Project1.26

DesignerJanet Echelman

LocationPowerhouse Museum & Art, Sydney

To obtain the form, Echelman consulted with scientists from NASA’s Jet Propulsion Laboratory and the NOAA Center for Tsunami Research to obtain data of the Tsunami in 2010, from which her studio generated the first 3D model of the tsunami. She then used her proprietary net-building software to transform an outline of the model’s higher amplitude area into a knotted sculptural form.

When hung in space, this fibrous form appears to be dynamic as it moves with the wind. With its changing shape and bright colours it enriches the static space of the city.

This unique interaction with the natural environment through the use of simple elements is a principle we could include in the Gateway Project to create a di-verse form that continually changes, enriching space.

“In parametric design, it is the parameters of a particular design that are declared, not its shape. By assigning different values to the parameters, different objects or configurations can be created. Equations can be use to describe the relationships between objects, thus defining associative geometry.” - Kolarevic

Parametric modelling turns design into an open ended search for new possibili-ties, instead of just problem solving. An example of this in the design of the fa-çade of the new building for the Faculty of Architecture Building and Planning, which adopts a solar screening system that responds to the orientation of the building.

Using parametric techniques, the spac-ing and angles of the panels have been designed to maintain protection from glare and solar heat gain while provid-ing maximum day lighting. By setting the specific parameters to ensure effec-tive solar protection, it was possible to play around with the overall aesthetics of the panels and to arrange them such that they direct specific views from the east façade – at and across the Elisa-beth Murdoch building, and toward the tree lined Mason road.

Not only born out digitally, buildings are also being realised digitally through “file-to-factory” processes of computer numerically controlled (CNC) fabrication techniques. This has greatly impacted the construction and fabrication phase in architecture.

One good example of this is the Tver-rfjellhytta, the Norwegian Wild Reindeer Centre Pavilion by Snøhetta.

Digital 3D models were used to drive the milling machines, creating the organic shape of the interior of the pavilion. This method of fabrication is also known as subtractive fabrication, which is the re-moval of a specific material from solids using electro-, chemically-, or mechan-ically-reductive processes; in this case 10 inch2 pine timber beams were cut down into their require shapes as spec-ified by the digital models of it, which was then assembled in a traditional way using wooden pegs as fasteners to cre-ate the final form.

Similarly, in using Rhino and Grass-hopper, fabrication information can be contained within the Rhino file and sent directly to machines for fabrication.

“[T]he processes of describing and constructing a design can be now more direct and more complex because the information can be extracted, exchanged, and utilised with far greater facility and speed; in short, with the use of digital technologies, the design information is the construction information.” - Kolarevic

Decker Yeadon’s prototype, the Homeo-static Façade System, is made up of a smart material that flexes and bends in response to heat, effectively regulating temperature in the building.

Although intelligent facades are not ex-actly new, this façade has a notable dif-ference – it does not require computer programming or physical adjustments, moving on its own in response to en-vironmental conditions. The innovation here is in the material, dielectric elas-tomer, which uses electricity to change shape.

Keeping up with and making use of the ever advancing technology is a way to create new, inspiring and unusual proj-ects, simply because the designs made possible by these new technologies are new and not common. Grasshopper, which is the main tool we will be us-ing for the Gateway project, is barely 5 years old and can be considered new in architecture. Through this parametric design modelling tool innovative de-signs can be generated.

The competition brief asks for “a pro-posal that inspires and enriches the municipality”.

Studying precedents that successfully does exactly this would be an important starting point in determining the direc-tion to take to design a compelling proj-ect. One example given in the brief is “House in the Sky”.

The first of a few roadside projects aimed at changing perceptions of Mel-bourne’s west, this project is a suspend-ed wire 2D perspective representation. An illusion of a 3D object, it is perceived differently from different vantage points, and invites many potential readings.

“In an ambiguous landscape of signs and symbols it is another form of adver-tising, a form of very accessible public art. As a Pop Art object, it raises the ba-nal and ordinary to the level of the ex-traordinary and recognises the suburbs as a source of artistic and cultural inspi-ration. It is also a warped mirror of the ‘Great Australian Dream’ and the con-tradictions that this particular cultural condition entails.”

