JOURNEY THROUGH AN NON-EXISTENT CITY

CHRISTOPHER MARINOPOULOS539374SEMESTER 1 2013TUTORIAL 8&9: GWYLL AND ANGELA

CONTENTSCONTENTSINTRODUCTION 4

PART A: EOI I: CASE FOR INNOVATION - A.1 ARCHITECTURE AS A DISCOURSE 7 - A.2 COMPUTATIONAL ARCHITECTURE 12 - A.3 PARAMETRIC MODELLING 18 - A.4 CONCLUSION 24 - A.5 LEARNING OUTCOMES 25

PART B: EOI II: DESIGN APPROACH - B.1 DESIGN FOCUS 26 - B.2 CASE STUDY 1: VOUSSOIR CLOUD 35 - B.3 CASE STUDY 2 36 - B.4 ALGORITHMIC EXPERIMENTATION 40 - B.5 PROTOTYPE 42 - B.6 TECHNIQUE PROPOSAL 45 - B.7 LEARNING OUTCOMES 48

PART C: PROJECT PROPOSAL - C.1 DESIGN CONCEPT 50 - C.2 TECTONIC ELEMENTS 51 - C.3 PROTOTYPING 52 - C.4 ALGORITHMIC DESIGN OF FINAL FORM 54 - C.5 FABRICATION PROCESS 58 - C.6 FINAL MODEL 61

CONCLUSION 67

INTRODUCTION 4

PART A: EOI I: CASE FOR INNOVATION - A.1 ARCHITECTURE AS A DISCOURSE 7 - A.2 COMPUTATIONAL ARCHITECTURE 12 - A.3 PARAMETRIC MODELLING 18 - A.4 CONCLUSION 24 - A.5 LEARNING OUTCOMES 25

PART B: EOI II: DESIGN APPROACH - B.1 DESIGN FOCUS 26 - B.2 CASE STUDY 1: VOUSSOIR CLOUD 35 - B.3 CASE STUDY 2 36 - B.4 ALGORITHMIC EXPERIMENTATION 40 - B.5 PROTOTYPE 42 - B.6 TECHNIQUE PROPOSAL 45 - B.7 LEARNING OUTCOMES 48

PART C: PROJECT PROPOSAL - C.1 DESIGN CONCEPT 50 - C.2 TECTONIC ELEMENTS 51 - C.3 PROTOTYPING 52 - C.4 ALGORITHMIC DESIGN OF FINAL FORM 54 - C.5 FABRICATION PROCESS 58 - C.6 FINAL MODEL 61

CONCLUSION 67

INTRODUCTION

My name is Christopher Marinopoulos, and I am undertaking my third year in the bache-lor of Environments, majoring in architecture. This journal will show my progress throughout the subject, starting from existing knowledge and developing it into a more developed skill set of modelling, computatational deign and many solutions of completing design tasks. I have completed three studios, getting insight into design decisions, problems and briefs, although more design tasks will be helpful in developing design skills which can be hard to understand in theory, and only leaarnt through practice. I have always had an interest in geography and places, and I am learning to combine new skills in design with existing knowledge.

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Previous Design Skills Throughout the Bachelor of Environment’s first two years, I have developed some new skills, especially in computer modelling, fabrication and some rendering. Through Virtual Environemnts, there was a majority of design through Rhino, including lofting, panelling tools, fabrication and construction of a model (see top picture), in the form of a wearable head sculpture. Through other design subjects, introductions to AutoCAD and rendering of models (3DS Max) (3) have given widespread exposure to digital processes that can help in designing and visually presenting ideas. I have had exposure and some prior knowledge of digital architecture, through seeing precedents such as the Guggenheim museusm in Bibao’s process of computerisation of sketches into models, as well as concept models of high rise build-ings, such as the Eureka Tower in Melbourne. I however have not been shown the in depth process-es of computational design be-fore attending university.

1 Final Model, Virtual Environments2 Rhino Panelling Tools, Virtual Environments3 3DS Max Rendering, Site Tectonics

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Part A. EOI I: CASE FOR INNOVATION

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A.1 ARCHITECTURE AS A DISCOURSE

Architecture is a vital part of society, important in its cultural and social value, the most public form of artwork, that can achieve discussion that nothing else in a place can do as well.this can be done by addressing architecture as a discourse rather than just a building.

“Architecture is the most public of the arts. It is inescapable of anyone living in urban society.

