progress journal

// A R C H I T E C T U R E D E S I G N S T U D I O _ AIR
the university of melbourne, 2012.

[ 338495 ] YU-JIA ANNIE DU

tutors: gwylim jahn + andy yu
[1]

// _ introduction
Architecture Design Studio: Air was a studio run at
the University of Melbourne in Semester 1, 2012.
Studio Leaders:

Stanislav Roudavski (Subject Coordinator)

Gwylim Jahn (Senior Tutor)
Andy Yu (Tutor)

Project | Smap Group Members:

Annie Yu-Jia Du
Terence Ho
Peter Wang
James Johnstone

// _ studio aim
To introduce the teaching of digital
architectural design. The faculty, the
accreditation bodies and the teaching team
all agree that the teaching of contemporary
technologies (including computation) needs to
be considerably improved.
- Stanislav Roudavski.

[2]

CONTENTS

PART I. EXPRESSION OF INTEREST (E.O.I)

I.1 _ CASE FOR INNOVATION

I.1.1. Architectural Discourse

I.1.2 Computing in Architecture

I.1.3 Parametric Modeling
I.2 _ RESEARCH PROJECT

(Scope of Possibilities)

I.2.2. Input/Association/Output Matrix

I.2.3. Reverse-Engineered Case-Study

I.2.4. Materials Effects

I.2.5. Assembly Methods
I.3. _ E.O.I CONCLUSION: GROUP EOI DOCUMENT
I.4. _ LEARNING OBJECTIVES AND OUTCOMES: INTERIM

PART II. PROJECT PROPOSAL

II.1. Project Interpretation
II.2. Project Delivery
II.3. Project Presentation
II.4. Project Proposal Conclusion

PART III. LEARNING OBJECTIVES AND OUTCOMES: FINAL

[3]

PART I
[4]

_ EXPRESSION OF INTERST.

[5]

.1
[6]

_CASE FOR INNOVATION.

[7]

1.1

EOI: advancingARCHITECTURAL DISCOURSE.

NATURAL LIGHT
PERSONAL; ANNIE YUJIA DU, WAITING PLACE /VS.
STATE OF THE ART PROJECTS; LOUIS KAHN, EXETER LIBRARY / VS. TADAO ANDO, CHURCH OF LIGHT

The discourse between architecture & natural light occurs inevitably,

with or without human interference. Natural light illuminates, clarifies,
& stimulates our senses but it also dazzles, confuses or shocks us.
Through the manipulation of filtering of this natural light through
different materials; both organic and man-made, are we able
to create a discourse with the space user, evoking a response,
whether it be emotional, spiritual, intellectual or physical.
The Exeter Library designed by Louis Kahn in 1965 (but was not ready
for occupancy until 1971), almost resembles a box on the exterior,
but within lies a wonderful world of Natural Light manipulation. The
study booths along the perimeter are all fabulously illuminated by
sunlight from the windows just above the users eye level, as well as
screened windows at desk level whcih allows the user to control
the amount of light entering into his/her immediate environment.
The Church of Light designed by Tadao Ando in 1989 for the Ibaraki
Kasugaoka Church in Osaka, Japan is of a similar cubical shape, consisting
of a series of three in-situ reinforced concrete cubes sliced by crucifix
cut into the wall behind the altar. Through the manipulation of sunlight
& specific orientation of the building, Ando is able to create an aura
symbolising Gods presence behind the priest as he stands at the altar
basking in the morning sunlight, whilst the stark reality of the hard
reinforced concrete walls remind the congregation their own secular state.

[8]
Khan, Louis. PHILLIPS EXETER ACADEMY LIBRARY, New Hampshire USA, 1965. Source: http://www.mydstudio.com/blog/buildings-we-love-kahns-exeter-library.html

THE DISCOURSE BETWEEN ARCHITECTURE & LIGHT OCCURS INEVITABLY...

// PRECEDENT STUDIES

Visually, the Church of Light is a stark contrast to the elaborately

decorated predecessor European churches & cathedrals, yet the
design is still relevant to religious architecture in its own sense.
The Waiting Place designed by myself in 2009 for
Designing Environments (BEnvs), is influenced not only be
the works of Ando and Kahn, but also a Dr. Seuss quote.
- time is of the essence... we must not linger too long.
I used the manipulation of natural light and shadows to
create a sense of shelter, but also a sense of entrapment
to show how a structure is able to control the behaviour
of the user and the time spent within my design.