Its multiple and ambiguous meanings spark off discussion and draw atten-tion to it. This can be considered in the development of the Gateway project as a means to create a project that is suc-cessful in advancing architectural dis-course.

Using parametric modelling, generating patterns can be done quickly over many different techniques to explore a diverse range of options that can be use to fulfill the design intent.

Daniel Gillen’s bridge was designed parametrically to create the metamor-phosis pattern used in the skin design.

This bridge was used as an example in a parametric workshop at Tsinghua Uni-versity which targets the understanding and capabilities of parametrism. It is an excellent example in showing what parametric modelling can do. As it had inspired the students in the workshop, the metamorphosis pattern, created parametrically, too can serve as an in-spiration to others.

“The designer who wants to be completely in control of the results must be in control of the process. To be in control of the process, the designer must be in control of the tools. The tools are computation; therefore a designer who wants to be in control must also be a scripter (or suffer the consequence of the unseen influence of using other people’s tools).” - Robert Aish

While it is true that “scripting affords a significantly deeper engagement be-tween the computer and user by auto-mating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time”, as Burry puts it, there is a danger in scripting being used as a cloning tool with little originality, especially when it is used in a generative design approach using ge-neric algorithms.

ARCHITECTURE AS A DISCOURSE COMPUTING AND PARAMETRIC MODELLING

ProjectHouse in the Sky

ArchitectBrearley Middleton Pty Ltd Architects & Urban Designers

LocationInterchange of the Western Ring Road and the Princes and West Gate Freeway

ProjectHomeostatic Facade Prototype System

ArchitectDecker Yeadon

ProjectTverrfjellhytta

ArchitectSnøhetta Oslo AS

LocationHjerkinn, Dovre Municipality, Norway

ProjectThe New Faculty of Ar-chitecture Building and Planning

ArchitectJohn Wardle Architects and Office dA

LocationUniversity of Melbourne, Parkville (to be constructed)

ProjectParametric Bridge

ArchitectDaniel Gillen

ProjectAperiodic Vertebrae v2.0

ArchitectMarc Fornes

LocationNODE08, Frankfurt, Germany

This is one of the many projects de-signed by Marc Fornes, a leading figure in the development of computational protocols applied to the field of design and fabrication.

This project gives an example of how parametric modelling can be used to rationalise designs for physical fabri-cation. Through scripting, hundreds of unique joints can be created, allowing the fabrication of complex forms, which would be next to impossible to fabricate should the joints be created manually.

The structure and joinery system used in this design is an option we could use in the Gateway project.

QUICK GENERATION OF PATTERNS AND STYLES

RATIONALISING DESIGNS FOR PHYSICAL FABRICATION

DESIGN INFORMATION AS THE CONSTRUCTION INFORMATION

CONSTRAINING PARAMETERS

As the Gateway project will be using provided CUT definitions, it is impera-tive that Grasshopper does not just be-come a cloning tool. Instead, it should be used as a time-saver, using various combinations of relevant premade defi-nitions as a basis to allow for efforts to be focused on the development of the design, where design concepts and re-quired modifications can be applied to create a project that is original.

CASE FOR INNOVATION Amanda Ngieng | 377998Zhenghong Pan | 380089

Qing Ping Lee Lim | 371753

Project:GrasshopperTest BANQ

Case Study Project

Designer: Zhenghong Pan (Forest)

380089

Programs: Rhino

(grasshopper+Vray)

This is my grasshopper test model styling from the BANQ restaurant as a case study project. When observing the BANQ pictures, the first thing came to my mind is cutting and contour lines. Then I found the finding of those contour lines can be the essential part of this design. Therefore, I came out a idea of cutting two nearly similar surface to achieve those lines which could be extruded. By learning the definition of cutting surface in ExLab tutorial 3, I changed a bit of them and finally get the geometry similar to those timber slabs in BANQ restaurant.