Works of architecture frame our lives”Richard Williams. Architectural and Visual Culture

The ideas generated can also be considered a form of architecture, addressing issues and establishing new forms and ideas. This can be shown by the group Archigram, whose ideas of how cities could work through visual diagrams and drawings allowed for discourse for society and allowed for discussion, such as the Walking City (1964) and Plug-in City (1964). These ideas were never actually built or put into real cities, but gave ideas that challenged the exisiting thoughts of what a city has to be.

Projects that use forms and concepts in a cre-ative and imposing way can create greater con-nection between the structure and the users, creat-ing a conversation that is positive to a place’s image and intrigue.

Archigram, A Walking City (1964). Source: http://www.theuniquecreatures.com/archigram-60s70s-architectural-avant-garde/

Archigram, Plug in city (1964). Source: http://va312ozgunkilic.wordpress.com/2010/12/07/archigram-plug-in-city/

Ordos Art and City Museum of Inner Mongolia (2011). Source: http://entertainment-designer.com/news/museum-design-news/the-or-dos-art-and-city-museum-of-inner-mongolia/

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UNStudio, Burnham Pavillion, Chicago, 2009

The Burnham pavillion by UNStudio is small temporary pavillion that is an example of how architecture can create a specific idea into the discourse of the building. The pavillion contributes to an augmented experience of the users, relating to Daniel Burnham’s 1909 plan of Chicago, and expresses it us-ing a new form of construction and experience. The fact that it was temporary does not change the grand effect on the site and the in-teraction between person and building, incorporating new technologies and simple ge-ometry to create a streamline but complex structure. Its leg-acy is the memory of how a pavillion can add to a persons experience, and make people understand the importance of temporary architecture in the social discussion, and how it can create new ideas and aes-thetically pleasing structures for the public to use.

soma Architecture, White Noise, Salzburg, Austria, 2010

The White Noise project, used as the Salzburg Biennale Music Pavillion, expresses a dif-ferent form of pavillion to the public, using new programs to create a structurally stable and intriguing structure. The use of geometry and exposing the structural rods leaves a strong impression on the surronding are, when compared to the rectalinear buldings in the square (see photo above). The pavillion draws people to it, and creates a feeling of exploration and wonder, and leaves a legacy of how structures builit similarly can be built on a larger scale. It allows the discourse of the local area’s architecture and how modern technology can coexist with the tradition Austrian style of building.

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soma Architecture, White Noise, Salzburg, Austria, 2010

A.2 COMPUTATIONALARCHITECTURE

Architecture and the design process is an evolu-tionary process, with many changes occuring during the time of mankind, and a rapid shift in recent history, such as the new found prominence of computational design. From the creation of the “architect” seen in ancient greek period, to Renaissance masters of design such as Brunelleschi and Alberti, and to current expectations of architects seen by modernist and post modernist such as Frank Lloyd Wright, Le Corbusier and Rem Koolhaus. The process used by current architects has greatly changed. The current rapid shift to computerisation as well as computational design, which involved the process of problem solving as well as a discussion with the prob-lem (see Kalay’s design process diagram). New tech-niques to maximise design potential and time reduction can be motviated by the great analytical powers of computers, and seen currently, the design aspects that computer programs can achieve with the cooperation of the designer.

“Such a symbiosis is predicated on communication, the ability to share information between computers

and humans”Yehuda E. Kalay, Architectures New Media.

The focus on a symbiotic design process, that allows a positive interaction and can produce better designs and a more organised process of designing and finalis-ing ideas. Architects using programs can now utilise the benefits of both the software used as well as their prob-lem solving capabilities.

Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer-Aided Design.Top and bottom are two different design processes that show the relationship between goals and solutions.

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Herzog & De Meuron, Messe Basel-New Hall, Basel, Switzerland, Completion 2013The design process of Messe Basel New Hall is a clear example of how the digital technology group Herzog & De Meuron can use many computational methods to determine the form and structure of the the building. By incorporating random gen-erators to establish a change in the facade, and using technology to narrow the premises fo the design, therefore allowing a more focused and concise process to occur.The development of the software by the digital technology group allow specific form making for such parts as stairs and facades and deliver clearer results, such as the 3D facade using panels to give a more exciting steel facade, seen below in a circu-lar form, as well as also using computational ideas to facilite different openings and features.

