders and an inviting promenade has been sculpted from the landscape, beginning from the opposite side of the central boulevard and winding towards the entrance of the opera house.

The opera house is located at the centre of Guangzhous cultural district. The twin bolder form works in harmony with the sour-ounding city, the structure opens the adjacent buildings up to the Pearl River and creates an inter-esting contrast from the formal-ity of the sky-scrapers surround-ing the naturalistic structure.

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The architectural significance of Hadids structure is highlighted through its form, and the design intent behind the structure. Hadids building evolved through taking inspiration from the natural world (a contrast from Chinas concrete jungle). The idea arose from the concept of a natural landscape and the relationship between architecture and nature. The key ideas for Hadids inspiration were the principles of erosion, geol-ogy & topography. The inspiration behind the Unique Opera house pro-vides a relationship between the precedent and the EOI proposal. It is important that the Gateway take inspira-tion from the surrounding landscape and topography. I think this idea of responding to the natural environ-ment will provide a strong response to the design brief. Zahas inspiration is abstract and not obvious to those who dont look to find a deeper meaning which is a strong concept for the design of the gateway project.

the installation need not be literal or didactic in its refrences, as it may capture a more abstract, aspira-tional intent or feeling - design brief

architecture and visual culture...the term architecture applies only to buildings designed with a view to aesthetic appealThe week 01 Richard Williams reading highlights a strong realm of the architecture industry which is treating the profession as a form of Visual Communication. Hadids buildings are very much works of art with the apparant design intents and attention to aesthetic appeal. The interesting relationship in this precedent is how Hadid has created art, for art and how the building responds to the intended purpose of the performing arts. The natural form of the building reflects the grace of Opera and expresses the purpose and art that will be carried out in the structure.

WEEK 02COMPUTATIONAL DESIGNMICHAEL HANSMEYER|VOXELS

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Michael Hansmeyer is a post-modern architect who incorporates algorithmic (artificial) and CAD software techniques to create structures and architectural forms. He is apart of the CAAD (com-puter aided architectural design) group at ETHs architecture faculty in Zurich.

Voxel is short for volume pixel, the smallest distinguish-able box-shaped part of a three-dimensional image. Voxels (volumetric cells) are a volumetric element that represent a single sample, data point or value on a regu-lar grid (e.g blocks) in 3-Dimensional space. Voxels use a procedural approach to creating form rather than working with surfaces, (such as pixels which use 2D image data).

Basic diagramatic explanation of a single voxel in 3D space.

In Hansmeyers subdivision projects (shownright) the Voxels are used as the basic geometry. Hansmeyer uses this ap-proach in certain projects such as pla-tonic solids (main image) and Columns (below) as the basic geometric form.

MEDIAdesign is the epitome of intelligent behaviour, it is the single most important ability that distinguishes humans from other animals - Jacob Bronowski

from sketches to scripts... A rhinoscript and Frank Lloyd Wrights section of

Fallingwater

ARCHITECTURES NEW

Computational architecture is further removing architecture from traditional methods of design. The ability to manipulate and incorporate these software techniques advances many areas of the field of architecture, but equally neglects certain as-pects. The profession is being further advanced with the contin-ually innovative ways to experiment with form. Computational design can be critiqued as removing the single aspect away from what makes the architecture field so artistically extroardianry. Although the idea is dismissed (Stanislavs notes) the ability to design distinguises the artist from the mere artisan 5, and as computers lack any design intuition (lets hope they ever will), why are we relying on technology to assist in one of the only remaining fields that cannot be succumbed to robots. Compu-tational design provides many advantages for creating form but also if used in-correctly can possibly delete the need for any passion or desire to drive.

WEEK 03PROGRAMING/SCRIPTING CULTURES

Alisa Andrasek is an experimental practitioner and research based educator of architecture and compu-tational processes in design. In 2001 she founded biothing, a cross-disci-plinary laboratory that focuses on the generative potential of computational systems for design.

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Biothing - exploring the shift from techni-cal based approaches to the more explicit computational approach. This is done by engaging with scripting in an open source manner. This scripting culture addresses a growing trend of collective computational knowledge within a discipline (in this case architecture).

removing the technic al ability of architects as designers?

it is the means by which the user gives highly specific instructions to the computer with which they are interacting.

