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NATHALIE DUMONT STUDIO : AIR / JOURNAL
ARCHITECTURAL DESIGN STUDIO : AIR
JOURNAL
SEMESTER ONE 2012STUDENT NO : 390940
STUDIO GROUP C : PAUL
JOURNALCONTENTS
05 /
09 /
13 /
17 /
20 /
ARCHITECTURE AS DISCOURSE
[KINETIC + INTERACTIVE ARCHI-
TECTURE]
COMPUTING + TECHNOLOGY
[INTEGRATED MEDIA AS PART OF
ARCHITECTURE]
PARAMETRIC MODELLING
[KINETICISM THROUGH ENVI-
RONMENTAL FACTORS]
02 /
32 /
35 /
ARTICULATED CLOUD
[CASE STUDY]
ARTICULATED CLOUD
[RE-ENGINEERING
MATRIX OF DEFINITIONS
[GRASSHOPPER]
EXPRESSION OF INTEREST
[WYNDHAM GATEWAY PROJECT]
EXPRESSION OF INTEREST
[MATERIALITY]
[LIGHT]
[KINETIC MOTION]
[STRUCTURAL RESOLUTION]
23 /
25 /
27 /
29 /
37 /
39 /
PANEL DESIGN
REFLECTIONS
ARCHITECTURE AS DISCOURSEWEEK ONE
ARCHITECTURE AS DISCOURSE / WEEK ONE
KINETIC + INTERACTIVE ARCHITECTURE
KINETIC ARCHITECTURE FORMS THE BASIS FOR MOVEMENT AND INTERACTIVENESS THAT IS NOT AVAIL-
ABLE TO CONVENTIONAL STATIC STRUCTURES. IN MOST INSTANCES IT ENTAILS PARTS OF A BUILDING
TO MOVE WHILST STILL MAINTAINING IT’S STRUCTURAL INTEGRITY, SEEN IN PIECES OF ARCHITECTURE
SUCH DYNAMIC TOWER; HOWEVER IT CAN ALSO BE VIEWED AS A REPRESENTATION OF MOVEMENT OVER
TIME, IN THE CASE OF THE DANDELION PAVILION.
05 /
I 01 I 02
WEEK ONE / ARCHITECTURE AS DISCOURSE
06 /
I 01
DANDELION PAVILION, EX-
HIBITED AT WORLD EXPO IN
CHINA, 2010. PHOTOGRAPH
BY DANIELE MATTIOLI.
I 02
60,000 TRANSPARENT
FIBREOPTIC RODS EACH
HOLD ONE OF MORE OF THE
WORLD’S SEED SPECIES.
PHOTOGRAPH BY DANIELE
MATTIOLI.
I 03
REALISATION OF THE DIFFER-
ENT MOVEMENT CAPABILI-
TIES OF THE DYNAMIC TOWER
BY ARCHITECT DAVID FISHER.
I 04
DETAILED REALISATION OF
THE PLACEMENT OF EACH
POD AROUND A CENTRAL
AXIS WHICH CREATES EACH
FLOOR.
The Dandelion Pavilion is an example of how kinetic
movement is possible over time. The end of each rod
holds a seed or two which is preserved and can be uti-
lised in years to come; this is an excellent case of move-
ment over time, and would be fantastic to see incorpo-
rated in the Wyndham project, through the use of some
sort of material which slowly corrodes as a reaction to
the passing car’s exhaust pollution. This is also a piece of
architecture which moves when wind forces are put upon
it; kineticism.
Unlike the Dandelion Pavilion, the Dynamic Tower is
kinetic through motorisation. Each level is mechani-
cally roatated around a central axis, causing a variation
����������������������ƪ��������������������������������dynamic structure in itself.
These two innovative structures have made an impact
within the architectural discourse, as they demonstrate
the possibilities of mechanical and non-mechanical ki-
neticism. In relation to the EOI, this apporach of creating
a dynamic and changing, whether be physically or over
time, would incorporate well within the site’s location
and the values of Wyndham as a growing city.
I 03
I 04
COMPUTING + TECHNOLOGYWEEK TWO
ARCHITECTURE IS EVER EVOLVING AND PUSHING THE BOUNDARIES OF WHAT IS POSSIBLE,
ESPECIALLY IN TERMS OF THE USE OF TECHNOLOGY TO GENERATE FORMS WHICH INTEGRATE
MEDIA; INCORPORATED INTO THE STRUCTURE LIKE KUNSTHAUS GRAZ, OR ACTING AS A SEPER-
ATE ENTITY ON THE EXTERIOR OF A BUILDING AS SEEN IN THE CHANEL STORE IN TOKYO. THIS
EVOLUTION IN TECHNOLOGY HAS BECOME HIGHLY EVIDENT IN THE WAY DESIGNERS TODAY
ARE APPROACHING THEI PROECTS.
09 /
I 02
COMPUTING + TECHNOLOGY / WEEK TWO
INTEGRATED MEDIA AS PART OF ARCHITECTURE
I 01
The Kunsthaus Graz Museum in Austria
is an example of media lighting which
has been incorporated into this para-
metrically designed building facade. It
utilises BIX technology, translating to
‘big pixels’, which allows lighting ele-
ments to act individually from the next
�������Ǥ�����ơ�������������������������resolution greyscale computer screen.
The skin which is wrapped around the
entire building acts as a communicative
device to the public, which is particularly
useful for building types such as this
BIX technology would be very interesting
to use on the Gateway project as it could
������������������ơ���������������-Ƥ���������������������������������������Ǥ�Images, messages or other information
could be relayed to the audience, mak-
ing the sculpture more than just a piece
of art but a useful tool for broadcasting,
relaying and presenting information.
WEEK TWO / COMPUTING + TECHNOLOGY
10 /
I 03 I 04
I 01
KUNSTHAUS GRAZ MUSEUM
IN AUSTRIA. ARCHITECT:
SPACELAB COOK-FOURNIER.
I 02
BIX TECHNOLOGY WHICH
CREATES THE SKIN OF THE
KUNSTHAUS GRAZ BUILD-
ING.
I 03
HUGE TELEVISION-LIKE
SCREENS WHICH CREATE A
SKIN ON ONE SURFACE OF
THE CHANEL BUILDING.
I 04
CHANEL STORE IN GINZA,
JAPAN. ARCHITECT: PAUL
MARIONI.
In comparison to the Kunsthaus Graz Mu-
seum, the Chanel Store in Ginza uses media
screens which are completely seperate to the
structure and are much more detailed in their
resolution. They are attached to a complex
data stream and computer which can be seen
in the illustration below.
The Chanel Store acts a huge wall of television
screen which has the capability of transmitting
complex and moving imagery. Dissimilar to
Kunsthaus Graz, these screens are attached to
the external facade as a completely seperate
entity. It is a fascia on one side of the building,
not a skin which envelopes the entire structure.
For this reason it is very one-dimensional in it’s
appearance.