WAITING PLACE

From this precedent, we are able to draw from it the specific

placement of perforations along surfaces to create a sense
of interaction with the space user through the filtering of
light and the manipulation of certain conventional materials
such as concrete, in regards to achieving a sense of
interconnectedness through the materiality of the Gateway project.

CHURCH OF LIGHT
EXETER LIBRARY

[9]

//EOI. advancingARCHITECTURAL DISCOURCE: Natural Light - IMAGES SOURCES;

1. Du, Annie (Yu-Jia). Waiting Place, Designing Environments, BEnvs - University of Melbourne 2009.
\Authors photograph.
2. Ando, Tadao. Church of Light, Osaka JAPAN,1989.
\Source: http://tadaoando.wikia.com/wiki/Churches
3. Ando, Tadao. Church of Light, Osaka JAPAN ,1989.
\Source: http://patrickmullen.wordpress.com/2007/10/26/tadao-ando-churches/
4, 5 & 6. Khan Louis, Phillips Exeter Academy Library, New Hampshire USA
\Source: http://www.mydstudio.com/blog/buildings-we-love-kahns-exeter-library.html

EXETER LIBRARY

CHURCH OF LIGHT

[ 10 ]

WAITING PLACE

EVEN A ROOM WHICH MUST BE DARK NEEDS AT

LEAST A CRACK OF LIGHT TO KNOW HOW DARK IT IS.
- LOUIS KAHN

Khan, Louis. PHILLIPS EXETER ACADEMY LIBRARY, New Hampshire USA, 1965. Source: http://treyfla.tumblr.com/post/1105916553/conceptexecute-hows-this-for-plasticity-louis

[ 11 ]

1.2

EOI: Computing in Architecture.

[ 12 ]

COMPUTATIONAL DESIGN

SO, WHAT IS
COMPUTATIONAL DESIGN?
To put it simply, computational design is
just another way to solve design problems.
The solutions created from computational design
incorporate the massive processing power of
computers to perform millions and millions of
mathematical equations to create multiple outcomes.
These solutions would take decades, if not centuries
if solved by the creator alone, therefore showing
how time efficient computational design can be.
However, time efficiency isnt the only benefit.
Since computational design is processed through
different sets of data - data (parameters) which
determine for example, the design performance,
this data may be sent to a range of fabrication
companies, allowing exact fabrication of the design.

able to see how one decision ripples through the

entire project, bringing all members of the design
team together to make joint decisions throughout
the design process, creating more DYNAMIC designs,
allowing innovation to happen at a much faster pace.
The technique of computational design fabrication
is already employed in the boat-making industry,
automobile industry, commerical industrial
design industry, and finally the architecture
industry is catching on to the phenmoenon.
Through computational design, the final design
of the Western Gateway will be innovative,
collaborative and cost efficient, as all the
required parameters may be pre-set in order to
remain within the required budget, whilst also
carrying out the requirements setout on the brief.

As computational design incorporates all facets of a

project. Instead of one designer acting independently
to produce certain STATIC design solutions then
passing it on the the engineer, who then passes it
on to the builder for fabrication; the designer is now

[ 13 ]

1.2

EOI: Computing in Architecture.

Computational Design Innovations

The Packed Pavilion designed and produced by a team of Masters

students (Michele Leidi, Min-Chieh Chen & Dominik Zausinger)
at the EHT Zurich for their final project in the Deparment of
Computer Aided Architectural Design is a pavilion composed
of 409 variable truncated cones made from layering perforated
cardboard, and together these cones create a structural system.
Similar to the concept of a voronoi, these cones were designed
so that the parameters of their size was determined by that
of their immediate neighbour as well as their position within
the entire structure, meaning that each invidual cone was
able to adapt according to other changes in the structure.
The main goal of the EHT design team was to achieve overall stability,
shape, illumination, views and spatial quality. And through this
experiment they were able to demonstrate how computer aided design
could potentially be beneficial to architects on a financial level; through
[ 14 ]

source: http://packed-pavilion.blogspot.com.au/

Packed Pavilion - Masters students at EHT Zurich // c a s e s t u d y

Through the development of selfmade computer programs, the
group was able to create optimized
solutions in regards to efficient
production and packaging as the
final product was to be produced in
Zurich, then sent and assembled in
Shanghai for the World Expo 2010.
This process is an example of how
computer aided programs may effect
the final design proposal for the
Wyndham Gateway design, not so
much in the logistical sense but more
on how the design is able to not only
interact with its surroundings and users
but also with the structure itself (as
the cones negotiate their parameters
through adapting to the location and
position of their neighbouring cones.).

