part_b

Ailie miller - 538625

My mother always thought it was strange how much time I’d spend reading the real-estate section of the newspaper as a teenager. She also thought my obsession with The Sims when I was ten was a bit extreme. But then, the real-ization struck that perhaps I wanted to be an architect. Since that moment in year 6 nothing else really sparked my interest, and the further into this course that I get, my decision only ever seems to be reaffirmed, and I know that I’ve made the right choice.

Born in England to a family of Scots and spending a brief three year stint in Singapore, it was in 2000 that we moved to Australia, and Melbourne has remained as my home since, just don’t tell anyone that I prefer Sydney.

Besides my love for a city with hills, harbors, and cobbled stones, there are a few things that are currently driv-ing me nuts:

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Though my first pet hate is definitely one of individual preference, the construction of buildings that seem to want to scream at you that, ‘I’m something new and different’ really do irritate me. I simply do not understand why anyone would design a building that only addresses the ‘style of now’. In how many years is it going to become an eyesore? I do believe modern buildings can be beautiful, tasteful, stand the test of time, and become something iconic. But to me, to be able to achieve this, simplicity and traditional elements is the only way. By being respectful to the buildings environment, neighbors, and not resembling a snorkel mask, I think modern buildings can be brilliant, and they have some of the most functional and impressive interior spaces around. Currently, I’m sitting facing an orange house, with a green gate. Which I feel only proves my point on the over use of colour. If this house were white, black, or something neutral, it would probably be really quite beautiful, and yes boring. I feel that by reducing the emphasis on colour, texture and materiality becomes more important. Which are more refined details that I quite like to discover in buildings. I also feel it creates a more homogenous environ-ment, if all the buildings weren’t in clashing colour tones vying for attention.

I also really appreciate garden space, and find it deeply upsetting at the decision to maximize internal space at the cost of the external. Sadly I feel that in a lot of buildings, the outdoor retreat is overlooked and underap-preciated.

So these are probably the three main things that get me frustrated about the architecture world. Though usually I find that I’m pretty much in awe by the brilliance of peoples minds and designs.

Ailie Miller

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Almost next to nothing.

My struggle with rhino in virtual environments essentially scared me away from ever trying to work with it again. My Bodyspace project was an abstracted representation of the degenerative af-fects of Alzheimer’s on the brain, where this degeneration was expressed with mold. This form was then modeled in clay, cut up to create curves, lofted in rhino, and then using my own octagon surface panel pattern, the design was then unraveled into 32 strips, printed and laser cut at the FabLab, and manually put together. Though I found the whole experience to be a bit of a nightmare, it was a valu-able subject, and I was very proud of what I’d been able to achieve in my first 12 weeks of becoming an architecture student.

Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly


Discourse of Architecture:Architecture is a functional form of art. It’s intended to provide a function, but to be something more than just a practical object it has to evoke some kind of idea or emotion. Being able to encourage think-ing, analysis, observations and interpretations of what is physically in front of you, is to me, what art is all about. The ability to provoke thought.

This ability to encourage thinking and reflection is intricately tied with the idea of architecture as a social representative medium. By encouraging social engagement, architecture can be used to promote positive social behavior. It is able to do this simply by existing, almost as a ‘backdrop’ to people’s lives. I see it something like a giant version of an Ikea store, and each different building is just a giant interpretation of one of the little made-up Ikea rooms. Each providing and presenting something different, designed for different stages in life and en-couraging a different styles of living. Looking at architecture as a ‘backdrop’ enables the architect to con-trol how people live and behave, thus enabling the encouragement of positive social behavior and norms. In reference to my two chosen precedents, 6N\�0LUURU�DQG�%,*�$UFKLWHFWXUHV floating solar sphere for Stock-holm, both designs show architecture as an art form critiquing society.