These two building have giving way to a new
generation of architects who are wanting to in-
tegrate media with the purpose of either provid-
ing something visually encaptulating or informa-
tive in it’s messages. It provides the opportunity
to become interactive with it’s audience. In
terms of the Gateway project in Wyndham, the
use of media technology either integrated with
the structure or it’s own property which is simply
attached, could be very unique to the area and
cause much attention to this municipality.
PARAMETRIC MODELLINGWEEK THREE
ARCHITECTURE IS DESIGNED IN RELATION TO MANY FACTORS WHICH ALTER IT’S FINAL OUT-
COME AND HOW IT OPERATES AFTER BEING CONSTRUCTED. ONE FACTOR WHICH IS HIGHLY
INFLUENTIAL IN THE WAY THAT BUILDINGS REACT WITHIN IT’S LOCATION IS THAT OF ENVI-
RONMENTAL. BUILDINGS NEED TO WITHSTAND CERTAIN PARAMETERS CAUSE BY NATURE,
SUCH AS WIND, SUN, SNOW, RAIN ETC. AND IN SOME CASES NEED TO REACT. AN EXAMPLE
OF THE WAY A BUILDING CAN BE KINETIC AND REACT TO AN ENVIRONMENTAL FACTOR IS
THE RMIT DESIGN HUB.
13 /
PARAMETRIC MODELLING / WEEK THREE
KINETICISMTHROUGH
ENVIRONMENTAL
FACTORS
I 01
The RMIT Design Hub has a very
prominant outer skin which simply
looks aesthetic and has no func-
tional value. However this outer
shell has a large role in the way
that this building’s internal envi-
ronment is controlled. Each circu-
lar panel is automatically moved
to respond to the placement of the
sun and acts as sunshading for the
internal spaces within. The possi-
bility of encorporating this idea of
kinetic movement in response to
sun exposure into the EOI may be
����������������������ơ����������-
ing cars which create wind forces
on the structure.
I 02
WEEK THREE / PARAMETRIC MODELLING
14 /
I 01
RMIT DESIGN HUB, CORNER
SWANSTON STREET AND
VICTORIA STREET.
I 02
DETAILED VIEW OF THE IN-
TERNAL STRUCTURE OF THE
OUTER SKIN.
I 03
BEAUTIFULLY SIMPLE CIRCU-
LAR SKIN WHICH COVERS ALL
4 SIDES OF THE BUILDING.
I 04
TRANSPARENT CIRCULAR
PANELS WHICH ARE VERTI-
CALLY HINGED WITHIN A
SIMPLE FRAME.
Each transparent circular panel
pivots on a central vertical axis
with 45 degrees of motion. These
�������Ƥ��������������������������-
lar frame which is positioned in a
huge grid-like fashion that covers
the whole exterior of the building.
This structural system is very
�ƥ����������������������������parts which detracts from what is
truly being highlighted; the pivot-
ing panels. In relation to the EOI
this type of very stripped back and
������Ƥ�������������������������such a location beside a freeway,
where cars are only going to see
the sculpture for a limited time
and need to absorb as much as
possible very quickly. Having the
panels hinged to the frame in this
way may allow them to pivot in a
360 degree motion, which could
������������������������ơ����Ǥ
I 03
I 03
MATRIX OF DEFINITIONS
math functionmultiple math
function image sampler rotation
SUR
FAC
E G
RID
SUR
FAC
E N
OR
MA
LSB
OO
LEA
N P
ATT
ERN
EXPL
ICIT
GR
IDS
INP
UT
ASSOCIATION OUTPUT
17 /
MATRIX OF DEFINITIONS / GRASSHOPPER + RHINO
matrix
extrusion
AFTER EXPERIMENTING WITH VARIOUS
COMBINATIONS OF INPUTS, ASSOCIATIONS
AND OUTPUTS, AND APPLYING THEM TO
OUR INITIAL DESIGN IDEAS, THE FOLLOW-
ING RESULTS WERE THE MOST USEFUL
AND APPLICABLE TO OUR INTENTIONS. WE
FOCUSED OUR ATTENTION TO THE DEFINI-
TIONS WHICH COULD BE APPLIED TO A GRID-
LIKE PATTERN, AND CREATED THE MOST
INTRIGUING AFFECTS. MATH FUNCTION
AND MULTIPLE MATH FUNCTION RESULTED
IN A MORE UNIFORM AND LINEAR AFFECT,
WHEREAS IMAGE SAMPLER AND ROTATION
CREATED MORE MANIPULATED, MANUAL
AND UNREGULATED RESULTS. WE LOOKED
AT EXTRUSION TO FUNCTION AS OUR IDEA
OF CREATING LIGHT WELLS, WHICH TURNED
OUT EXACTLY WHAT WE WERE INTENDING.
18 /
GRASSHOPPER + RHINO / MATRIX OF DEFINITIONS
EXPRESSION OF INTEREST
21 /
EXPRESSION OF INTEREST / WYNDHAM GATEWAY
I 03I 01
GOOGLE EARTH VIEW OF THE AREA OF WYNDHAM, SHOWING IT’S CLOSE
PROXIMITY TO THE BAY.
Google, (2012), Google Maps [ONLINE]. Available at: http://www.maps.google.com.au
[Accessed 17 April 12].
I 02
THE SPECIFIC LOCATION OF THE SITE, SITUATED BETWEEN 2 MAJOR
ROADS, AND IN CLOSE RANGE TO A SERVICE STATION.
Google, (2012), Google Maps [ONLINE]. Available at: http://www.maps.google.com.au
[Accessed 17 April 12].
I 03
DEVELOPMENT OF THE WYNDHAM MARINA - AREA FOR RESIDENTIAL
HOUSING, COMMERCIAL FACILITIES, HARBOUR BIRTHS AND PUBLIC FACILI-
TIES. A $400 MILLION PROJECT.
Wyndham City Council, (2012), The Development [ONLINE]. Available at: http://www.wynd-
hamharbour.com.au/wyndham_marina/ [Accessed 17 April 12].
I 04
THIS ALREADY EXISTING WYNDHAM CITY SCULPTURE REPRESENTS THE
HOME OF THE RESIDENTS AND THE WELCOMING OF TOURISTS. ACCORD-
ING TO THE COUNCIL IT IS A SYMBOL OF THE COMMUNITY’S ASPRIATIONS
FOR THE FUTURE.
Wyndham City Council. 2011. Seeds of Change. [ONLINE] Available at: http://www.experi-
encewyndham.com.au/artsculture/art/seedsofchange. [Accessed 03 May 12].
I 01
I 02
expressionof
interestWYNDHAM GATEWAY PROJECT
Selection of Site A was to make the most use of creating a sculpture
which suggests elevating sections across the wide road, but not actu-
ally making that connection. It is also the space in which cars have
equal viewing capacity whether travelling from Melbourne to Gee-
long, or vise-versa. The plot of land is also an incredibly large, unin-
��������ǡ�ƪ�����������������������������������������������������Ǥ
The Western Gateway Project is an opportunity to present an image
of Wyndham City as an innovative and developing municipality. The
Western Gateway will pick up where the ‘Seeds of Change’ Gateway
����� �ơ� ��� ������ ����������� ������� ��� ������� ��� ������� ���� ��������edge design that demands attention be paid to Wyndham as a hub of
rapid urban development.1
The Gateway will not only be a literal Gateway into Wyndham but
also an introduction into the future urban developments occurring
within the city. In particular, inspiration will be drawn from the $440
1 Experience Wyndham. 2012. Seeds of Change. [ONLINE] Available at: http://www.experiencewynd-
ham.com.au/artsculture/art/seedsofchange. [Accessed 03 May 12].