[ 15 ]

1.2

EOI: Computing in Architecture.

Culture of Scripting

[ 16 ]

http://blogs.curtin.edu.au/computational-design-laboratory/files/2011/06/DoubleCurvedWall_Perspective01.jpg

[ GRASSHOPPER - A VISUAL SCRIPTING PLUGIN FOR THE 3D MODELER RHINOCEROS 3D ]

Computational design has extended the geometry of

architectural designs so that it no longer maps the old
conventional linear styles but employs digitally facilitated
programs to create organic parametric designs. It offers the
possibility of producing solutions on a somewhat more advanced
level; generating designs from algorithmic codes and set
parameters, so that as the design progresses, details may be
fine-tuned, ideas can be added, but all within the set constraints.
As modern day designers become increasingly computer savvy,
there will be relatively less significance on the techniques
engaged but rather on the use of these techniques to optimize
performance and result of the final design. The computation of
design as such, is not only a technique, but most importantly
a modern TOOL used to solve present and future challenges.
Therefore, computational design has brought a paradigm shift in
design representation and thinking from the static object model
to vibrant system models from the linear to abstract designs.

POTENTIALS OF SCRIPTING
[ 17 ]

1.3

EOI: Parametric Modeling.

Innovative Scripting

[ 18 ]

source: http://code.algorithmicdesign.net/AgentSense

A g e n t S e n s e - instructed by Ezio Blasetti // c a s e s t u d y

This project was to create a digitally enabled mesh which responded to the
dimensions and existing conditions of the site; the Bartlett Schools Wates
House (Architecture School). Through the process of writing a specific algorithm
(using Grasshopper scripting) that allowed points of the site to interact with
a mesh surface concentrating on the faade of the building, the design team
was able to script an almost organic structure; which was referential not only to
itself, but also to specific allocated points on the chosen site (the faade).
The resulting surface treatment is a high resolution mesh, providing complexity,
detail and practical protection from the elementsthe solid block that
was once Wates House becomes more human and a representation of the
humans existing within: diverse, weird whimsical and maybe a little crazy.
The concept behind this project is similar to that of the Western Gateway project,
where the focus has been placed on the Bartletts buildings entrance: a high traffic
area, which was often ignored as a place of interest. Therefore, this project can be used
as a significant predecessor of the Western Gateway design, as an example of how
digitally enabled designs are able to not only attract and interact with visitors, but also
become a representation of the technological advancement of the City of Wyndham.

[ 19 ]

[ 20 ]

source: http://code.algorithmicdesign.net/AgentSense

[ 21 ]

1.3

EOI: Parametric Modeling.

Innovative Scripting

...the glass-like fragility of thiss artificial forest, built of an intricate lattice of small transparent acrylic
tiles, is visually breathtaking. Its frond extremities arch uncannily towards those who venture into its
midst, reaching out to stroke and be stroked like the feather or fur or hair of some mysterious animal.
Beesleys Hylozoic Soil stands as a magically moving contemporary symbol of our aptitude for empathy
and the creative projection of living systems.
- Fundacion Telefonica Jury, 1st price, VIDA 11.0
[ 22 ]
image source: http://2.bp.blogspot.com/_8hlTy6vXCZg/THUjVRRFMHI/AAAAAAAAAM4/aSGgwsDGmbI/s1600/Philip+Beesley+Hylozoic+Ground+5.jpg

Hylozoic Ground Project - Philip Beesley // c a s e s t u d y

The Hylozoic Ground Project by Canadian architect and sculptor

Philip Beesley demonstrates the potential of architectural
designs in the future, and what a building may be capable of.
After attending Beesleys lecture on parametric design at RMIT,
I felt that he thought of buildings almost as an organism, an
object which moves, feels and possibly thinks; through the
effects of environmental influences and user interactions.
Hylozoic Ground is an immersive, interactive environment that
moves and breathes around its viewers. This environment can feel
and care. Next-generation artificial intelligence, synthetic biology,
and interactive technology create an environment that is nearly alive.
This precedent is an example of amazing scripting innovation,
turning mathematical algorithms, biological and chemical
equations into something that appears to have sprung from
nature, something which we could strive towards for the
Western Gateway project. Obviously, time and financial restraints
would not allow us to create something so technologically
advanced, but the theory behind the design would be useful
for future consideration when it comes to our final design.