Applying our exploration on this case into our gateway project should be the most crucial part. First, the organic part of our final design might borrow this curvature structure. Second, the skeleton of this model might be used for structure elements in gateway project. Last but not least, those gradually changing panels indicates the metamorphosis concept in future gateway design.

For the Reverse Engineering task, each of our group members undertook the task of developing a different case study each. Having 3 projects to choose from, the Banq case study was chosen to be further developed to the fabrication process. This choice was made as Banq was the ideal model to develop our concept of progression from city to nature. Banq in its form consist of a series of progressional planes that morphs slowly from plane to plane. This gives the structure an organic layout while still consisting of a series of planes. We wanted to mimic this form of progression and further understand its transition by fabrication.

The Banq project also had a progression of views. As a persons view moved along the form, a diversity of views was encountered from a solid organic structure to a more linear slit form. We wanted to explore the diversity of views from its form which is seen from various perspectives such as a driver would view an object from the car. Fabrication would enable us to explore shadows and movement around the structure.

Gateway project panel b Zhenghong Pan (Forest)

Matrix design 8 was selected to be further developed towards our final design project as its concept was to show a gradual progression of form. It uses Surface Grids and Attractor Points components to achieve this design. By controlling the location of the Attractor Point and even the strength it has on the vectors, we have control over the progression of its form. What we are looking to develop is this understanding to create a metamorphosis of shapes which can progress from structured and ordered to free form and chaotic. This is related back to the Wyndenham Gateway project with its relation of being the progression point between the city and nature.

8. Surface Grids + Attractor Points + Data Driven Extrusion

15. Overlapping Patterns

Matrix design 15 was also selected to be further developed towards our final design project. Its concept was for an overlapping of patterns to create a diverse mix of form. It uses Overlapping Patterns and Graph Sampler components to achieve this design. By manipulating the input parameters for this parametric definition, it results in a mix of patterns which interacts with one another forming a more dynamic design. We want to develop this interplay of forms and use it with the relationship of a changing perspective which would give this design a variety of forms from different angles. This ties in to our Gateway project as it brings in the concept of the drive by viewer and their relation to the sculpture itself.

Using Surface Normals (Surface created by the Sum Surface component), Attractor Point, Data Driven Shading

The Sum Surface component generated a form that

was interesting when combined with Data Driven

Shading. Taking the form further, I rotated a �attenned

version of the data, producing this form... blalablah.

Using Surface Normals (Surface created by the Sum Surface component), Attractor Point, Data Driven Shading

The Sum Surface component generated a form thatwas interesting when combined with Data Driven Shading. Taking the form further, I rotated a �attennedversion of the data, producing this form... blalablah.

Using Surface Normals (Surface created by the Sum Surface component), Attractor Point, Data Driven Shading

The Sum Surface component generated a form thatwas interesting when combined with Data Driven Shading. Taking the form further, I rotated a �attennedversion of the data, producing this form... blalablah.

Using Surface Normals (Surface created by the Sum Surface component), Attractor Point, Data Driven Shading

The Sum Surface component generated a form thatwas interesting when combined with Data Driven Shading. Taking the form further, I rotated a �attennedversion of the data, producing this form... blalablah.