22 /
million Wyndham Marina project planned for completion in 2015.1
This marina project will attract boating enthusiasts, as well as those
seeking an exciting waterfront lifestyle. Even though the gateway will
be exposed to all those driving along the Princess Freeway, its con-
nection to the boating harbour will attract more of attention from
those engaging with the boating culture, and those interested in the
residential developments. By capitalizing on this new expansion, the
gateway will be an emblematic representation of this forthcoming
tourist attraction. The design will serve as an icon of modernity, a
sample of cutting edge design that can be expected from the state of
the art marina facilities.
In applying concepts relating to light, materiality, kinetic interaction
and structural resolution, it will drive an innovative and experiential
design solution that Wyndham desires. Our design goal is to create
an architectural response that is unique in that the user can interact
with it on a somewhat personal level, causing a manipulation of for-
���� ������������ ��� ��ơ������ ����� ���������� ��� ���� �������Ȁ������characteristics. This highly experiential design will react and display
�ơ��������������� ����ƪ���������� ��� ���� �����������������ǡ�����������variation in size.
1 Wyndham Harbour. 2011. The Development. [ONLINE] Available at: http://www.wyndhamharbour.
com.au/wyndham_marina/. [Accessed 03 May 12].
WYNDHAM GATEWAY / EXPRESSION OF INTEREST
I 04
piece of art, is perfect for the Wyndham Gateway as it relates
strongly to this city’s rapidly changing and evolving urban and
cultural fabric. The aim of encorporating these aspects of inter-
�����������������������������������������������������ơ�����������time the user connects with the structure.
STRUCTURAL RESOLUTION
Structural resolution of the design refers to purifying struc-
���������� ��� ���� ����� ������������� �������ơ������������ƥ������manner. Through the development of form, its complexity can
be optimized to a level that best suits cost and constructability
considerations. In applying this to the Wyndham Gateway proj-
ect, structural resolution will be implemented to purify the form
to a level that sees the original design intent retained, whilst im-
proving and simplifying form down to it necessities. This design
element will also enable the integration of the Motion/Kinetic
�������ǡ���������������������Ƥ�������������������������������������and is seen as the core connector that brings all other elements
into the one amalgamated form and structure.
LIGHT
���� �������� ��� ������ ������ ��� �� �����Ƥ����� ������� ��� �������� ���interacts with structural forms. The spotlight of the sun will en-
����������������������������������������������������ƪ�������������onto the surface and the appeal in distortion and manipulation
when direction becomes involved. With the addition of perfo-
rations and apertures, this will allow for maximum exposure
�����������������ǡ�����������������ƪ������������������������������greater aesthetic appeal.
SUMMARY
The culmination of these elements will equate to a Gateway that
is truly representative of Wyndham. The design will be an inter-
active, architectural sculpture that provides an opportunity for
personal engagement. Through the use of light and kinetics, the
experiential qualities of the design will be heightened, engaging
the audience in a profound manner. Enabled through parametric
design, this gateway for the City of Wyndham will promote the
growth and development of this municipality, presenting it as a
focal point for broader Melbourne to embrace.
MATERIALITY
The gateway design has the potential to become a completely inte-
grated part of the site through the choice of material. By choosing a
material that responds to the environmental conditions of the site and
to those interacting with the space, the surface of the Gateway can be
altered in a way that is totally unique to its particular context. It also
�����������������������������������������������ơ������������������������and change the way it will be experienced by others in the future, who
�������������������������������������ƪ�������������������Ǥ
KINETIC MOTION
Kineticism refers to a particular degree of motion within the design of
������������ǡ�������������ơ������������������������������ǡ�����������time-related conditions.1 This idea of a dynamic, ever changing
1 Dr. Carolina Stevenson. 2010. Kinetic Architecture. [ONLINE] Available at: http://www.liv.ac.uk/lsa/
research/kinetic/index.htm. [Accessed 03 May 12].
23 /
MATERIALITY / WYNDHAM GATEWAY
I 01
MATERIALITYWYNDHAM GATEWAY PROJECT
Materials that can be controlled in terms of their physi-
cal appearance and properties, such as Cortel Steel,
have the ability of being contextually sensitive and in
some cases, being responsive to the interaction be-
tween it and the user. For the Wyndham project, we are
proposing to use Cortel Steel, which is a high-stength
alloy steel composition with an oxidised coating that
provides atmospheric reactions to take place making
the surface of the material becoming rusticated and
corroded.1
Through processes such as car exhaust fumes coming
in contact with the material, which will be a constant
factor at our Wyndham site, regular users will be able
to see their gradual impact on the sculpture, and there-
fore the atmosphere.
��� �������� ��� ������ ����� �����Ƥ�� ��������� ��� ������used is on the Sydney Myer Asia Centre in Melbourne.
The facade encorporates an abundance of Cortel Steel
���������������������������������������������ơ�������between surfaces that have been in frequent contact
with corroding causes, and those which have not.
Using this approach to materialising a road-side sculp-
ture, our intensions of creating a piece of architecture
that becomes an integral part of it’s local environment
������Ƥ����Ǥ
1 Chapel Steel. 2011. Structural, Steel & HSLA Plate. [ONLINE] Available at: http://
www.chapelsteel.com/A588.html. [Accessed 03 May 12].
I 02
I 03
24 /
WYNDHAM GATEWAY / MATERIALITY
������������������ơ�������������������������������-���� ������ ������� ���� ���������� ������� ������� �������������������ǯ�������������������������Ǥ����������������������� ����� �������� ��������� �����-����� ����� ����Ǧ��Ǧ����� ����� ���� ������ ��������������������������������������������������������������� ��� ������������ ���������� ���� ���������Ǥ
I 01
DISCOLOURATION AND UNPREDICTABLE SURFACE TEXTURE ARE �����������������������������Ǥ�����������������������ABILITY TO REACT TO POLLUTANTS IN THE ATMOSPHERE, LEAV-�����������������������������������������Ǥ������������������������������������Ǥ����ǤǤ�Ǥ�������Ǥ�ȏ������Ȑ�������������ǣ�����ǣȀȀ���Ǥ��������Ǥ���Ǥ��Ȁ���������Ȁ������Ǥ���Ǥ�ȏ��������������ȐǤ����������������������������ǡ���������������������ǡ��������
I 02
OBJECTS WHICH INTERFERE WITH THE VERTICAL RUNOFF PRO-CESS CREATE A VARIATION IN SURFACE EXPOSURE TO CERTAIN ���������������������Ǥ�����������������������������������������������Ǥ����������������������������ǡ����������ǡ��������
I 03
������������������������������������������������������������������Ǥ��������������������������������������������������ǡ�����������������������Ǥ������������������������������������Ǥ����ǤǤ�Ǥ�������Ǥ�ȏ������Ȑ�������������ǣ�����ǣȀȀ���Ǥ��������Ǥ���Ǥ��Ȁ���������Ȁ������Ǥ���Ǥ�ȏ��������������ȐǤ����������������������������ǡ����������ǡ��������Ǥ
25 /
LIGHT / WYNDHAM GATEWAY
I 01
LIGHTWYNDHAM GATEWAY PROJECT
Light is vital factor of architectural planning, de-
��������������������ǡ��������������������ơ�����on the experiential qualities of a space. In our
Wyndham Gateway project, emphasis on light-
���ǡ�������������������Ƥ���������������ǡ�������������to create a space which captures driver’s atten-
��������������������������Ƥ���������������������ǡ�but also in reference to the Harbour develop-
ment.