PRECEDENT CASE STUDY

[ 23 ]

[ 24 ]

floated like a waking

dream suspended in an
opalescent membrane

- Robert Everett-Green, GLOBE & MAIL

symphony of pure
sensation

- Ben Lensink, SCHREEF DE TWENTSCHE

COURANT TUBANTIA

hard to believe it was

designed by a person and
not born of nature
- SHAPE & COLOUR World Press

the power to be the

dominant aesthetic of 21st
century landscapes
-Hannah Devlin, LONDON TIMES

[ 25 ]

.2

[ 26 ]

_RESEARCH PROJECT.

[ 27 ]

[ 28 ]

EOI: Scope of Possibilities.

Input/Association/Output Matrix

yellow

black

scale 4

cyan

cyan

scale 6

scale 8

scale 10

cyan+magenta

cyan+yellow

black

using surface normals_curve attractor_data driven shading

scale 2

curve intersection_image sampler_data driven shading

overlapping patterns_multiple maths functions_data driven extrusion

2.1

cyan + yellow

yellow + magenta

cyan + yellow

extrude rec grid: y = 0.234

extrude hex grid: y = 0.682

extrude rec grid: y = 10

extrude hex grid: y = 7

scale 0.21

scale 0.67

scale 0.99

explicit grids_maths functions_data driven extrusion

surface grids_image sampler_data driven components

scale 0.12

combine rec+hex grid: y = 5

combine rec+hex grid: y = 10

[ 29 ]

2.2

[ 30 ]

EOI: Research Project.

Reverse-Engineered Case Study

DIOR GINZA, Office of Kumiko Inui // c a s e s t u d y

In order to complete the task at hand, and increase brain power

for the final part of the assignment, a group of four is formed
consisting of myself, Terence Ho, James Johnstone and Peter Wang.
Born out of a spelling error, we are named
Team
SMAP
(later
changed
to
Project|SMAP).
The group chose Dior Ginza faade as the case study to
reverse engineer due to the conclusions made through our
individual exploration of precedents. From Andos Church
of Light, we had made the decision to explore perforations,
and from Ezio Blasettis Agent Sense Project, we were
interested in the idea of layering and interconnectedness.
The moire effect created by the overlapping patterned panels
of the Dior faade was the main effect we were attempting to
replicate. This particular effect resulted in an almost ghostly
flickering presence of the building at night through backlit panels
and optical illusions throughout the day as to the depth of the
perforations. To achieve this desired effect in Grasshopper, we
used the image sampler and surface divide cut definitions.
In order to successfully replicate the moire effect, the outer
layer of the faade consisted of perforated circles mimicking the
Lady Dior pattern, and the inner layer the circles was printed
onto tracing paper (to mimick the screen printed panels in
the real life Dior Ginza building) at decreased scaled of 30%.

REVERSE ENGINEER PRECEDENT

[ 31 ]

2.2

EOI: Research Project.

Case Study Grasshopper Explorations

image multiply 0.70

overlapping patterns_image sampler_data driven shading

[ 32 ]

using surface normals_image sampler_Data driven extrusion

image 1

image 2

combine: 1 at front

combine: 2 at front

all: colour = cyan +yellow

radius =1

Through the use of the principals described

in the Kalay reading, the Grasshopper
explorations began with the process of
search; attempting to find a suitable
candidate in relation to our case study of
Dior Ginza from our previous explorations.
New combinations were also tested as evident on
this page, but only after parameters had already
been set in regards to what was necessary for
the reproduction of the Dior Ginza facade, which
Kalay describes as the depth first approach.

boolean patterning_image sampler_data driven shading

radius = 2

radius = 5

Through these explorations using the

Grasshopper Plugin for Rhino 3D, we were
able to quickly and easily manipulate the
original parameters by simple alterations.
The first experiment (surface normals + image
sampler + data driven rotation) explores the
potentials of extruding panels and projecting
them onto a curved surface instead of a flat one.
The effect is a different sense of depth, thus
creating a gradient a shadows instead of the
intended moire effect of the Dior Ginza Building.
The second experiment (overlapping patterns +
image sampler + data driven shading) looks at
how the placement of overlapping panels with
the addition of colour may affect the final effect.

radius = 8

radius = 10

The third experiement (boolean patterning +

image sampler + data driven shading) explores
the effects of distortion as the viewers angle
is changed. This last experiment, I believe, is
the most relevant in regards to the Wyndham
Gateway design, as motorists will be passing
by/through the installation at very high speeds.
[ 33 ]

2.2

EOI: Research Project.