Anish Kapoor’s Sky Mirror, was a £900,000 art installation of 200. I was fortunate enough to have seen in Sydney and was blown away by its simplicity and beauty. When a work of art is as large as this, it is 10m in diameter, and is featured in such prominent social settings, Sydney Harbor, New York 5th Avenue, and London, having been some of its temporary exhibition sites, it is possible to start categorizing it under the title of architecture. This giant concaved reflective stainless steel mirror, encourages the discussion of, society and art.

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This monumental piece of work, is able to be so thought provoking in its simplicity, and for this it’s a truly great piece of work.

!e Sky Mirror in New Yorkcommons.wikimedia.org

!e Sky Mirror in Londonalisonlucy.worldpress.com

Discourse of Architecture: Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly

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Winston Churchill

Bjark Ingles Group, BIG, had the winning proposal for a new junction of two of Europe’s major Highways, and entrance to Stockholmsporten. Its most defining feature is a giant hovering reflective sphere over the junction, which also provides solar energy for the surrounding town area. This sphere shares a physical similarity to Kapoors Sky Mirror, but it also reflects some of the same social critique ideas, nature as art, architecture as art, society and the environment, and social interactions. The design is more than just a giant floating reflective ball, it creates 580sqm that is divided into pie slices of natural vegetation, wetlands and forests. These are connected via bike paths, which join onto public VSDFHV��UHVLGHQWLDO�DUHDV��DQG�LQIUDVWUXFWXUHV��7KH�VSKHUH�ZLOO�SURYLGH��Ü�YLHZV�RI�WKH�ODQGVFDSH��whilst also providing enough energy to support itself and for the 235 residents.

These two works of art/architecture, are both encouraging an individual interpretation, and empha-size the importance of social space. However it is the reception and response of these works, which will dictate how successful they are in achieving their goals.


Plans for Stockholmsporten, by BIG architectshttp://www.designboom.com/architecture/big-architects-stockholmsporten-master-plan-winning-design/

COMPUTATIONAL ARCHITECTUREComputing and its affects on the design process, have lead to a new ‘speed’ of design, a theoretical decrease in human errors, but also a removal of humans from the design process. The ability to use computer generated design software, allows for the architect to make important decisions regarding, cost, construction, and design latter on into the project. A benefit, as the architect will have a deeper understanding of what the consequences of these decisions will be. Unlike using traditional methods, where the architects ability to change the design with ‘ease’ decreases the further into the design process, using computing methods, the architect is able to lengthen this process, and continue to make important decisions towards the cutoff date.

Computers respond to facts, controlled messages, and respond accurately. They do exactly what they are told to do and as a result, their results are accurate, thus reducing the impact of human error in the design process. However by removing the ‘human’ from the equation, the benefits of humans are also lost. Computers are only able to understand what we tell them, but they lack the innate knowledge that people have. A computer will do what its told to do, where as a human will do what its told to do, but will under-stand why its doing it, and will implement boundaries without having to be told. For example, if you instruct a computer to ‘draw a line’, it will draw one that goes on for infinity, however a human would draw one that has a start and an end. Communicat-ing to a computer is different to that of communicating to people, and accurate language is required, in order for it to understand EXACTLY what it is you require it to do.

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Computer-Aided Design

Introducing computing in to the design process has increased the architects importance in the construction of the design. In what is almost a return to the ‘master builder’ phase, architects are now being more involved in the construction of the build. As new styles of architecture emerge, so too must new ways of construction. As a result, architects are no longer able to leave the project once the plans of the building are finalized, instead they are involved in new and innovative ways of fabricating the design.

These new innovative ways of fabrication are a result of having to respond to new and more complex geometries. With computa-

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This prototype inflatable tent, has been designed using the Rhino plug-in Kangaroo, enabling the designer to understand what the affect of the pres-surized air will have when it inflates the tent. This allows for the final form to be visualized and constructed to work with the air force.