The ever-arising ability for designers to rely on computers is creating a poten-tial for designers to spend more time on design thinking. The ability to script or program computer software is creat-ing opportunities for users to escape the screen presented in-front of them and escape the parameters of the software set in place by the makers.

positives of scripting include: The ability to adapt and custom-

ise software; expanding traditional boundaries.

modifying software, rather than using it with its intended use.

presenting opportunities for the de-signer to escape the strictures inher-ent in any software.

negatives of scripting include: the implications of lower- level com-

puter programming placing trust in its intirety in comput-

ers.

EXPRESSION OF INTERESTThe organic form highlighted through biothing, presents a free form that resembles what can be seen in the natu-ral environment. The ability to create this organic form provides a method of inspi-ration that can be used to communicate the idea of the natural environment within the gateway project.

WEEK 04CUT DEFINITIONS

Attractor Point

Arbitrary Points Boolean Pattern Curve Intersections

Explicit Grids Overlapping Pattern

Surface Grids Using Surface

Curve Attractor

Image Sampler

Maths Function

Multi Maths Function

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The first table of the matrixs is developed through the combination of the input definitions and the associationdefinitions.

The second table of the matrixs is developed through the combination of the out put defini-tions, combined together with the above outputs of the combined input/association definitions.

WEEK 04CUT DEFINITIONS

Arbitrary PointsAttractor Point Curve Attractor Maths Function Multi Maths

FunctionStreaming Text Sets

Data Driven Rotation

Data Driven Extrusion

Boolean InputAttractor Point Curve Attractor Maths Function Multi Maths



Curve IntesecAttractor Point Curve Attractor Maths Function Multi Maths



Data DrivenExtrusion

WEEK 06CASE STUDY

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A 3-story steel and glass structure surrounded by a kinetic screen of tens of thousands of 51/2 inch translucent white acrylic panels that flutter in the wind, creating a dynamic surface responds to air movement in beautiful and unpre-dictable ways.

NED KAHN|CHILDRENSMUSEUMOFPITTSBURGH

A RESPONSIVE STRUCTURE A RESPONSIVE STRUCTURE

The museum is appropriate for the Gateway project in the way it responds to the movement of the out-side world. The design for a gateway should respond to movement in a visible manner by some-how transforming or appearing to transform from the eye of the on-looker.

This establishes the con-cept of peripheral vi-sion and how our vision can change at different scales and positions. This structure acknowl-edges a similar concept, by changing scales and aesthetics from the influence of the wind. The gateway is going to change aesthetics through the influence of movement.

WEEK 06CASE STUDY NED KAHN|CHILDRENSMUSEUMOFPITTSBURGH RHINOCEROS

A snapshot of the job that was sent to the fab-lab. Only the four rectan-gular panels were worked on within this precedent. The non-linear shapes were printed for a mem-ber within my group who worked on a different precedent.

These two panels were created on Rhinocer-ous as an attempt to mimick the form with parametric modeling, laser-cut and then re-create the structure manually. A mistake I made was to create an entire 4-sided square shape, it should have been 3-sided so as that one side of the shape was still attached to the rest of the form, making it respond to outside elements (air, water) better.

These two panels, though do not relate to the precedent were produced as a way to experiment with how different shapes work within the same form.

WEEK 06CASE STUDY NED KAHN|CHILDRENSMUSEUMOFPITTSBURGH MODEL PHOTOS

Please use the following free fonts in your journal: -

DIN 1451 Std : Engschrift

DIN 1451 Std : Mittelschrift

DIN 30640 Std : Neuzeit Grotesk Bold

Wyndham City Gateway

PRODUCED BYXINTI WEI 233865

MAN HO KWAN 560886KIA TZOUNOS 390419

AT A GLANCE

WAS THAT A CAT OR A LION?

Whilst driving at speeds of 100km/h city bound on the Princes Freeway, it is easy for visuals to slip the mind.

Focused drivers do not recall the bridge they travelled under, or the many signs they passed, with only a destination in their vision.

The gateway they pass entering Wyndham will create uncertainty. They will see a form at first and then it will transform and before

At a glance 01Contents 02GROWTH 04Scripting possibilities 06Interaction 08Integration 09This is Wyndham 11Digital Fabrication 13Form 15De-flatten surface 17Pico-Motion reaction 20Deployment 21Construction 23The peripheral 25Vision 25

CONTENTS

ORGANIC FORM the organic form highlighted through biothing presents a free form that resembles what can be seen in the natural environment. the ability to use scripting to create this organic form provides a method of inspiration that can be used to communicate the idea of the natural environment withing the gateway project. it is important to use nature and the surrounding environment as a method of igniting inspiration within this project. there needs to be a relationship between the gateway and the surrounds, and biothing and

GROWTHBiothing explores the shift from technical based approaches to more explicit compu-tational approach. This is done by engaging with scripting in an open source man-ner. This scripting culture addresses a growing trend of col-lective computational knowledge within a discipline (in this case architecture).