Perforations were looked at as being apart of the
overall structure, representing a certain image
that could be linked back to our precedence of
a boat. However after establishing plans to have
rotating panels, perferations within these panels
would hinder their functionality and thus weak-
ening our design response.
I 01
DETAILED IMAGE OF A MODEL REPRESENTING A PERFORATED SCREEN
WHICH HAS BEEN ENCORPORATED WITH A STRUCTURAL RIGID FRAME.
SHADOWS CAST ARE MORE REPRESENTATIVE OF AN INTEGRATED SYSTEM,
MORE THAN THE PHYSICAL MODEL.
Image taken by Nathalie Dumont, Melbourne, April 26 2012
I 02
SAME MODEL AS SEEN IN FIGURE 1, HOWEVER A VIEWPOINT FROM THE
OTHER SIDE OF THE SCREEN. THIS SIDE HAS BEEN PERFERATED WITH THE
USE OF AN IMAGE SAMPLER PICTURE OF A WAKE, APPLIED IN GRASSHOP-
PER.
Image taken by Nathalie Dumont, Melbourne, April 26 2012
I 03
THESE THREE CONSECUTIVE PHOTOGRAPHS SHOW THE POSSIBILITIES
IN TERMS OF THE SHAPE OF THE PERFERATIONS THAT CAN BE ACHIEVED;
CIRCLE, SQUARE, TRIANGLES, REPRESENTING THE SIMPLEST OF THEM ALL.
Images taken by Caleb Boeringer, Melbourne, April 21 2012
I 04
THE REFLECTION OF A MAN IN A RIPLLED BODY OF WATER. AS THE REFLEC-
TION GETS FURTHER AWAY FROM THE ORIGINAL OBJECT CREATING THE
REFLECTION, THE IMAGE IN THE WATER BECOMES INCREASINGLY BLURRY.
�����������������ǡ�ȋȌǡ��������������������ǡ��������������ƪ�������ȏ������ȐǤ�������������ǣ�����ǣȀȀ���Ǥ��Ǥ���Ȁ��������Ǧ��Ǧ���Ǧ��������Ǧ����Ǧ�����Ǧ��ƪ������Ǥ�����ȏ��-
cessed 17 April 12].
I 02
I 04
26 /
WYNDHAM GATEWAY / LIGHT
In the Figure 3 experimentation with the variation in
sized perferations, we got an understanding of how
hole size determines the possibility of the shadow
to be blurry or not. The smaller the perferation, the
����� ��Ƥ���� ���� ������� ������ǡ� ���� ���� ��������away from the light source it was, the blurrier it was.
This can also be seen in the analogy of a man’s re-
ƪ������� ��� ��������� �����Ǣ� ��� ���� � ��ƪ������� ����������moves away from the man’s original body, the head
�������� ����� ��Ƥ���Ǥ� ���� ��� ���� ������� ��� ���� ����-
���ǯ�� �������ǡ� ������ ������������ ���� ��Ƥ������� ��� ����object or shadow needs to be perfect. Therefore have
tiny perferations would not be ideal in this situation.
I 03
27 /
KINETICS / WYNDHAM GATEWAY
KINETICSWYNDHAM GATEWAY PROJECT
“Kinetic Architecture lies in creating spaces and objects
����� ���� ����������� �����Ƥ����� ����������� ��� �����changing needs, whereby an adaptable architecture is
formed.”1 In the case of the Wyndham Gateway proj-
ect, user interaction through the force of passing cars
hitting the scultpture and in turn causing a spinning re-
action from the specially designed, pinned panels.
This form of interaction can also be described as ‘Re-
sponsive Architecture’, in which environmental condi-
tions are measured via sensors and the building’s form,
colour or shape responde accordingly via actuators. 2This form of interactive architecture is usually tech-
��������������ƪ������ǡ�����������������������������-
cusing on is more independent than that, being solely
��ƪ�����������������������������������������������������on the panels as they drive past.
1 El Razaz, Z, 2010. Sustainable vision of kinetic architecture. Journal of Building
Appraisal, [Online]. 5, 341-356. Available at: http://www.palgrave-journals.com/
jba/journal/v5/n4/full/jba20105a.html [Accessed 03 May 2012].
2 Wikipedia. 2012. Responsive Architecture. [ONLINE] Available at: http://
en.wikipedia.org/wiki/Responsive_architecture. [Accessed 03 May 12].
I 01
I 01
SIDE PHOTOGRAPH OF MODEL SHOWING THE THREE-DIMENSION-
ALITY OF THE EXTRUDED PANELS. INTERESTING SHADOWS ARE
CREATED AS LIGHT REFRACTS OF ALTERNATING SIDES OF EACH
PANEL.
Image taken by Nathalie Dumont, Melbourne, April 26th 2012
28 /
WYNDHAM GATEWAY / KINETICS
I 01
I 01
DIAGRAMATIC REPRESENTATION OF WIND CAPTURING PROCESS OF THE
SAVONIUS. INCOMING WIND PATHS ARE CAPTURED IN THE HOLLOW WING
WHICH THEN TURNED AROUND A CENTRAL AXIS IN THE SUBSEQUENT DIREC-
TION OF ROTATION.
pvanheus, (2007), Savonius Diagram [ONLINE]. Available at: http://commons.wikimedia.org/
wiki/File:Savonius_Diagram.png [Accessed 03 May 12].
I 02
DIAGRAM OF AN ANEMOMETER WHICH SHOWS THE CUPS CAPTURING WIND
AND FORCING THE WHOLE INSTRUMENT TO SPIN AROUND A CENTRAL AXIS.
Geography LWC, (2009), Weather [ONLINE]. Available at: http://www.geographylwc.org.uk/
GCSE/igcse/weather/weather.html [Accessed 03 May 12].
I 03
PHOTOGRAPH OF MODEL SHOWING A GRID OF FLAT SQUARE PANELS
PINNED TO CORNERS OF THE FRAME. SPINNING POSSIBILITIES ARE HIN-
DERED NOT ONLY BY THE JOINING QUALTIES OF THE MODEL, BUT ALSO THE
FLATNESS AND EQUALLY BALANCED PANELS, WHICH IN THEORY WILL BE
DIFFICULT TO SPIN UNHESITANTLY IN THE WIND.