1. Circles on Arbitary Points

2. Circles on Boolean Patterning

3. Circles on Boolean Patterning

4. Rectangle Inputs

5. Rectangle Inputs

6. Blending Inputs

7. Surface Grids + Attractor Points + Circle

8. Surface Grids + Attractor Points + Data Driven Extrusion

9. Surface Grids + Streaming Text Files + Rotation

10. Custom + Image Sampler + Data Driven Components

11. Surface Normals + Attractor Points + Data Driven Shading

12. Surface Grids + Streaming Text Files + Hexagon

1.1 1.2 1.3 1.4 1.5

2.1 2.2 2.3

3.1 3.2 3.3 3.4

4.1 4.2

6.2

4.4

6.1

7.1 7.2

4.3

5.1

6.3

5.2 5.3

8.1

7.3

8.2 8.3

9.2

8.4

9.1 9.3 9.4

10.1 10.3 10.410.2 10.5

11.1 11.2 11.3 11.4

13. Curve Intersection

14. Explicit Grid

15. Overlapping Patterns

13.1 13.2 13.3

13.4 13.5 13.6

14.1 14.2 14.3 14.4

14.6 14.7

15.615.5

16.1 16.2

15.1 15.2 15.3

16.3

13.7

14.5

15.4

16. Applying 1D points onto a surface

17. Applying 2D curves onto a surface

18. Applying 3D solids onto a surface

17.1 17.2 17.3

18.2

17.4

18.1 18.3

16.4

17.5

18.4

14.8

Group Matrix

Additional Research : Metamorphosis and Voronoi Patterns

Project:GrasshopperTest

Metamorphosis Voronoi Pattern

Designer: Zhenghong Pan

(Forest)Qing Ping

Amanda NG

Approaches: Rhino (grasshopper)

Laser Cutting

After taking the position of our site as consideration, we began focusing on voronoi patterns as a way to portray the concept of change from organised (city) to disorganised (rural), or from natural/organic (rural) to industrialised/complex( city).

When exploring the effects of overlaying similar but different voronoi patterns interferred with point attractor, random movements are applied into each direction of coordinates of those points. Above is several illustration of our trials. 1st and 2nd column: Varies the random move-ment in the horizontal direction and vertical direction respectively. 3rd column: Combination of the previous two columns. (Overlapping accordingly)

As shown in the actural fabricated work on the right, the most eyecatching part of this meta-morphosis pattern can be the shadow it projects. The metamorphosis voronoi pattern is no longer a visual impression but also became a shadow link which may attract drivers eyes and feelings towards this significant change.

Incresing the density of the grid to further emphasise the con-cept of change is also experi-mented.

These sequences of images show the addition of points ac-cording to the distance from one end of the pattern to further con-trol the density of the pattern.From top to bottom: Addition of points throughout the grid to no addition of points.

This is the first physical skin panel model fabricated by laster cuting. It generally comes from our further research towards metamorphosis and voronoi pattern in week 4. As the future goal of our gateway projects would related to shadow and air, this metamorphosis voronoi pattern performed well. Those gradually changing patterns are hopefully made to give such a urban/rural changing impression. I have also documented several overlapping shadows to see several effects of overlapping, however, it seems not so good as we expected and probably will influence the visual impression of metamorphosis voronoi pattern. Morover, instead of overlapping these voronoi patterns, those holes provide a change to put stuff inside like panels or strings, which can be futhre influenced by light and wind (air) Thus, this trial is still successful in exploring shadow and light effect of using metamorphosis pattern.

?

TheEveryMany's Aperiodic Vertebrae Model

Perforation on Organic Surface Explored from Cut Project

Voronoi Pattern under Metamorphosis Explored from Metamorphosis Research

Jointing Methods can be borrowed in future design

After exploring from Group Matrix and futher research, what can we achieve in the future gateway design is still a question. However, what is certain is integrating above elemets in gateway design as the concept of our urban and rural metamorphosis.

Reverse Engineer Case Study: BANQ

Project: Matrix of "Cut" definitions

Designer:Zhenghong Pan (Forest)

Definitions used: Surface divide

Image associationMultiple Math functions

This model is the first atempt of applying 1D points onto surface although it looks like puttin g 2D curve patterns onto suface. In this tr ia l , surface divide, image sampler and multiple math functions are used. I t explores the possibility of applying simple pattern determined by image pixel grid. However, turning to relative more complex 2D pattern like voronoi patterns, making them onto surface like that can be challenging but interesting. The edge offset and connecting method can be the preliminary problems if we change the perferation pattern into voronoi holes.