THIS PROCESS AFFORDED US A REPERTOIRE OF SUFFICIENT RICHNESS AND COMPLEXITY TO APPROACH URBAN RE-GENERATION PROJECTS WITH MULTIPLE SIMULTANEOUS STRATEGIES.- ZAHA HADID ARCHITECTS

SCRIPTING POSSIBILITIESParametric design allows architects to dis-cover our environment from a data-driven viewport.

A SUSPENDED GEOTEXTILE THAT GRADUALLY ACCUMU-LATES HYBRID SOIL FROM IN-GREDIENTS DRAWN FROM ITS SURROUNDINGS. - HYLOZOIC GROUND

Nature: an ever occur-ring process of actions and reactions. Leaves fall, seasons change. It is apart of life for humans to interact, grow and change. In Philip Beesleys Hy-lozoic series, he created a delicate system that reacts to the presence of action. The surface almost breathes while it changes creating an interaction between the

viewer and the object in-front of them.

The process of integra-tion not only demands the designer to imagine the project, but also use the advantages of com-puterised techniques to put the designer inside and out of the project simultaneously. This al-lows further manipula-tion of the project with a more wholistic hori-zon of perception to the project. Contemporary reinterpretations such as these can bring architec-

A SIMULTANEOUS, SYNCRETIC AND MULTI-SENSORY IMAGINATION AND AN EMBODIED EMPATHY THAT ARE CER-TAINLY BEYOND THE CAPACITIES OF THE MOST POWERFUL OF COMPUTERS.- HENRY MOORE

THIS IS WYNDHAMIgniting interest.

Wyndham city is currently home to wetlands, a state of the art equestrian centre, vineyards, and a growing social culture. The gateway will reflect the growing population and will defy the initial expectation people feel when travel-ling to Wyndham.

Stimulating growth

DEFYING EXPECTATION

BIO-INSPIREDINTERACTIONINTEGRATION

DIGITAL FABRICATION

Attractor Point

Arbitrary Points Boolean Pattern Curve Intersections

Explicit Grids Overlapping Pattern

Surface Grids Using Surface

Curve Attractor

Image Sampler

Maths Function

Multi Maths Function

Streaming Text

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Computational enables the form respond more quickly to input, being interactive with data instead of pen strokes. Grasshopper with Rhi-no allows us to associ-ate data input with any

contour and rapidly reflect the progress on screen.

Arbitrary PointsAttractor Point Curve Attractor Maths Function Multi Maths



Data Driven Extrusion

Boolean InputAttractor Point Curve Attractor Maths Function Multi Maths



Curve IntesecAttractor Point Curve Attractor Maths Function Multi Maths



Data DrivenExtrusion

FORM

WHILE PHYSICAL FORM CAN BE DEFINED IN TERMS OF STATIC COORDINATES, THE VIRTUAL FORCE OF THE ENVIRONMENT IN WHICH IT IS DESIGNED CONTRIBUTES TO ITS SHAPE, THUS MAKING THE FORCES PRESENT IN THE GIVEN CONTEXT FUN-DAMENTAL TO THE FORM MAKING IN ARCHITECTURE.- GREG LYNN

A Mbius is a surface with only one side and one boundary component. The shape a Mbius forms has ignited an initial con-cept for the gateway project. Located adjacent to the Princes highway, the structure needs to represent motion, speed and time, these factors are high-lighted through the Mbius form. Through experimentation with the Mbius loop, two sets of physical models( interlocked & linked) were created. We were able to get an array of results relating to form, space, light and

WHILE PHYSICAL FORM CAN BE DEFINED IN TERMS OF STATIC COORDINATES, THE VIRTUAL FORCE OF THE ENVIRONMENT IN WHICH IT IS DESIGNED CONTRIBUTES TO ITS SHAPE, THUS MAKING THE FORCES PRESENT IN THE GIVEN CONTEXT FUN-DAMENTAL TO THE FORM MAKING IN ARCHITECTURE.- GREG LYNN

DE-FLATTEN SURFACE

The irregular surface is being visualized by a waffle. The contour is visible when viewed from the side but dis-appears when viewed

from the top.