Image taken by Nathalie Dumont, Melbourne, April 26th 2012
I 03
SAVONIUS ANEMOMETER
I 02
CUPS IN WHICH AIR IS CAPTURED
DIR
EC
TIO
N O
F R
OT
AT
ION
DIRECTION OF WIND
Some precedences I looked towards were that of wind speed mea-
suring instruments; the savonius and the anemometer. These are
established tools for capturing wind and rotating around a central
axis, exactly what our intentions for the panels are to be. Both the
savonius and anemometer use cup like elements which hold the
captured air and are pushed around the centre axis by the force it
�����������Ǥ���������Ƥ����������������������ơ��������������������to rotate an otherwise static element, therefore the design of our
panels are in line with these principles. However the shape of each
cup is altered to a more angular pyriamid-like structure, allowing
multiple faces to cast and refract light and shadows.
29 /
STRUCTURAL RESOLUTION / WYNDHAM GATEWAY
STRUCTURAL R E S O L U T I O N
WYNDHAM GATEWAY PROJECT
���������������������� ��� ��� �������Ƥ������� ��� �����������rationality as it’s design encompasses a double curved sur-
face. Normally this highly elaborate and complex design
���������������������ƥ���������������ǡ�����������������������Wolf Pree, rationalised and compromised elements in order
for his ideas to be possible. A level of compromise between
aesthetics and constructability had to be made, therefore
�������������ǯ����������������������������������Ƥ���Ǥ��������-
cess of this building arises from it’s ability to create a balance
��������������Ƥ��������������������������������������ǯ����������aesthetic objectives. The ability to come to a middle ground
in terms of creating an equilibrium between structural capa-
bilities and design intent, is something that the Wyndham
���������������������� ��������� ������������ǡ��ơ�����������long-lasting.
I 01
CLOSE UP VIEW OF THE RATIONAL STRUCTURAL NATURE OF THIS
BUILDING. CURVED SURFACES, WHICH WOULD NORMALLY BE FIN-
ISHED IN A SMOOTH COHERENT PANEL HAS BEEN SEGMENTED INTO
STANDARDISED ELEMENTS.
DeZeen Magazine, (2007), BMW Welt by Coop Himmelb[l]au 2 [ONLINE]. Available at:
http://www.dezeen.com/2007/10/03/bmw-welt-by-coop-himmelblau-2/ [Accessed 03
May 12].
I 02
DIAGRAM OF AN ANEMOMETER WHICH SHOWS THE CUPS CAPTURING
WIND AND FORCING THE WHOLE INSTRUMENT TO SPIN AROUND A
CENTRAL AXIS.
Geography LWC, (2009), Weather [ONLINE]. Available at: http://www.geographylwc.
org.uk/GCSE/igcse/weather/weather.html [Accessed 03 May 12].
I 03
PHOTOGRAPH OF MODEL SHOWING A GRID OF FLAT SQUARE PANELS
PINNED TO CORNERS OF THE FRAME. SPINNING POSSIBILITIES ARE
HINDERED NOT ONLY BY THE JOINING QUALTIES OF THE MODEL, BUT
ALSO THE FLATNESS AND EQUALLY BALANCED PANELS, WHICH IN
THEORY WILL BE DIFFICULT TO SPIN UNHESITANTLY IN THE WIND.
Image taken by Nathalie Dumont, Melbourne, April 26th 2012
I 01
I 02
I 03
30 /
WYNDHAM GATEWAY / STRUCTURAL RESOLUTION
Fluid Level of resolve
I 02
I 03
The precedent which currently has the
����� ������� ��� ��ƪ�������� ���� ��������form of the gateway is that of the asymp-
totic nature of the site and it’s contextual
criterion. There are a number of elements
within the Wyndham context which cre-
ate these asymptotic relationships. One
being the divergence and convergence of
the two opposite roads around site A, and
another being the form of a wake once a
boat has sped through a body of water.
������ ���� ��ƪ������� ������������������-
ciations to the Council’s desire of promot-
ing Wyndham’s up and coming boating
precinct, and also the positioning of this
city in it’s wider Melbourne context and
a connecting point between the CBD and
Geelong.
I 01
WAKE IMAGE TO WHICH STRUCTURAL SHAPE
WILL TAKE PRECEDENCE FROM.
Edmont, (2009), Fjord.surface.wave.boat.jpeg [ONLINE].
Available at: http://en.wikipedia.org/wiki/File:Fjord.surface.
wave.boat.jpeg [Accessed 17 April 12].
I 02
DEVELOPMENT OF MODELS HIGHLIGHTING
THE GRADUAL RATIONALISATION OF A CURVED
STRUCTURE TO A PITCHED ROOF-LIKE STRUC-
TURE.
Image take by Nathalie Dumont, Melbourne, April 26th
2012.
I 03
DIAGRAM REPRESENTING THE DEVELOPMENT
OF FORM THROUGH RATIONALISATION, GOING
FROM FLUID LINES TO VERY RESOLVED ANGLED
LINES.
Diagram created by Caleb Boeringer, April 29th 2012
I 01
ARTICULATED CLOUDCASE STUDY
33 /
articulatedCLOUD
I 01
ARTICULATED CLOUD / CASE STUDY
‘THE ATMOSPHERE MAKES THE DECISIONS’
NED KAHN
I 02
CASE STUDY / ARTICULATED CLOUD
34 /
I 01
CHILDREN\S MUSEUM OF
PITTSBURG. ARCHITECT: NED
KAHN.
I 02
TENS OF THOUSANDS OF 14
CM ACRYLIC PANELS FLAP IN
THE WIND,.
I 03
EFFECT OF SKIN CHANGES
NOT ONLY AS A CAUSE OF
THE WIND, BUT ALSO DIREC-
TION OF SUNLIGHT ON THE
PANELS.
I 04
INTERNALSTRUCTURE
WHICH CREATES THE
FRAMEWORK TO WHICH THE
PANELS ARE ATTACHED.
The expansion of the Children’s Museum of Pittsburg has
given live to an incredible, kinetic screen which is not only vi-
sually stimulating but also environmentally savvy. It is a three-
story steel and glass structure with a facade made of tens of
thousands 14cm translucent acrylic panels which dance in the
����ǡ�������������������Ǯ�����Ǧ����ǯ��ơ���Ǥ
A grid-like aluminium structural frame supports long stain-
less-steel rods which the individual panels are attached. The
acrylic panels hang, when static, vertically down to create the
illusion that it is a solid screen. However a number of factors
bring this facade to life and allow it’s dynamic nature to ap-
pear. The wind, being the most dominant factor, lighting con-
ditions, times of day and weather, all have a part in interacting
with the Articulated Cloud. This skin also acts as a heat barrier
for the glass building behind.