Perspective View of BANQ model

Cut Project: Applying Patterns onto Surface Controlled by Attractors

Reverse Engineer Fabrication: BANQ

During the whole process of generating BANQ model, beside we finally achieved such a amazing way of ilustrating linear metamorphosis, we learned a lot from those failures. Start-ing from grasshopper definition and rhino adjustment to the final laser cutting process, we experienced various problems such as the scaling difference between digital model and cut-ting board and even making a holding box turned to be difficult. Those problems can possibly be avoided in final gateway project fabrication.

After exper iencing case study and fabrication part, ways to illustrate and embody metamorphosis between urban and rural pattern became increasingly interesting and sophiscated. Togther with taking site condition and general e n v i r o n m e n t a l b a c k g r o u n d i n t o consideration, various attractors can be used to adjust both pattern and form of future gateway design. In this case, the point attractor and overlapping ways in our group matrix attract our interests and performed well in metamorphing procedure. Turning to the step of applying theory into physical model l ing, the perforation surface on the left hand side represented the possibility of using those attractor parameters. As a result shown in those photos, the perforation organic surface achieved a relative success and it indicates plenty of clues and methods of skin design in future gateway project. No matter the metamorphing circ le pattern, or those shadows created, those approaches in this skin work can definitely be borrowed and futher developed in gateway skin design. As it was made after the metamorphosis voronoi pattern, those future problems towards joinary system were seriously concerned. Hence, the Theeverymany's precedent work was taken into consideration and hopefully can be applied into our future jointing system in gateway physical model. Therefore, the perforation surface model insipred from Cut Project tested many possibilities of applying patterns onto surface.

From initial explorations using Parametric design technology we were able to develop a series of facade designs which enabled us to explore our concepts in patterns.

We then began exploring the field of Voronoi patterning to produce a Cut surface that was in line with our concept of progression from structure to organic. Voronoi patterning was chosen due to its organic and erratic nature to the patterning style and we wanted to explore how we could develop this pattern to suit

our concept.

With the help of file sharing, we developed a Voronoi patterns controlled by points in Rhino. Further development of the surface using Surface Divide + Tree Structuresenabled us to have more Parametric control over the input points of the Voronoi pattern itself.

From there we progressed to filleting the Voronois from their edges, to develop a more organic Voronoi form.

We wanted to further enhance our concept of transition from structured to organic in the Voronoi patterns. Using Attractor Point + Cull Curves Voronois closer to the attractor are removed from the pattern, leaving us with the structured voronoi patterns.

Obtaining input points for the Voronoi patterns was crucial in developing a progressive form which gradually morphed from structured to chaotic. SDivide + Random + Exponential Graph

We developed a set of grid inputs which had an exponentially random movement of points along the X and Y direction as it progresses down the grid. With this we could have more control of the progression of Voronoi patterns along the structure and tailor it to our needs.

We then began thinking about the form of our Sculpture which would sit on the site. We wanted the form of our sculpture to also convey the concept of progressional development from ordered to erratic and would be a feature to enhance the iconic nature of our Gateway Sculpture.

Using the possibilities of Parametric design we would want to use features of the site itself to influence the form of our design. We are thinking of inputting significant features of the site as Parameters in developing a form that would have a close relation with the site it sits in. Features along the site such as topography and even the traffic flow on the roads can influence our form finding design. We are hoping to develop a form that would both be iconic to the site and also hold meaning in its aesthetics; and this approach is still to be developed.

What Parametric Modelling brings for the Gateway Project, as seen from the Precedents above, Parametric design brings to us new and diverse avenues to explore our design ideas. The Gateway project needs to advance itself and ensure that it is up to date with the ever advancing technology, to a create new, inspiring and iconic project. Simply because of how modern and unutilised these new Parametric technologies are, innovative and ground breaking designs can be generated.

With the ease of file sharing and obtaining definitions that reproduce design features, this feature should not be exploited as a cloning tool and only be used as a time-saver. Various combinations of relevant premade definitions are used as a basis to allow for

The site lies along Princes Freeway with the main target audience of drivers who commute from Melbourne City to Geelong. The main intention is for a sculpture which is iconic for commuters and also hold cultural meaning with the site. The sculpture on this intersection is to act as the Gateway to Wyndham city for drivers coming from Geelong.