COMPUTATIONAL ARCHITECTURE Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly


tion, there’s an ability to create using non regular geometries, Euclidean geometries, using control points and NURBS. The ability to ‘blobify’ designs has led to an increase in curves in design. The introduction to curves and blobs has lagged in architecture, having been seen first, in airplanes, boats, cars and other household objects. These forms respond to rules, functional influences, and reject historic style, urban and structural norms. Computa-tion, allows for new forms to be generated, based on rules and require-ments, away from traditional geometry. To be able to create these shapes, cutting, subtractive, additive, and formative fabrication have to be used. However, though fabrication processes have been advanced, not all forms are able to be constructed fully, and adaptations or compromises may be needed to allow for the design to be realized.

Computation allows for performance-orientated designing. These buildings are constructed with limitations and criteria that must be met, thus limiting and specifying their shape and properties to meet the demanded require-ments. “in parametric design, it is the parameters of a particular design that are declared, not its shape” (Kolarevic, Branko, 2003). Computers are able to analytically find which forms are most practical and respond to the desired needs, based on a set of rules that has been given. By narrowing the infinitive possibilities, to those that meet the criteria, designers are able to ‘select’ the superior computer generated design through a process of elimi-nation. These performance criteria are not an ‘after thought’ that is included into the design, but rather shape and build the design through their specifi-cations and limitations from the outset.

Computation offers unique opportunities and innovations. Geometries are able to ‘breed’ creating hybrid forms, an almost ‘evolutionary’ design process. “the designer essentially becomes the editor of the morphogenetic potentiality of the design system” (Kolarevic, Branko, 2003). Designers are being brought back into the construction and fabrication of their creations, and a new time frame and designing process has been implemented. The importance of drawings and traditional methods of representation is declin-ing, and the importance of digital modeling will become more useful to the construction and visualization of the form. New forms and shapes can now be conceptualized and represented, leading to a new possibility of ‘blobify-ing’ architecture. Computation has many advantages, however the computer is only able to do what you tell it to do. As a result, it is dependent on the skill and knowledge of the designer to use the computer effectively. Unlike a pen and paper, a pre understanding of how to use it is required. With the rapidly changing technologies, and constant new opportunities, the design world and its ability to create will be forever evolving, and new styles will be emerging, and designers will always be learning.

COMPUTATIONAL ARCHITECTURE

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Entry to the san Gennaro Festival.

A site specific installation con-structed using the Rhino plug-in Kangaroo, enabling the designers to understand how the final piece would work in the site, and under the pressure of gravity. The entire structure is in tension, with each individual, 4224 laser cut panels working together to keep the structure stable. Its final form is only possible when installed on site.

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HPHUJHQFH�DUH�LQWHQWLRQDOO\�VRXJKW�RXW�µKolarevic, Branko, Architecture in the Digital Age: Design and Manu-

facturing

The two previous precedents I selected, are dramatically different to the following two. Their shape and function have a strong simplicity, where as these following precedents are based on func-tionality and site specifics. The differences in these precedents, is not what their finished appearance looks like, but what they are (in my opinion) are trying to represent. The two mirrored works, are an attempt on the reflection of society, and thus it seems right that constructed from ‘human’ forms, basic circular curves. Whereas these following works, are an attempt to show the complexities of our futuristic lives, and in doing so, the use of computation enhances this essence of moder-nity. Computation holds a specific dominion on architecture, but so does more traditional design methods.



COMPUTATIONAL ARCHITECTURE

PARAMETRIC MODELLINGParametric modeling it seems has not just one defini-tion, but many. Its been used to describe a style and computer generated designs. But from my limited understanding, it comes down to designing based on a set of parameters, rules, or equations that must be met by the design. In this sense, its useful for perfor-mance based architecture. A specific demand must be met, and incorporated into the designs functioning/programing/design from the get-go. Because of this, parametric modeling is not explicitly computational, as demonstrated by Luigi Moretti, who’s designs of the 1960s are parametric, without the use of a com-puter.

Parametric modeling has also come to represent a spe-cific ‘style’, one that Patrik Schumacher in his article has suggested is the way forward. A move towards curves and a universal style. Zaha Hadids work, he

http://theverymany.com/constructs/11-art-basel-miami/

PARAMETRIC MODELLING Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly


PARAMETRIC MODELLING

PARAMETRIC MODELLINGsuggests are perfect examples of this new era, a new world of design that has been created, delivering ‘all the components for a high performance contemporary life process, ordered texture.’