Case Study: Prepare for Fabrication

Below is the Grasshopper definition we used to replicate the Lady Dior pattern as seen on the
Dior Ginza Facade. After observing the facade, we figured out that the front panel was perforated,
and the panel behind was screen printed with the same pattern but reduced 30% to create the
moire effect. There was also a slight gap in between the two panels, to allow for the light to diffuse
from the back panels to the front, creating the glowing ghostly effect of the Dior Ginza Building.

[ 34 ]

[ 35 ]

2.3

EOI: Scope of Possibilities

Material Effects/ Physical Model Making

We explored the use of three different materials: white perspex, clear perspex and
plywood to determine which material would replicate the moire effect most successfully.
Whilst we were putting together the pieces we had collected from the FabLab
(laser cutter), we noticed that the pattern on the perforated panels were
very faint and hardly noticeable unless seen through the camera lense.
This phenomenon we found to be quite interesting as it tied in with our
theme of creating a design which changed through different perspectives.

[ 36 ]

Experiment 1
Overlay + distortion

[ 37 ]

Layering + texture

Experiment 2

Overlay Depth

Experiment 3

[ 38 ]

Experiment 4
Tiling
Construction

Overlay
Light
Shadows
atmosphere

Experiment 5

[ 39 ]

Overlay
Depth
Doir ginza
Mock Up

Experiment 6

Experiment 6
Overlay
Depth
Doir ginza
Mock Up

[ 40 ]

[ 41 ]

2.4

EOI: Scope of Possibilities

Assembly Methods

During the process of reverse-engineering the case study, we examined how the two panels were connected
together and explored the notion of creating a set of hinges which would allow the outer panels to become
interchangeable. This was successfully achieved through a design Peter engineered, whereby a series of clips were
attached to the inner and outer panels. This type of interchangeability follows on from the precedents as well,
when we looked at the Eiffel Tower and the Hylozoic Ground Project, where we came to the conclusion of wanting
to create an adaptable structure for the Wyndham Gateway; a structure that would be able to change with time.

[ 42 ]

Below is the Rhino File which was sent to the Fablab in order to fabricate the hinges. To the right is a stand
I designed which allowed us to further explore the reverse engineer design, where we converted the clear
perspex panels into a cube, and through the use of this stand, we were able to explore the interaction of light
and air as the cube rotated whilst suspended in mid air. We found this experiment to be quite successful in
that it created the optical illusion of non-existence during the day, yet created spectacular shadows when lit
from below at night. I believe this ties in very well with the representation of growth we wanted to achieve
in our design, as the structure literally grows from nothing during the day to something spectacular at night.

[ 43 ]

.3

[ 44 ]

_ EOI CONCLUSION:
GROUP EOI
annie. terence. peter. james

[ 45 ]

Eiffel Tower
Gustave Eiffel

Perceptions of the tower have changed over

time in regards to its purpose and contextual
surroundings. The tower originally designed
as a temporary installation for the Exposition
Universelle in 1889 to celebrate the centenary
of the French Revolution, has evolved over
time to become the landmark and icon of
not only the city of Paris, but also of France.
From what was initially seen as a structure of
controversy by the general public, to being
perceived as a case of innovation to engineers
and architects, and presently as a symbol for
the city of love. This attachment of romantic
notions to the wrought iron structure shows
how fluid the meaning and original design
intent of the structure can vary in regards to
its contextual surroundings and discourse
generated through time. If the tower had been
static in meaning, it would have become obsolete
and would most likely cease to exist today.

[ 46 ]

ARCHITECTURAL DISCOURSE

This relates to the Gateway project in that our

design shouldnt have a static meaning, it should
initiate discourse, potentially be controversial,
and perceptions changeable depending on the
users interaction with the Gateway. It is because
of such discourse and different perceptions that
allowed the Eiffel Tower to adapt over time to its
surroundings, and similarly we want to achieve this
for the Gateway design, allowing the Gateway to
grow and evolve with its contextual surroundings.