In relation to its location as a motorway sculpture, various explorations of arrayed structures introduced to us the concept of changing perspectives of the form. As drivers drive past the sculpture they would have different views of the sculpture and we want to explore this idea of creating a dynamic form which changes significantly in various views. However, we looked to create a sculpture that would not only be exciting and iconic, but also be culturally tied to this municipality and enrich the city of Wyndenham

THE SITE

Entrance to Wyndham

MELBOURNE

GEELONG

Between Melbourne and Geelong

Rebuilding + Culling Control Points + Curve Used to create a new rounded Voronoi to represent the scattered organic intent of our concept.

We then began to explore placing the Voronois on to a doubly curved surface. Surface Morph + BBox component enabled us to map out the pattern and morph it onto any curved surface. This would enable us to array the voronois along our form design

efforts to be focused on the development of the design. Where design concepts and required modifications can be applied to create a project that is original.

Efficiency in the design process is also another strong point for Parametric Modelling. With the integration Parametric software; which gives greater control for the designer in processing menial and repetitive tasks, and Computer Aided Manufacturing; which uses computers to fabricate precise and bountiful amounts of units, it gives us an extreme amount of efficiency in the Design to Construction process benefitting the clients of Wydnham City and the industry as a whole.

Parametric modelling allows us to develop

From our previous explorations of the Group Matrix Cut definitions with the further research of Voronoi patterns, we are trying to integrate them together to develop a form which would be able to be Fabricated. As noted from our Fabrication explorations we would face difficulties fabricating a voronoi pattern on an organic structure which would need to be divided and tabbed.

We are looking into a Jointing method of interlocking planes and angles which could hold our Voronoi pattern design and also form a feasible solid structure. This path has yet to be developed but what is certain is the integration of the elements above into our final Gateway design to bring forward our concept of urban to rural metamorphosis

Perforation on Organic Surface Explored From Cut Porject

Voronoi Pattern under Metamorphosis Explored From

Metamorphosis Research

TheEveryMany's Aperiodic Vertebrae ModelJointing Methods Borrowed

from Precedents

SITE ANALYSIS

Transitional MorphosisNatural Birds Eye View Urban Birds Eye View

The Natural Rural Landscape The Built Up Urban Environment

Natural Skyline Urban Skyline

Natural to Built

Chaotic to Ordered

Service StationExisting Site Conditions

Service Boundary

Direction

Site Features

The main idea of our project was to convey the concept of progression and transition from one place to another. Wyndham lies in the middle of two extremes of the city and the country side, it acts as a transition point for these places and we would like to convey that concept in our Gateway Sculpture. We are searching for a design that morphs gradually from one extreme of ordered and uniform; representing the city to a more chaotic and organic form; representing nature.

This gradual progressive concept also represents growth which ties it in with Wyndenham city and its new found growth as the fastest growing municipality in Victoria. It is also a response to the Seeds of Change sculpture in Wyndenham as a concept of how the seeds has led to the progressional growth of Wyndenham. This concept relates to the cultural meaning of the site and the municipality it lies in.

With this design concept in mind, we began using the tools and experiments made available to us along the way and develop to suit our main design idea.

MAIN CONCEPT Gateway project panel c Qing Ping LEE LIM

FOCUSING ON VORONOI

FORM FINDING COMPETITIVE ADVANTAGE

IDEAS OF FABRICATION

relationships between a whole range of factors, making the design itself more relevant and site specific. It gives us the possibilities to explore multiple parameters of data efficiently and link its performative features effectively to the design process. Using these technologies we can establish stronger relations between the design itself and the context of Wyndham City.

All in all Parametric Design as a design tool brings vast avenue of benefits to both designers and clients. It not only expands various possibilities in efficiency and design freedom, but also develops a whole new depth for the design itself in its functionality and greater site value.

The development of this Voronoi pattern will act as a facade which conveys our concept of Transitional space from Rural to City for our Gateway sculpture. However it is merely a development of Cut patterns which would not be able to form a substantial solid form.