Parametric modeling in the architectural design process is another tool to be used. Those who master it will be able to create buildings of unimaginable brilliance, and the others will be left struggling to grasp the maths involved. Some of the difficulties with parametric design, relate to the fact that re-membering what was created or presented even just moments ago, isn’t easily recalled. As such, monitoring the differences in the design development are difficult to retrieve, limiting the design development enhancement. They also become very difficult to change, though they allow for many more instan-taneous changes and experiments than working pen to paper. As they become more complex, often the work involved to change these algorithms may be to difficult and time consum-ing to do, and the best design option may be allowed to slide by due to other restrains. These model codes are also very complex, difficult to share, and difficult to understand from an outsider. Making them very individual, and specific. However, the digital era that has accompanied the spread of parametri-cism, has also allowed for the sharing of peoples definitions, allowing for ‘copy cat’ designers, to use these algorithms and create their own interpretations. Both a positive and a nega-tive, by allowing second-rate designers to enhance their work, but also reducing parametricism to the same repetitive style as more and more people borrow one another’s work. It is in this sense that parametricism has not yet, I believe, reached its full potential. If parametricism is recognizable by its façade, then the complexity that should be achievable has been lost, with the acceptance of a seemingly complex skin. However, as more and more people explore and voyage into the unknown world of parametric design, new possibilities will emerge, which will hopefully address more social, and environmental needs than just an aesthetic skin, and it will be here that the parametricsim will truly shine as the way forward for modern day architec-ture.



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Slow Furl

The two chosen precedents that ive selected, both represent the possibilities of parametric modeling. Slow Furl by CITA, is a slow moving skin wall, somewhere between a cloud and a sheet of ice. It moves on its rhythm and patterns, making its behavior unpredictable but more im-portantly self driven and independent. The uniqueness of its movement, is enhanced by its ability to respond to touch. The surface is covered in areas of sensory alertness, which cause the surface to react to those who wish to interact with it. This architectural engineering, has created a ‘living wall’, it has no specific purpose in life other than to move and react, and for now is just a taster of what will eventually be possible, with further initiative and creativity. This is an example of a perfor-mance based design, with an ingrained sole objective of seem-ingly being ‘alive’ and can only bring great enthusiasm for what potential possibilities lie ahead.

This is compared to Marc Fornes and Theverymany’s pavilion installation the Labrys Frisae, a static representation of com-putational ingenuity. This structural sculpture, of some 10,322 parts and 202,290 cut out holes, has been designed to respond to the “evolution of society as it becomes more complex and faster and faster. A simple box cannot respond anymore to the need of people” (Marc Fornes on Labrys Frisae during Miami Art Week). Though it may resemble coral, and other natural elements, this design was not based on any biomorphic prin-ciples. Instead Fornes explains that what the scientist discovers about nature, the computer scientist develops into a program, and the designer uses this for efficiency in their work. As such this stepping stone of innovative research, results in efficient buildings resembling nature, even though their was no inten-tion to do so. Its efficiency in design, is showcased by the utilization of cheap flimsy material, that when placed in specific

PARAMETRIC MODELLING

PARAMETRIC MODELLINGgeometries becomes rigid. The created pavilion, though delicate, and lightweight in appearance, holds the strength to support a human being. The cut out stars featured on the design, also responds to its fabrication process. The holes are used to allow for someone to put their fingers through and apply pressure to the connecting parts. This is an efficient, computer generated design, that intends to respond to a complex environment, with one that is both simple and complex in appearance at the same time. Similar to that of CITA’s Slow furl.

These two ingenious designs, showcase the possibilities of parametric modeling. These apparent simplicity and complexity of these designs provide something new to our human life experience, and represent a possible future architectural landscape for our way of life.