Foster + Partners and Buro Happold, Thomas Deacon Academy, Peterborough, UK, 2007The use of simulation and experimenting with movement played a key role in decisions re-garding movement such as the placement and dimensions of thoroughfares, such as walk-ways, stairs and corridors. This was done by using simulation software and allowing the po-tential movements of over 2000 students and staff and critically analysing patterns, to assist in the construction of a successful learning area. It also was driving key decisions and detecting high traffic areas and “hotspots” that could be a problem later if not considered in the de-sign process.

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The use of the simulation program is a way of how computational data and ideas can be reflected into architecture, using experiments to see how it could work in proper, and considering it in the process of design. However, this would have been too expensive or time consuming in a real life experiment, therefore the computational aspect becomes important. The partnership between Foster + Partners and Buro Happold, specialising in digital simulation, can represent a symbiotic relationship between design and computer programming.

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A.3PARAMETRIC MODELLING

“Parametric modelling (also known as constraint modelling) introduces a fundamental change:

marks,that is, parts of a design, relate and change in a coordinated way”

Robert Woodbury, Elements of Parametric Design.

The idea of parametric modelling in design is to set parameters and therefore limits in the idea, using equations and formulas to determine a set of numbers that can help in the process of idea genearation and conviction. It is not a completely new process, used in designs by Gaudi and Moretti, using a mathematical process to help develop ide-as. Is however has come to the forefront of design through the incorporation of computers in architec-ture, and the benefits which have been document-ed and spread to architects around the world. The efficiency that parametric modelling can have on the design process can reduce costs of changes through the known parameters that need to be changed, as well as the ability to decrease costs of designing thorughout all stages. This is very helpful to all architects, who can now formulate goals and solutions more clearly than before.

Gaudi’s hanging chian model.Source: http://cerebrovortex.com/

AIA California Council, comparing project phases..Source: Studio AIR Lecture, Slide 30

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Center for Information Technology and Architecture (CITA) andSpatial Information Architecture Laboratory (SIAL), Dermoid,Royal Danish Academy of Fine Arts, Copenhagen, 2011

The design of the shell-like structure was established by the process of emulating eco-systems, and changing param-eters though Grasshopper to allow the form to be made. This method of design creates a hierachy of scripting modules, that helps create the Dermoid design environment, and allows this interesting form to be con-structed.

This computational de-sign process allows the crea-tion of the design environment by the designer’s domain, allowing parameters that can control the result, and allow change to be done efficiently. This example is among other new tools that have shifted the design process and can allow new forms to be shown incon-junction with other architects through a network, which cre-ates competition for a unique design has has not been seen before.

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MVRDV, Bastide Niel, Bordeaux, 2010

The design of this Bordeaux land has many constraints and difficulties that need an analysis of the site to show how a design can be incorporated. MVRDV has used Grasshopper to set up parameters and make it easier to set limits for design and create a more in depth analysis of the proposed design. This incorporates physical and environmental constraints.

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Some of these parameters include sunlight constraints of the specific site and using paramet-ric design programs can be helpful in decision making and selecting the most correct option. It allows an endless stream of configurations that be easily changed and manouvred.

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A.5 CONCLUSION

The architecture now constructed may no longer be just a building, but a important asset socially to a place, allowing for discourse as well as discussion. This is a newer concept in designing, and innovative design can be a great creator of discourse. The role of computers and its programs is an important one, a new innovation in architecture in recent history that can allow “impossible” ideas and designs to be constructed, something that older practices would not allow, epecially with the possibili-ties of 3D Modelling over orthogonal views. My design approach will be more open to ideas and forms that might have been unable to realise previously, incor-porating new skills in programs such as Grasshopper to fulfil a concept’s potential. By using computational design and not just computerizing an idea, positive changes can be achieved, some which might not have been thought of before, completing a discussion between goals and solutions, that is a more innovative way of ap-proaching design, and being able to communicate through out all stages to create the best possible forms.

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A.6 LEARNINGOUTCOMESFrom the start of the semester to the conclusion of discovering a case for innovation, the exposure have given greater appreciation and an in depth expla-nation to parametric modelling, the advantages of computational architecture and architecture as a discourse, a new way of expressing design. The readings have given an more thought process of design, especially when it discusses the evolutionary changes that has happening to the process of designing and the role of computers in the last 20 years, written by Yehuda E. Kalay, and how the prominence of problem solving and puzle making is important. It is a two way discussion between prob-lem and solution. The idea of architecture being a discourse, being soically and culturally important as well as functional has changed my previous ideas of what architecture is, and how the computational pro-cesses and programs have included more discussion of architecture in society.