In a lecture given at the University of Texas School of Archi-
tecture in 2010, Ned Kahn spoke about how the atmosphere
and environment are the decision makers to his architectural
installations. This approach is intriguing, because in some way
he is letting go of the reigns and putting the aesthetic result
of his work into the unpredictable and ever changing hands
of nature.
This approach can be utilised in the design process for the
Wyndham gateway project, due to the positioning of the site
in an expansive open area with constant wind forces occuring
as a result of the passing cars at high speeds.
I 03
I 04
35 /
articulatedcloud
re-engineering
I 01
To determine the functionality and engineering behind the Articulated
Cloud, we developed a replica of the hanging screen in Grasshopper. With
a number of equally spaced lines behaving as the axes to which 300 uni-
form square panels can rotate, attractor points were used as a representa-
tive of the force and direction of the wind on the screen’s surface. These
attractor points are used to articulate the rotational reaction of each light-
weight panel when forces (wind) come into contact with the surface.
The degree to which these panels are able to rotate was experimented as
angles of 90, 180 and 360 degrees. The actual project’s degree of rotation
is 90, however we wanted to see if increasing this number would create
���������ơ���������������������������������������������Ǥ
To further develop this working model, replacing the attractor points
������������������������������������ ������������ �������������ơ������ �������������������������������Ƥ��������������������������������������������������omit. This variation in vector components will cause individual panels to
rotate accordingly, hense creating a more realistic representation.
ARTICULATED CLOUD / CASE STUDY
‘ARTICULATED CLOUD’, PITTSBURG CHILDREN’S MUSEUM
NED KAHN
CASE STUDY / ARTICULATED CLOUD
36 /
I 01
FACADE OF THE ARTICULAT-
ED CLOUD. RIPPLE AFFECT
CREATED BY THOUSANDS OF
HANGING ACRYLIC PANELS
OFF ALUMINIUM RODS.
I 02
GRASSHOPPER DEFINITION
WHICH REPLICATES THE AR-
TICULATED CLOUD SCREEN.
I 03
RHINO WORKING MODEL
WITH THE ATTRACTOR
POINTS IN SUCH A POSITION
WHICH CREATES CIRCULAR/
NON LINEAR EFFECTS,
CAUSED BY THE POSITION-
ING OF EACH PANEL.
I 04 + / 05
RHINO WORKING MODEL
WITH THE ATTRACTOR
POINTS IN SUCH A POSITION
WHICH CREATESVERICAL
AND HORIZONTAL/LINEAR
EFFECTS, CAUSED BY THE
POSITIONING OF PANELS
AS A COLLECTIVE SCREEN.
I 02
I 03
I 04
I 05
37 /
PANEL DESIGNKINETIC PANELS / REFINEMENT
To determine the functionality
and engineering behind the Ar-
ticulated Cloud, we developed a
replica of the hanging screen in
Grasshopper. With a number of
equally spaced lines behaving as
the axes to which 300 uniform
square panels can rotate, attrac-
tor points were used as a repre-
sentative of the force and direc-
tion of the wind on the screen’s
surface. rotational reaction of
with the surface.
This stop-motion illustration
shows the dynamic nature of the
multi-angle panels in contrast
��� ���� ƪ��� ������� ��� ���� �����-ous model. Shadows are created
not only on the ground behind
the sculpture but also within the
structure itself. This design op-
tion has been proven to work as it
follow the sheme of a Savonius or
Anemometer.
REFINEMENT / KINETIC PANELS
38 /
I 01
I 01
RHINO DRAWING ILLUSTRAT-
ING THE GEOMETRY OF THE
PANELS AND THEIR RELA-
TIONSHIP TO ONE ANOTHER.
Drawing created by Mitchel Bizon,
Melbourne, May 3rd, 2012.
I 02
DETAIL PHOTOGRAPH HIGH-
LIGHTING THE DIFFERENT
SHADED SURFACES ON EACH
PANEL WHICH IS A DIRECT
RESULT TO THE ANGULAR
CONFIGURATION.
Image taken by Nathalie Dumont,
Melbourne, April 26th 2012.
The argument for making each half of the panel oppositely indented to create 3 tri-
angular sides which was a direct translation of wind measuring instruments like the
anemometer. Using the frebarication laser cutter technique, pinning these panels
between a double thickness grid gave us the possibility to test our ideas. Thankfully,
��������Ƥ�������������������������������������������������������������������������centre of axis. A step forward in making this grid pattern more dynamic might be
the distortion of the frame which creates irregular panels.
REFLECTIVEC O N C L U S I O N
Designing with computers
At the commencement of this subject,
my computing technques were basic and
ranged from Sketchup to PhotoShop. I
wasn’t very familiar with 3D computing
software, so all of this technical learning
�������������Ǥ�������������������ƥ������������beginning to understand the fundemental
concepts of Grasshopper, however Rhino
was a little easier to understand as it had
some similar characteristics to SketchUp.
COMMUNICATING VISUALLY
�� ����� ��������������������������ơ������� ��� �������������������������������������Ƥ������Ǥ�����������������course, knowing when to stop being too fussy about
the format and start focusing more on the content is
where I need to improve.
My personal style that comes through in my presen-
������������������������������������������������Ƥ����and classic. I think that modernising my approach
to presentating information might be a good way
�������������������������������������������ơ��-tively.
ARGUING PERSUASIVELY
���������������ơ��������������ƥ�����������-suade a panel of crits when presenting your
architectural ideas is a huge advantage. I
feel that I have not have enough experi-
ence to say that I am completely comfort-
������������Ƥ����� ��������������������-opment, however working in groups have
helped structure each section and allowed
����������������������Ƥ��������������������to it’s fullest.
In terms of persuasive writing, I feel I have
����������������Ƥ��������������������������-
spond to architectural stimulus.
APPLYING TECHNICAL SKILLS
Being forced to use the FabLab this semester has
allowed me to improve my model making skills
dramatically. I am not only able to make very quick
and cheap models, but ones that look seamlessly
perfect. It is such a huge advantage being able to
���� ���� ������ ��� ���� �������� ��� ����������� �� Ƥ���is relatively simple. However the process in which a
complicated design goes through to get to the stage
of laser cutting is not so simple. Having to learn how
to unfold everything and then remembering to num-
ber each piece were the tricky bits to this technical
model making process.
Applying computerised technical skills is still a strug-
gle. The problems arise when I want to translate
����� ������� ����������� ���������Ƥ�����������������Grasshopper.