CONCLUSION

Parametric modeling is the tool of the future. It is a way of meeting specific crite-ria, whilst utilizing the accuracy and capabilities of the computer. Both complexity and simplicity are achievable, and the range of possibilities endless. As such, indi-viduality is a key feature of parametric modeling, and site specifics further help to create this uniqueness. The design approach for the following section should be explorative, investigat-ing the possibilities that parametric modeling offers, and in utilizing these new capabilities, almost impossible to achieve with traditional methods, an innova-tive, smart design will be delivered. It will be innovative in the sense that no two designs should nor can ever be identical, where each has individual parameters set. This move to design with parameters in place, is a move in creating functional, and performative designs. Parametric modeling, allows designers to create build-ings and structures that can provide something much more than just a pleasing aesthetic façade, they enable us to let it perform, and function in a way that was once very difficult to achieve.

My first four weeks of Studio Air, has as always (as studios are) been rather intense. But there is no doubt, that what I have learned, I didn’t think possible. I have a greater appreciation for mathematics, and engineers who create such intri-cate software to allow for the likes of myself, to explore such complex programs and designs, with the click of a button. After finally understanding what ‘paramet-ric design’ is, having originally only understood it as computational architecture, I believe that though it may not be to everyone’s capabilities, it is in the interest of the whole community, for the possibilities it holds to be explored, learned, and taught to those who might one day be able utilize these new found skills, and create something that is beyond the ‘façade of complexity’ and is something quite simple and delivers more than is currently thought possible. I believe that by using parameters in design, one day someone somewhere, will be able to solve so many problems, and the answer will be so simple and transcendent that everyone every-where will look like fools for not have being able to answer it. But the computer will.

It is for this reason that, in a somewhat scary image, that computers will be the only design tool needed. An efficient move, that now I think may be a step to far for our current mankind, but with our advances in understanding these tools that we’ve created, will indeed lead to a new world of possibilities, a new lifestyle for man.

CONCLUSION Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirilly


DESIGN FOCUSOur team has decided to utilize sectioning as a form of parametric manipulation for this project. Sectioning was selected for the following main reasons:

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With these possibilities we hope to create a design that is able to be manipulated by control points to promote/hide specific views, or with these voids be able to communicate a message or meanings.

Sectioning’s greatest strength is in its ability to symbolize something larger than itself. Contours on a map are 2d lines, close together or far apart, the relationship between one another is its strength, and this void between the lines is the real information we seek. This ability for empty spaces to be as important as the solid forms, is why sectioning was chosen, it gives meaning to the apparent emptiness, and voids are just as important as the physical form. This is a subject called ‘air’ and we’re attempting to utilize air in our design form.

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Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & KirillyDESIGN FOCUS


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Much like stroboscopic photograohy, this process can be cut down into specific intervals and within these spaces we’re able to fill these gaps in our mind, fast or slow. These still frames when spaced ac-cordingly provide the viewer with a reference to the pace, again placing importance on the emptiness between physical forms to enlighten the observer. A fleeting movement moment, can be frozen dis-sected, observed, and interpreted at a slower speed, or vice versa. This interest in speed and percep-tion is of great interest to our group, and we wish to further explore it.

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Baker D. Chirrico

March Studio has designed a functional and pragmatic interior space for the boutique bakery, Baker D. Chirico in Carlton. The design was inspired by the idea of ‘carrying bread in a basket’ this idea lead to the use of plywood contours and shelves forming a wall and ceiling design, that dips and dives creating a modern and cosy atmosphere. The shelves are largely flexible, allowing rearrangement of the display of produce, one of the benefits of using the design.

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Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & KirillyBaker D. Chirrico


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Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & KirillyBlaze


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The brief for this project is very similar to the one for wyndham, to provide the A66 highway its unique identity, by populating the roadside with sculptures. It originated from the proposal to create a gateway feature on a roundabout, and was further de-veloped to spread further down the road. It was to integrate the landscape. In 2007 blaze, constructed of gold anodized aluminum, designed to catch the light during dull grey days, was the winning entry. The design, consisting of multiple curves of these angled rods, curves around the round about creating different densities and views for the driver. The rods stay at a fixed spacing only changing when they come to meet one another at a focus point. The rods though they appear to be statutory, don’t have a fixed fitting and thus slightly move, creating more of the ‘blazing’ fire affect for the observer.