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Part B. EOI II: DESIGNAPPROACH

Tessellation

The definiton of tessellation, a repeat-ed idea or shape, can become a dynamic effect on the overall design using techniques to give a quality to the overall aesthetic and individual pieces, shown in many installations and proejcts. The Wyndham Gate-way situated on the freeway will need a dynamic structure that can be able to create an exciting experi-ence for drivers, and show that they have entered Wyndham City as well as Metropolitan Melbourne.

M.C Escher, “FIsh” (1938).This is the experimeting of tesselation that M.C Escher achieved with many shapes, including the fish at the bottom of the picture, and creating an interest-ing and dynamic picture.

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Hyposurface by dECOi architects is oneprecedent that uses ‘Tesssellation’ to createan interesting and innovative installation.Constructed in the Birmingham HippodromeTheatre, the Hyposurface wall moves viacomputer controlled pistons which react tothe movement of sound in the theatre.It works in a similar way to the Cirriform Re-sponsive Facade in Seattle, Washington byFuture Cities Lab.

This facade reacts to the closeness of and the movement of peopleboth inside and outside the building. It wascreated using Firefly; a plug-in for Grasshop-per, so therefore is relevant to this studio.These precedents could be useful for ourGateway Project as we could encorporatethe use of a fluid, tessalated surface thatmoves in conjunction with cars and thespeed they are travelling.

Hypersurface, Birmingham, UK, dECOi Architects

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Carpenter Centre Puppet Theatre, Harvard University, USA, , Michael Meredith + Pierre Huyghe

The Carpenter Centre Puppet Theatre constructed in the Harvard Centre for Visual arts is a demonstration of tessella-tion in parametric design. This project in-corporates five hundred unique panels assembed using a system of bolts. The white panels form not only the complex geometric pattern of the project, but the structure also. The integration of aesthetic and function is an element that we would like to explore in the Gateway Design Project. The Puppet Centre can be as-sembled and dissembled relatively eas-ily due to its construction method. This allows a flexible design approach and ease of maintenance and increased longevity. The use of undulating pat-terns and rhythms is also made possible through tessellation.

The theatre is made possible through the distribution and transfer of loads across the surface of the structure; this allows large spans and complex ge-ometries as well voids and lighting in-tegration. Despite the Puppet Centre’s 3-inch panelling, it is able to span an im-pressive 15 feet in the central void. This translates into a lightweight structure, efficient and malleable, and a method of construction ideal for a project like the Gateway Design. The Gateway Design project will require sections of the instalment to span distances with no support struc-ture. The tessellation method will allow for an intricate and involved geometry as well as the structural integrity required for a functional and efficient project

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VoltaDom, Skylar Tibbits

VoltaDom by Skylar Tibbits for MIT’s 150th Anniversary Celebration and FAST Arts Fes-tival is an installation, which contains the idea of a tessellated surface of geometric vaults with reminiscent of the great vaulted ceilings of historic cathedrals. In this project, the key elements we would like to explore in the Gateway Design Project is integration of aesthetic and structure. The combination of parametric rules and cathedral vaults innovate the idea of transforming the traditional language of architecture into the simple geometric shapes and computational design. The vaults also provide a spectrum of oculi that penetrate the hallway under the project and the surrounding area with views and light.

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With the expansion of architectural surface panel by intensifying the depth of doubly curved vaulted surfaces, it managed to create a self-support structure which no need any additional support poles in the middle of this large scale project. This can help us to understand how to create an open space under the Gateway Design project in a long distance without support structure by transfer the load to the side of our design. The vaults design also allow the structure turn to any direction flexibly, which is needed in our project to connect the three separate sites together by only one struc-ture with series of turning point.

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‘Voussoir Cloud’, IwamotoScott

The project “Voussoir Cloud” by architectural firm IwamotoScott is an idea, in which a tesselated surface with many unique panels is installed over a larger room. The installation explored the structural properties of lightweight materials and how the needed strength can be achieved by the repeating elements, which all vary slightly and have their own char-acter. These panels can work togeth-er as one homogenous unit.