39 /
conclusion / reflective
PAGE 5/6:
http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio/
uk_exterior/
http://online.wsj.com/article/SB123432213609971519.html
http://www.likecool.com/Dynamic_Tower_Skyscraper--Building--Home.html
PAGE 9/10:
http://www.ruairiglynn.co.uk/wp-content/uploads/2009/08/06_RES_IMG_Kunshaus-Graz-Cook-
BIX.jpg
http://free-d.nl/uploads/default/scale_1024x768_q100/cf8ac3bc745d9626da3acb594cfc025cae6e-
a7ac.png
PAGE 13/14:
http://www.seangodsell.com/rmit-design-hub
PAGE 17/18:
http://www.wyndhamharbour.com.au/wyndham_marina/
PAGE 21/22:
Christine Killory, and René Davids, ‘Children’s Museum of Pittsburgh’, in Detail in Process. 1st edn,
Asbuilt (New York: Princeton Architectural Press, 2008), pp. 112 - 117
http://www.4culture.org/publicart/registry/images/home/sites/kahn_s.jpg
PAGE 23/24:
http://1.bp.blogspot.com/_L59QPdbEbzA/SgmY5Pw5izI/AAAAAAAAAZg/qNjoK508xNY/
s400/04NdKahnMockup_index_03.jpg
REFERNCEL I S T
AWAKENINGFINAL DESIGN
contents/ 43 form generation
/ 45 placement + sunlight
/ 47 materials
/ 49 spinners
/ 51 awakening
������ SFnFDUJPO
FORM GENERATIONThe generation of the overall sculptural form of Awakening was informed by a series of factors related to the boating aspect of Wyndham and also the interactive qualities that were discussed in the brief.The wake of a boat was initially taken as precedence and transferred to creating a graphic representation of a vehicle’s wake. From a series of equally spaced points along each side of Site A, graphic depictions of a vehicle’s wake produced by their force through the air, aloud for a TUBSUJOH�UP�QPJOU�UP�CF�EFmOFE�BOE�FYQBOEFE�VQPO����&YDFTT�MJOFT�XIJDI�EJE�OPU�DSFBUF�TPNF�GPSN�PG�BTZNQUPQJD�TIBQF�XFSF�EFMFUFE����BOE�TFWFSBM�PG�UIPTF�TIBQFT�XFSF�BMTP�DVMMFE�����4FWFO�of these asymptopic shapes were chosen according to their variation is TJ[F�BOE�TUSVDUVSF�����5IFTF�XFSF�UIFO�SPUBUFE�WFSUJDBMMZ�BOE�TDBMFE�EPXO�UP�BO�BQQSPQSJBUF�TDBMF�BOE�QMBDFNFOU�PO�4JUF�"����Each vertical wake pattern were again rotated and placed at different EJTUBODFT�GSPN�UIF�SPBE�UP�DSFBUF�B�HSBEVBM�DIBOHF�JO�WJTVBM�FYQFSJFODF�BT�B�VTFS�USBWFMT�BMPOH�TJEF�PG�JU�����$POOFDUJPOT�XFSF�DSFBUFE�UP�GPSN�BO�PWFSBMM�TUSVDUVSF �UP�XIJDI�B�HSJE�QBUUFSO�XBT�BQQMJFE�UP�DPOmHVSF�UIF�TUSVDUVSBM�TZTUFN�UP�XIJDI�XPVME�TVQQPSU�UIF�TDVMQUVSF����
5IJT�TUSVDUVSF�JT�nPXJOH�BDSPTT�UIF�TJUF�JO�B�NBOOFS�XIJDI�QSPEVDFT�UIF�spinners to react to vehicle’s forces differently, according to their distance from the road. Tailoring this gateway according to the movement of cars interacting with it, follow the values of a boat creating B�WFSZ�TQFDJmD�SFBDUJPO�XBLF�JO�UIF�TVSSPVOEJOH�XBUFS�The manner in which the form was created makes this architectural TDVMQUVSF�IJHIMZ�TJUF�TQFDJmD�XIJDI�NFBOT�JU�JT�VOJRVF�POMZ�JO�8ZOEIBN�
���� ���� ���� ���� ����
/ 43
AWAKENING / FORM GENERATION
���� ���� ���� ���� ���� ����
/ 44
����
/ 45
AWAKENING���1-"$&.&/5���46/-*()5
placement + sunlightThe location of the gatway is in the north east corner of the site as this facilitates the viewing for users travelling into Wyndham - a true gateway into the city. It’s function moves from being a transition piece between UIF�$#%�BOE�UIF�DJUZ�PG�8ZOEIBN �HJWJOH�SFGFSOFDF�UP�UIF�DPVOUSZ�MJGFTUZMF�UIBU�JU�QSPWJEFT�UISPVHI�UIF�)BSCPVS�%FWFMPQNFOU�1SPKFDU�������
The scale of Awakening is representative of Wyndham’s scale - very large. The grandness of this gateway is to give the user a sense of immersion into the sculpture and highlight their individual impact on the TQJOOFST�����*U�BMTP�FWPLFT�B�TFOTF�PG�BXF�BOE�QSPWJEFT�8ZOEIBN�with a stepping stone on being a part of Victoria which is growing in population, size and culture.
1MBDFNFOU�PG�UIF�HBUFXBZ�BMTP�QSPWJEFT�UIF�PQQPSUVOJUZ�GPS�NBYJNVN�shadow creation. During sunrise hours shadows are being cast on the opposite side of the site and road, where most people are commuting JOUP�.FMCPVSOF�T�$#%�BU�UIJT�UJNF�PG�EBZ��8IFSFBT�PO�UIFJS�XBZ�CBDL�into or past Wyndham, the afternoon sun provides shadow on the road below to which will be most populus. This produces not only an interactive element through the sponners, but also through the shadows XIJDI�BMUFS�XJUI�UIF�EFOTFOFTT�PG�USBGmD�UISPVHI�UIF�TJUF����
��������
����
7KM DISTANCE
HARBOUR
SITE
����
����
1-"$&.&/5���46/-*()5���AWAKENING
/ 47
AWAKENING / MATERIALS
����
����
����
����
MATERIALS / AWAKENING
MATERIALS5IF�NBUFSJBM�DIPJDFT�GPS�UIJT�(BUFXBZ�SFnFDUT�JU�T�JNNFEJBUF�
surroundings as being apart of the natural Australian landscape - dirt, CVTI�BOE�TFB�5IJT�JT�FYQSFTTFE�JO�UIF�BEPQUJPO�PG�$PSFUFO�����*U�JT�
a controlled rust product which provides a structurally sound framing solution for the spinners to sit within. This product allows a high level
of responsiveness in terms of weathering making it interactive with it’s environment and it’s users. Atmospheric conditions and user impact
JOnVFODFT�UIJT�NBUFSJBMT�BOE�DBVTFT�UIF�JOJUJBM�HSFZ�mOJTI�UP�RVJDLMZ�UVSO�TIBEFT�PG�CSPXO �PSBOHFT�BOE�SFET���SFnFDUJOH�UIF�"VTUSBMJBO�DPVOUSZ�
side."T�$PSFUFO�JT�B�WFSZ�IFBWZ�NBUFSJBM�BOE�XPVME�DBVTF�UIF�HBUFXBZ�UP�
be incredibly weighty, the spinners are to be made of a lighter material which also displays this factor of weathering and change.