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Banq restaurant, uses a contoured hung ceiling to hide the restaurant’s fittings from view. By using the contours office da were able to control the view of the dinners in the restaurant, emphasizing the horizontality and open-ness of the space. The wine cooler is hidden within one of the ceiling to floor fixtures, giving the impression that it is suspended from the ceiling, and ‘dropping down’. The floor space remains flexible as the ceiling dances above in fluctuating heights.

From Banq, the effectiveness of light and shadow, and the flexibility of form are demonstrable. In case study one, we manipulated two definitions provided based on the Banq design, to create our own forms and struc-tures.

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Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & KirillyCase study one


One used sectioning derived from a lofted surface, what could be manipulated is as follows:

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The other definition created sectioning from a plane and a black and white image that then extruded contours based on the depth of the colour.

What could be manipulated is as follows:

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These two different definitions were manipulated and explored to create different forms of geometry.

For case study one, we were provided with two definitions from Banq restaurant.

Case study oneWe manipulated the provided definitions from Banq to create the following matrix.

These forms we were able to generate, once further refined could be used for many applications. There have been many benches, tables, and ceiling structures created from sectioning manipulation. They are all very expressive, the denser the section cuts, the more refined the form is, the further apart the more ‘skeletal’ the structure appears, but the form is not lost in this process. The base structure so far has had the most impact on the final design, giving a sense of form, and curvature to the final shape. The use of curved versus linear sectioning lines also creates a different affect, something to be further experimented with.

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This proposed train station connecting the city center, airport and hub of ma-jor commercial development plan, it seeks to form an active connection and harmonize architecture and landscape. The sectional design was inspired by the neighboring high density housing blocks, and the angled direction reflects the natural landscape, the design finding its inspiration from its location. It works to guide pedestrian flow to and from the station. The majority of the design is found underground, with the sail like canopy pulling the structure up whilst simultane-ously pushing the plaza down into the ground. We were inspired by this design, to look at simple forms and structures that in-corporated sectioning that focused on light and shading patterns in our designs.

Case study two

Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & KirillyCase study two


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Case study two called for us to analyze and to reverse engineer a selected project, 6WDWLRQ��SURSRVDO�LQ�6RÀD. Our first step was to break the project down into its main components.

Our first attempt involved creating a lofted curved surface which was uniform in shape. We then divided an edge line into a series of points, and insert a plane at these points. The curve was then sectioned. These curves were extruded at an angle to create the ‘overlapping effect’.

Our second stage involved trying to curve the line as the Sofia train station is based on a doubly curved surface. We were able to curve the sections along a point controlled line, and after much difficulty, were able to make them extrude not in a uniformed ‘x’, ‘y’ and ‘z’ planes, but relative to their position on the curve, again allowing for a successful ‘overlapping effect.’



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Our third stage involved creating a lofted surface which was more similar to the original structure. It was lofted in grasshopper, cut using a line divided into points, the sections were then extruded. The next step was to section the surface at an angle, as the Sofia station curves lean back onto them selves, and are not simply perfectly verti-cal. The third image shows where we ran into difficulty. By changing the orientation of the plane the sections were being cut in, we were successfully able to create this ‘leaning’ effect, as shown in the top view, where the sections lean back compared to the orthogonal lines in the second image. This was then neatened up to include more sections, further angled again to create a structure that more closely resembled the station.

Our fourth attempt to reverse engineer the station, saw us combining these two elements of the curved form, with the angled section lines, to create a structure that




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curves around itself. This was ultimately our most successful attempt.

Our fifth digital model was able to capture the general shape and the angled sections, of the station, the two most prominent features of the design. However, the overall form of our model was derived from a lofted curve, and though changeable, it is limited in its movements and shapes. We also weren’t able to capture the thickness of the sections, which taper down at the edges to provide interesting lighting effects internally.