The waffle uses light to its advantage casting over-lapping shadows when in direct sun-

from the top.

The waffle uses light to its advantage casting over-lapping shadows when in direct sun-

PICO-MOTION REACTION

DEPLOYMENT

The gateway project will be located on site a. Site

a is the largest site and provides a greater op-

portunity for motorists to view the structure without

being pre-occupied from the road. As we are trying to achieve different views

and scales of the structure at different points, site a

lends itself to achieve this.

CONSTRUCTIONCONSTRUCTION EXAMPLEQUANTUM MANCHANGING THE WAY WE VIEW MATERIALS

Artist julian voss-andrea created the sculpture quantum man in 2006. The steel sculpture of a walking human was created as a quantum object, a moving object that consists of waves orientated perpendicu-lar to its direction of motion. The sculpture appears first to be a solid form made up of dark steel, how-ever when viewed from the side dissolves into almost nothing.

Although the artist intended the sculpture as a metaphor for the world of physics, this is a strong concept which can be related to the idea peripheral vision, or tunnel vi-sion which is a main theme behind our future design for the gateway project. The idea of peripheral vision pushes the way we view materials and objects at different viewpoints and scales,

STEEL Cut vertically and oriented in such a way to create an optical illusion. The steel cut into thin slices can be connected to one an-other in a way to create any desired form. The form is then viewed from certain points but when viewed directly side on, disappears. This is therefore using material for a greater intention than initially

THE PERIPHERALVISION

THE PERIPHERALVISION

THE TASK OF ARCHITECTURE IS TO STRENGTHEN OUR SENSE OF THE REAL, NOT TO CREATE SETTINGS OF MERE FABRICATION AND FANTASY. THE ESSENTIAL MENTAL TASK OF THE ART OF BUILDING IS MEDIA-TION AND INTEGRATION.- PROF. JUHANI PALLASMAA. HELSINKI UNIVERSITY

WEEK 08 - WEEK 12DESIGN PROJECT: GATEWAYPERIPHERAL|VISION

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A strong precedent which materaialises our concept. The form changes as your line of vision does.

Our project is ignited by the sensation of uncertainty. We are using a concept that many feel when driving. Drivers are often in auto-pilot and will forget about if they are going the correct way, taking the right turns, if what they thought they saw was correct, we want to relay this, and need to find a form that represents this concept and ignites uncertainty.

PERIPHERAL VISION IS A METAPHOR FOR THE WAY WE MISS ELEMENTS OUT-SIDE OF OUR DIRECT LINE OF VISION WHEN DOING CERTAIN ACTIVITIES (SUCH AS DRIVING), PERIPHERAL VISION PLAYS WITH WHAT WE PERCEIVE AS REALITY. THE PART OF VISION THAT OCCURS OUTSIDE THE VERY

CENTER OF GAZE

WEEK 08 - WEEK 12DESIGN PROJECT: GATEAYMOBIUS|STRIP

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THE MOBIUS STRIP IS AN IIREGULAR FORM THAT CAN COMMUNICATE OUR DESIRE TO ACHIEVE DIFFERENT FORMS WHEN VIEWED DIFFERENTLY. THE INTERESTING SHAPE COULD BE SLICED HORIZONTALLY OR VERITICALLY AND MADE FROM THIN SLICES OF STEEL TO ACHIEVE THE EFFECT THAT IT IS DISAPPEARING AT CERTAIN POINTS. THESE POINTS WOULD BE WHEN THE SURFACE APPEARS AT ITS FLATTEST (SHOWN ABOVE).

WEEK 08 - WEEK 12DESIGN PROJECT: GATEWAY

RELYING ON THE UN-KNOWN

CHANGE OF FORM

Through constant ex-perimetnatation of the mobius strip, we found that we would not be able to achieve the level of invisibility that we want to with this form. There fore we had to re-consider using this as our form as it could not achieve our concept appropriately.

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Tensegrity is a structural principle based on the use of isolated components in com-pression (green) inside a net of continuous tension (red).

To determine the location and layout of the new form, push/pull factors were in-corporated to ensure that the layout wasnt to random. These factors were elements such as: nature, and port phillip bay.

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DETERMINING THE NEW FORM

CHANGE OF FORM

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FINAL JOURNAL