1FSTQFY�JT�BO�PQUJPO�GPS�UIF�TQJOOFST����BT�JU�JT�B�DPOTJEFSBCMF�BNPVOU�MJHIUFS�UIBO�$PSFUFO�BOE�IBT�CFFO�UFTUFE�UP�QSPWJEF�TPNF�GPSN�PG�
weathering response. This ‘decaying’ may not be as drastic or as quick BT�$PSFUFO �CVU�JU�BMMPXT�GPS�UIF�TUSVDUVSF�UP�CFDPNF�TUBCMF�JO�JU�T�PXO�
merit.An option to which is most suitable for the gateway is the use of copper as the spinners. As can be seen on Flinders Street Station - and iconic
7JDUPSJBO�MBOENBSL������DPQQFS�PO�UIF�SPPG�BT�B�DMBEEJOH�QSPWJEFT�FYUSFNF�DIBOHFT�JO�DPMPVSJOH�EVF�UP�UIF�FYQPTVSF�UP�BUNPTQIFSJD�
DPOEJUJPOT�TVDI�BT�SBJO �BJS�BOE�TVOMJHIU��$PQQFS�JT�BO�FYUSFNFMZ�MJHIU�material, which is perfect for the spinners to actually move with the little
force that is occassionally put on them from the cars. The green tinge that will eventually become the spinners, will offset the browns and reds PG�UIF�$PSFUFO�BMPXJOH�UIF�HBUFXBZ�UP�CFDPNF�BOE�JOUFHSBUJPO�JOUP�UIF�
����$PSFUFO�TFFO�PO�UIF�4ZE-OFZ�.FZFS�"TJB�$FOUSF�JO�Melbourne. Photo taken CZ�.JUDIFM�#J[PO�����6,�1BWJMJPO�BU�UIF������4IBOHIBJ�&YQP1SPGFSP����� �IUUQ���shanghai.profero.com/works/en/shanghai/UIF�VL�QBWJMJPO�BTQY �BD-DFTTFE�PO��������������Flinders Street Station, Melbourne.,VOH�'V�#SFX����� �IUUQ���LVOHGVCSFX�DPN�home/tag/melbourne/, BDDFTTFE�PO����������
/ 49
AWAKENING / SPINNERS
SPINNERS8JUIJO�FBDI�TFDUJPO�PG�UIF�$PSFUFO�TUSVDUVSBM�HSJE �UIFSF�XJMM�CF�B�TFSJFT�PG���DN�MPOH ���DN�IJHI�TQJOOFST�XIJDI�BDU�BT�BO�JOUFSBDUJWF�FMFNFOU �liking the user to the structure and thus Wyndham. Depending on the turbulent nature of the vehicle’s wake or force, each spinner will NPWF�BDDPSEJOHMZ�UISPVHI�TQFFE�PG�SPUBUJPO����Each spinner is connected to the main frame with a cetral aluminium SPBE�XJUI�QJWPUJOH�FOE �BMMPXJOH�UIFN�UP�TQJO�XJUI�FBTF�����5IF�BOHVMBS�approach to the savonius shape was to provide a three-dimensional element which produces shadows which are highly dynamic in all WJFXJOH�BOHMFT����5IF�TQJOOFST�OPU�POMZ�SFQSFTFOUT�UIF�nPX�PG�USBGmD�UISPVHI�8ZOEIBN �CVU�BMTP�JT�BO�FNCMBNBUJD�FYQSFTTJPO�PG�XBUFS�SJQQMFT�Similar to the effect a boat has through it’s movement, the gateway reacts in the same way through the spinners, creating a wake which is unique and direct to the passing vehicle. This strongly provides a connection to the interactive element which was focused on in the initial brief.
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REFLECTION5IJT�TVCKFDU�IBE�QSPWJEFE�NF�XJUI�B�DPNQMFUFMZ�OFX�PVUMPPL�PO�UIF�EFTJHO�QSPDFTT�BOE�UIF�JOnVFODF�UIBU�DPNQVUJOH�UFDIOPMPHZ�DBO�IBWF�PO�NZ�EFTJHOT��"U�UIF�TUBSU�PG�UIF�TVCKFDU�FOUIVTJBTN�BCPVU�VTJOH�3IJOP�and Grasshopper was high, however as the weeks went by the DPNQMFYJUZ�PG�UIF�UBTLT�BOE�NZ�MJUUMF�LOPXMFEHF�CFDBNF�B�IJOEFSBODF�JO�my use of the program. This is however, an aspect of design that I need to master and will be doing so in future studios and my own personal XPSL�PVUTJEF�PG�6OJWFSTJUZ�Even though I did not fully engage with the computing side of the DPVSTF �UIF�QSPDFTT�PG�mOEJOH�B�TUSPOH�DPOOFDUJPO�PS�DPOUFYU�UP�XIJDI�UIF�EFTJHO�XPVME�CF�DSFBUFE�QBHF����BOE�TPMFMZ�CBTFE�VQPO�XBT�something other studio’s did not emphasise. It was good practise on doing so now, as this is the format to which real practises go about things.The process of fabricating using technologies such as laser cutting was B�OFX�FYQFSJFODF�UP�NF�BOE�TPNFUIJOH�UIBU�XJMM�CF�DPOUJOVFE�JO�UIF�future. After creating some handmade models and comparing them to the laser cut ones, there was no comparison in the quality and effectiveness. This, I think really showed in our models on pages 51 -54.5IF�GPSNVMBUJPO�PG�BO�&YQFSFTTJPO�PG�*OUFSFTU�XBT�POF�*�IBE�OFWFS�UIPVHIU�BCPVU �BOE�OPX�TUJMM�mOE�B�MJUUMF�IBSE�UP�HSBTQ�BT�UIFSF�XFSF�OP�QSFDFEFODFT�UP�IPX�UP�HP�BCPVU�JU��)PXFWFS�UIF�QSPDFTT�PG�DSFBUJOH�BO�&0*�GPS�B�SFBM�QSPKFDU �BT�BO�BSDIJUFDU �TFFNT�B�MJUUMF�NPSF�TUSBJHIU�GPSXBSE �BT�FYBNQMFT�PG�ZPVS�PXO�XPSL�DBO�CF�JODMVEFE��5IJT�TFFNT�B�lot more viable in comparison to what we needed to do. Although it was a process that I needed to learn if I wish to enter any architectural competitions, so in the long run, a useful task.0WFSBMM �FWFOUIPVHI�UIJT�TVCFDU�IBE�JU�T�IJHIT�BOE�MPXT �*�FOKPZFE�UIF�QSPDFTT�PG�VTJOH�QSPHSBNT�PUIFS�UIBO�4LFUDI6Q�XIJDI�BSF�GBJSMZ�MJNJUJFE�JO�UIFJS�DBQBCJMJUJFT �UP�QSPEVDF�GSFFnPXJOH�GPSNT�XIJDI�SFBDU�UP�DFSUBJO�parameters. I think our capabilities of creating such forms escalated and DBO�CF�TFFO�JO�PVS�mOBM�QSPEVDU�1FSTPOBMMZ�UIJT�TVCKFDU�IBT�TFSWFE�NF�XFMM�JO�UIBU�JU�QSPWJEFE�NF�XJUI�B�souund base knowledge of what the contemporary architectural process of design is, and how my role as a future architect can use it to my advantage.