It would be interesting to be able to more accurately control the section widths and dimensions, rather than providing a standard value for all the sections, but having them fluctuate, decreasing, or increasing, or just varying in some form. This would provide more control over the design, and the internal lighting effects.

technique: development

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Under this guidance, we went for a ‘breadth’ approach in developing our designs. As a result, we have multiple algorithms that provide different functions which we can further explore. This was because at the time we were unsure of what form we were interested in, and decided to invest our time in creating formulas that we could eventually integrate into a final design.

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Our first developmental stage involved creating different planes that were extruded from a curve and angled towards a control point to provide different viewing options.

Our second stage involved taking this further, to angling the entire surface plane towards a control point, not simply the edge.

Our third stage, moved in a different direction by working to extrude lines between two curves. The width, direction and angle of these ‘sticks’ is therefore determined by the relationship between the two curves.

Our fourth development, took this idea in relation to the potential ‘width’ of our extrusions.

The fifth development took this further, by taking these lines created between the curves, and then angle in towards a direction based on control points.

The sixth experiment, looked into using evenly spaced extrusions and their relationship with surfaces.

technique: development

Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirillytechnique: development


The seventh development built of case study two, by putting a surface pattern on the form. These patterns were based of provided algorithms in the LMS. We used image patterning in different styles and relationships to create forms that were derived from points on the surface, a provided image, and a combination of both. The circles created (though they could be any shape) were either angled towards the surface, or planar.

The eighth stage saw us utilizing surfaces to create an arrangement of sections. These were experimented with, cutting, and curving these forms.

The ninth stage looked into placing an image into the extruded form. More angular shapes worked best, as they are more clearly read of the surface rather than curved shapes, which get lost in the sections. This has the potential for further develop-ment.

Our tenth experiment saw us using solids, intersecting with other solids, and finally sectioned with a curve to create inter-esting forms.

It was with using this technique that we created the following form. Though the form doesn’t achieve the angled view points that we had achieved in previous explorations, it is a base point that can show our future direction. We’re interested in having varying heights of extrusions, and using this ‘cutting’ technique allows us to accurately model the form rather than relying on black and white images to determine heights, as used in the BanQ restaurant case study one. We will look into ways to incorpo-rate all of our possible outcomes.

technique: prototypes

Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirillytechnique: prototypes

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As our design focuses predominately on sectioning, there is likely to be few connecting parts. As such individual parts will be connected to the ground either with fixed or flexible joints allowing for movement. The models we created were easily assembled with flat edges, tabs and glue. This suggests that for our final model unless the shapes change dramatically, or our material choices do, constructing our design from simple measures should be feasible. If the material or design choice we selected results in curved surfaces, we may need to triangulate the form to allow it to be a simpler construction process. Alternatively, a change in materials may be needed


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We’ve a strong interest in the use of mesh.

Mesh has the ability to be layered on top of one another creating a level of depth and transparency at the same time. This use of mesh also relates to our original ideas on sectioning, as the form itself is largely constructed of voids and air. Some of the forms achievable with mesh have been achieved by Janet Echelman, an installation artist who uses large amounts of coloured wire mesh to form floating invisible transparent structures. The transparent and layering possi-bilities of mesh have been explored in Project One, by Lift architects, which uses multiple sections of mesh to project light onto, this results in a dancing delicate display of light, which is constantly moving in depth and position on the transparent surfaces.

Mesh also interacts with the environment in quite an interesting way. It captures rain droplets in its surface, affectively creating a reflec-tive naturally forming sparkling surface when it rains. Mesh has been used in drought stricken areas, which also experience high levels of fog, to capture rain droplets as the fog passes through the mesh. The design possibilities of this material are something we’d like to explore further.

technique: proTOTYPES

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Other material interests are found in the use of:

Copper, the oxidization of this metal is particularly striking. It’s reminiscent of old im-portant buildings, and the transition in colour from golden bronze to a matt grey/green, will be interesting to watch. Its interacting with the environment at a slow time rate, interacting again with our idea of ‘time’. The transition in reflective quality of this metal will also provide another evolutionary element to the design.