Getting inspiration from archi-tects such as Gaudi’s Hanging Chain model, IwamotoScott construct each vault as a Dalauney tesselation, which utilised the structural quality of dense and small patterning at the column base while using more poros-ity in the roof areas and larger pan-els where less structural qualities are needed. This shows the benefits and robustness of the wooden panels and how the repeating tesselations can achieve a smooth but stable form, which can also illuminated by sunlight and space for lighting in the panels.

The Gateway Design Project will need to use the strength of col-umns to support any roof structure along the site, which still uses pan-elling that is incorporated into the whole design. The importance of lighting is seen in the brief, needing effective lighting manipulation in both sunlight and during nighttime, as the road is commonly used in all 24 hours of the day.

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B.2 CASE STUDY 1:VOUSSOIR CLOUD

The Voussoir Cloud manipulation involved the changing of four different parameters to allow to change the form, patterning and different structural properties. The results of this testing were lengthening of the columns, widening and shortening of the col-umn’s base, changing the mesh density of the structure and changing the configura-tion of the column base form.

Although these were succesful in creating different forms of a tesselating pat-tern, more changing of the form can be achieved and incorporated some of the changes into a new re-engineered structure that would allow more manipulaltion of a tesselated structure.

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B.3 CASE STUDY 2:RE-ENGINEERING OF

By changing the axial parameters and allowing for changes to the orignal form, the transformations gave better approximation of how tessellation can play a role in de-fining a dynamic form. The result gave some similar changes to the form such as the mesh manipulations in the left column of the similar amount of points. The changing of the shape of engineering gave very different forms, such as the curved geometry of the second left column and pillow-shaped forms in the next three manipulations.

VOUSSOIR CLOUD

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The definition will need to change to be more subtle as some of the results are not as original as planned, and need further manipulation to create a dynamic form that translated into the Wyndham City Gateway Project. Consideration on how the struc-ture is supported is important, as well as how lighting can play a role in creating an appropriate installation for the site.

VOUSSOIR CLOUD

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UK Pavillion, Shanghai World Expo 2010, Heatherwick Studios

The UK Pavillion shows how lighting and structure can be interconnected, allowing a contin-uous and interesting form. It combines both the interior and exterior as the same aesthetic, incorporating many smaller pieces protuding out to create an overall structure that is dy-namic and very interesting for the user.

By using an effect of illumination in our definition and understanding how smaller parts can create a larger scale of form, The form created for the project can be more memorable for the users and be seen both at day and at night.

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Hugh Ferriss’ delinearated drawings of buildings

Hugh Ferriss’ delinearated drawings of New York’s skyscrapers as well as fictional builidngs, seen above, show the effect of light and form on a structure, and the different ways this can be seen. The different forms of geometry give a different feel to each building. The base lighting of the structures give an insight into how the city’s buildings are viewed com-pared to the structures.

By being able to control or determine the light intensity, and focusing on viewpoint of the structure, as the users will be moving quickly, the definitions explored could be used to cre-ate a form that achieve its goal of creating a gateway to the city and how buildings in the city can be interpreted.

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ALGORITHMICEXPERIMENTATION

Movement of PlaneThe 2D plane is manipulated to contour a change in height to create a form.

Oct Tree ManipulationCreating a tessellation of cubed-like structures in different scales

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Movement of PlaneThe 2D plane is manipulated to contour a change in height to create a form.

Oct Tree ManipulationCreating a tessellation of cubed-like structures in different scales

Curves to Points of LightFrom three curves, a transformation from a structure of lines, depending on the intensity of light, then creating a grid of points along the lines to show where cables can be placed to maximise the effect of the whole installation.

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PROTOTYPEIlluminated Translucent StructureThe protoype to be created was to exhibit the proposed qualities of the points of light over a translucent sheet so that the fibre optic could not be seen. This theme was preliminary tested with no structure but by placing the sheet over the lamps and tested for the desired effect. It would be modelled off the lofted algorithmic experiment with three curves creating a panelled shll like structure, with the lamps placed inside and create the points of light.

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Fabrication ProcessA translucent material, wire as a frame and fibre optic lamps were used to con-struct the prototype of the illumnated structure. It involved the shaping of the wire to the specific dimensions of the structure, and placement of material over the wire mesh.The testing of the lamp and clustering helped determine how the illumnation of the structure could be controlled and placed in specific points.

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Site ConsiderationThe technique of the structure proposed has to consider the site of where its being placed, and how it can used over the three places: gateway, no mans land and a monument. This makes how the illuminated structures will work over the site impor-tant, concerning topography, view, aspect and scale. It also must be considered that the users are moving and can’t look at the structure stationery, making a quick impact more imoortant for the project.

Proposed site for Gateway Project and possible areas of installation.

Technique AdvantagesThe technique we have chosen, by using a lightweight structure with the fibre optic lights, creating an overall effect without any heavy materials, is an advantage to the project has it shows a structure out of tiny pieces, and giving the user the initia-tive to put the pieces together to create the final idea. The twenty-four hour use of the structures, giving importance on night time impact, addresses the importance of the assessiblity of use in both day and night. The proposal can be advantageous over heavy duty structures as its adaptability to change if needed, as it is light-weight, and the lighting arrangement can be changed over time.

TECHNIQUE PROPOSAL

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Model PhotosUsing a dark space to simulate night, the lamps and structure were placed together to create the points of light onto the shell.

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B.7LEARNINGOUTCOMESThrough the research and exposure to methods of creating and developing a technique and using a defintion as a form of motivation, it has helped de-veloepd my knowledge and ability to determine how i can use different design techniques to create the desired product. This is achieved progress in designing using paramtric modelling, and being able to ma-nipulate an idea or an existing structure, such as the Voussoir Cloud, into a form that is seen as more closer to my design intent and to overcome issues that need to be addressed. The ability to incorporate the intial ideas seen in the first Expression of Interest section have been suc-cessful, but still need to be connected to the gate-way project, by continuing to explore the advantag-es and abilities that computational and parametric design has.This is done by finding new methods and tools and well as consolidating the existing known methods of parametric modelling, such as grafting and creating different type of meshes. It is also impor-tant to make sure that any development considers the discourse of architecture, and how discussion of the gateway project is one of the most important points. Following the Mid-semester presentation, our project will need further exploration in tesselataion and how to incorporate more into the structure, as well as how the three aspects: Gateway, No Mans Land and Monument will differ, while still being able to seen as one collective group of installations.

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Part C. PROJECT PROPOSAL

DESIGN CONCEPTThe feedback from the presentation showed how some of our principles, such as the lifting of the horizon as well as the model photos which displayed the pinpoint lighting of the fibre optics. The fibre optics themselves however was discouraged from using them in the final design model. A recreation of the lighting effects over mutiple forms would be more ideal to show how the effect would be successful in the freeway installation.

The design concept that will be used in our final design will incorporate multiple forms that all use lighting as a feature at night, while still being aesthetically pleasing and bold in the daytime. The concept seen in the diagram below can create the desired ideals of the project, with the poles lifting the horizon, allowing for a different perspec-tive as people are driving along the freeway. The references of Hugh Ferriss’ render-ings of a futuristic and sleek city give inspiration to experimenting with unusual city forms and finding an geometric relationship that connects all the forms to create one big influential installation.

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TECTONIC ELEMENTS

Lightweight Steel FramingSource: http://www.newcastlesteelframes.com.au/userfiles/Image/products_frame.jpg

Aluminium CladdingSource: http://img.archiexpo.com/images_ae/photo-g/alumini-um-composite-panel-for-facade-cladding-67328-2110207.jpg

The structural element that will be repeated throughout the forms will be a lightweight steel framing. This can allow large volumes to be supported off the ground and be stable. This structure must be strong enough to stay upright from windload and other lateral loads that will affect the in-stallation. This material is more suitable than heavier steel ma-terial as the extra mass will be at a higher cost and put more gravity load onto the support-ing poles.

The forms ill have a flush zin-calume cladding, as it can create a uniform look for all the forms without any major gaps and unaesthetic joinery. The material can have holes cut out easily and is available to bend and be neatly folded around complex geometry.

The supporting poles will need to be a heavier material to hold the forms into place and allow stability when forms are placed off the ground. The steel will be painted white to further encourage the view of “floating” forms and take focus away from the structural poles.

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PROTOTYPINGForm ExperimentationThe prototype uses foam blocks to sculpt into some examples of the proposed com-plex forms desired for the installation. The wire supports was to test the stability of this material, which however was not as stable as we thought. The forms were successful in conveying our idea from computer to physical models. After the prototype was created we discovered how important the placement of the forms was, as different placements created vastly different perspectives and atmospheres.

Balsa Lighting ExperimentUsing balsa to test the properties of light projection in wood, we drilled holes in specific locations to discover how the pinhole lighting effect seen in the fibre optic prototype looked. The light colour of the balsa made light go through the wood, and made us real-ise that dark materials would be need-ed.