Steel has interest for the opposite reason. Its ability to remain in a pristine state, reflective or matte, it will remain in a constant state of perfection. The reflection possible in this mate-rial would relate back to the choice of sectioning as it would almost render itself ‘invisible’ between reflecting itself and the environment around it. This could create quite surreal reflec-tions and projections onto the viewer, particularly at night with headlights moving.

Stone could potentially be seen to be ‘growing’ or ‘emerging’ out of the ground. A poten-tial modern day Stonehenge. The weathering process of these rocks, and the potential natural growth of plant materials and the landscaping surrounding the site could unleash further design possibilities.

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technique: proposalThe brief called for an eye-catching proposal that would make Wyndham recognizable. Our original thoughts started with making Wyndham recog-nizable for its own qualities, but after considering this idea, we came to the conclusion that Wyndham needed something more, as it currently didn’t have its own ‘recognizable trait’ and thus one needed to be created for it. We plan on creating a new definition for Wyndham.

The site for the project, is located on a highway, where most viewers will be traveling at 100km per hour. This we felt was the most important aspect. When the site is driven through, it is directly engaged for 30-40 seconds. We want to make this longer. Either by making it feel longer, or by instilling a strong presence into the viewers mind so that the continue to recollect it, thus making it ‘unforgettable’. A new experience for Wyndham.

This speed of travel and interaction became our main focus.

Stuck in a bubble of a car, traveling at a constant speed, there is little experi-ence difference between traveling at 100 km and a slower pace.

Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & Kirillytechnique: proposal

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Thus by engaging the viewer into being aware of their speed, or in attempt ‘slowing time down’ we felt we could extend this experience, by manipulating their perceptions of speed, and by creating an intended lingering thought.

To do this, we researched into the perception of time/speed travel, and came to the conclusion that elements needed to be perceived in ones peripheral vision, standing at a fixed rate and then gradually getting closer together (to ‘speed up’) or further apart (to ‘slow down’).

This technique has been utilized in Virginia America, by the Department of Transportation, by plac-ing optical speed bars at regular intervals along the road. The intervals between the bars decreases giving the driver the optical illusion that they are ‘speeding up’ and thus they slow down, becoming safer drivers and reducing accidents on the roads. This is based on the Kappa effect, which is a tem-poral illusion which can alter ones perception of time. The observer tends to base their judgment of time based on the interval between two stimuli. This can be derived from the fact that time itself is immeasurable without the use of motion, the rotation of the earth for example.

With this information as to how to ‘manipulate the perception of time’ we were able to create a variety of algorithms that dictate the spacing between sections. we tested these in motion graphics and though they were only fleeting, they seemed to work. We need further explorations to refine our design.

With this notion of speed, time and sectioning, we hope to be able to create a refined piece of installation work, that will propel Wyndham to being a city recognizable on the map.

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LEARNING OBJECTIVES & OUTCOMESThe feedback from the mid semester presentations, has lead us to consider the kinetic possibilities of the design, and other ‘time frames’ not just the 30-40 seconds the one would drive through it. These are two very exciting directions are project will start to take.

In regard to what I’ve learned so far in this subject, I still feel very much daunted by the computing world. Much of my time has been spent staring at a computer screen with bloodshot eyes trying to figure out how to do very simple basic tasks, and googling things only turns up complex so-lutions and problems beyond my understanding. Overall though, now that we have a few algorithms that work, and we understand how, we will start to explore more with forms, which should hopefully lead to some interesting design possibilities.

Computation in the design process has been a big chal-lenge; I’ve no doubt that it has a place in the designing world, I just doubt that that world and I coexist.

Studio Air - ABPL30048 - Semester 1, 2013 - Group 3 - Daniel & KirillyLEARNING OBJECTIVES & OUTCOMES


part_b

Documents

modern buildings

buildings werent

buildings environment

lot of buildings

construction of buildings

use of colour

clashing colour tones

time id