Cardboard Lighting ExperimentThe cardboard form was constructed and holes drilled strategically to create different densities of light. The darker material was preferred to the balsa as light only went out the holes. The ef-fect when at nighttime was the lighting effect we were aiming for.

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ALGORITHMICDESIGN OF FINAL FORM

The tessellated patterning in Maya allowed us to create an interesting pattern, placed over the site seen earlier, although the area was now focused to site A. The green forms were then extracted from the pat-tern, and expanded and ex-truded. Maya’s Soft Selection allowed us to stretch and exag-gerate the plan of the forms.

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The 2D forms when then extrud-ed, and raised and lowered to create different heights of the forms. The vertices of the sim-ple forms were then changed, dragged and pulled to add extra complexity and angles to the forms. The inclusion of many new faces would be beneficial in allowing more perspectives than before and more places to place holes for lighting.

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By adding divisions of the faces in Maya, the specific densities on some faces al-lowed for the forms to display the desired lighting effect that was seen on the proto-types. The forms were imported to Rhino, and the triangulated forms (see top left di-agram) showed the densities of different faces. The vertices created the holes where the light would travel through.

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After the dots were created, placing them on the orginal forms created the final forms (top right diagram) and could be fabricated into a final model, displaying our concept. The eight forms were unrolled into three sheets and were sent to be laser cut.

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FABRICATION PROCESS

The scaled paper forms were cut out, tested that they could be constructed, and then cut out indivually to be placed with the plywood piece.

The forms were constructed using champered edged ply-wood as well as small wood pieces as supports for complex joinery. They were constructed with the reference of the paper model to make sure correct pieces were used.

The forms were puttied and sanded for any small gaps found during construction of the forms. One piece was not glued on to allow lighting and drilling the hole for the structural poles to be done easily.

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The poles were attached to the forms, wire placed through and lighting attached to the forms. The final piece of each form was then glued on, and all forms were puttied and sanded for any small gaps that could be seen.

The copper pole supports were cut to length and painted. Holes were drilled in the con-tour where the forms would be placed.

The forms were painted with a brown gloss paint over two coats, meanwhile the wiring setup of the contoured base was being assembled for easy connection between wires in the forms and the base.

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The forms were connected to the contoured base, with wires connected as well. The model seemed finished, but feedback of the brown colour choice made us reconsider the colours of the model.

The forms were then painted a matte black finish, creating a more sleek and clean forms. The poles were painted white to be uniform with lighter colours, such as bright sunlight and the sky.

The contoured base was stained with a Japan Black finish, compared to the light ply-wood colour beforehand.

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FINAL MODELThe final model was a successful fabrication of our design intent and concept, creating the desired lighting effect. The finish of the Japan Black base and black forms compared to glossy brown was definitely worthwhile in the way it was more clean and sleek, being more successful in creating a “floating” effect of the forms, as the white poles were not the focus of the model when photographed against a white background. This represents the bright light that would be either the sky and sun, with a silhoutette type effect occur-ing with the black forms.

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CONCLUSIONThe design project has allowed me to explore the possibilities of computational design, parametric programming, as well as the problems that sometimes need to be overcomed to allow the full potential of the design techniques. I have also discovered how Kalay’s ideas of a two way design process to be evident in the design and fabrication process of our model, as the prob-lems and solutions are interconnecting, such as our solution of painting the model a glossy brown led to a problem, with then created a more beneficial result. This project shows how com-plexity is always in design, inluding the computational design-ing, construction and time constraints that comes with large tasks.

Through the project, my knowledge of how to perform computational processes has improved, as Rhino, Grasshopper and Maya were all used in the process. The interconnection between programs is a benefit of this type of design, as it is easier to use multiple tools and skills on a single form. This occurs to our final forms, using Maya to create the form and density of vertices, while Grasshopper allowed the vertices to become dots and then into final forms which could be fabricated. This shows the diversity that computational design can offer.

The role of groupwork in design, seen in all aspects of the project, was an experience to all design which can never be achieved alone. The importance of utilising the strengths of every group member, creating a schedule and discussion between the group and commitment from everyone, which is vital to a successful outcome. It can be beneficial to learn to design and work in a team as this is very beneficial to working and collaborating in my future study and work.

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COPYRIGHT 2013 CHRISTOPHER MARINOPOULOS