[ 47 ]

Church of Light

Tadao Ando

[ 48 ]

The discourse between architecture & natural

light occurs inevitably, with or without human
interference. Through the manipulation of
filtering of this natural light through different
materials, we are able to create a discourse with
the space user, evoking a response, whether it
is emotional, spiritual, intellectual or physical.
Through the manipulation of sunlight through
particular perforations in the walls & specific
orientation of the building, Ando created an
aura symbolizing Gods presence, whilst
the materialistic quality of the reinforced
concrete served as a reminder to the
congregation of their own secular state.
From this precedent, we are able to draw from
it the specific placement of perforations along
surfaces to create a sense of interaction with
the space user through the filtering of light
and the manipulation of certain conventional
materials such as concrete, in regards to
achieving a sense of interconnectedness
through the materiality of the Gateway project.

ARCHITECTURAL DISCOURSE

[ 49 ]

Port Authority Bus Terminal: Greg Lynn

NEW YORK CITY

[ 50 ]

The Port Authority Bus Terminal is a prime

example of how computational design can
be used to translate intangible information
into an architectural response. It was
used to map the movement of people and
population at the site to determine the
parameters of the design and aid in the
development of the structure. It shows
that computational design software is
not just a medium of representation
but also a tool for form generation.
The dynamic simulation takes into
consideration the effect of forces on
the motion of an object or a system
of objects especially forces that do
not originate within the system itself.
- Branko Kolarevic
This approach to design could be used
to great affect in the Western Gateway
project. By being able to represent
intangible forces and information, we
will be able to transform it from a mere
roadside sculpture to an installation with
true meaning and relevance to its context.
It will enable the exploration of an unique
set of forms that will help to create a
design that is representative of Wyndham
as a fast growing international City.

COMPUTING IN ARCHITECTURE

[ 51 ]

A research project by CITA

Knippers Helbig Engineers and Trebyggeriet.no

_ LAMELLA FLOCK

[ 52 ]

Through the use of computational design, the

research team was able to design an intricate
structural element to which a skin was able to mold
over. The computational design of the structural
element through CAD programs pushed the
limitations of otherwise conventional materials, such
as timber; which is originally used to create rigid linear
structures, to create instead a more fluid abstract form.
This idea of morphing the materiality of conventional
materials could potentially be explored in our design
for the Western Gateway, utilizing familiar materials
indigenous to the area, yet bringing about new meanings
and forms through the use of computational design.

COMPUTING IN ARCHITECTURE

[ 53 ]

[ 54 ]

As modern day designers become increasingly

computer savvy, there will be relatively less
significance on the techniques engaged but
rather on the use of these techniques to optimize
performance and result of the final design. The
computation of design as such, is not only a
technique, but most importantly a modern TOOL
used to solve present and future challenges.
Therefore, computational design has brought
about a paradigm shift in design representation
and thinking from the static object model to vibrant

POTENTIALS OF SCRIPTING

[ 55 ]

[ 56 ]

AGENT SENSE
Instructed by Ezio Blasetti
_Encoded Matter

This project was to create a digitally enabled mesh which responded to the
dimensions and existing conditions of the site; the Bartlett Schools Wates
House (Architecture School). Through the process of writing a specific algorithm
(using Grasshopper scripting) that allowed points of the site to interact with
a mesh surface concentrating on the faade of the building, the design team
was able to script an almost organic structure; which was referential not only
to itself, but also to specific allocated points on the chosen site (the faade).
The resulting surface treatment is a high resolution mesh, providing
complexity, detail and practical protection from the elementsthe solid block
that was once Wates House becomes more human and a representation of
the humans existing within: diverse, weird whimsical and maybe a little crazy.
- Ezio Blasetti
The concept behind this project is similar to that of the Western Gateway
project, where the focus has been placed on the Bartletts buildings
entrance: a high traffic area, which was often ignored as a place of interest.
Therefore, this project can be used as a significant predecessor of the
Western Gateway design, as an example of how digitally enabled designs
are able to not only attract and interact with visitors, but also become a
representation of the technological advancement of the City of Wyndham.

PARAMETRIC MODELING

[ 57 ]

[ 58 ]

Without knowing what Grasshopper combinations could lead to an

outcome that offers rich potential for representation, the team inevitably
has to undergo the process of search, which is in line with one of Kalays
proposition of design methods. This implies the assumption that suitable
candidate solutions exist within the current pool offered by the known
possible combinations of Grasshopper operations. Hence the team tested
each combination from its start to the very end, examining the final outcome
before drawing a logical conclusion to a combinations success or failure.
New combinations were tested only after a conclusion was made for the
combination being tested at the moment. This falls into the sub-division of
depth first approach under the method of search, as stated by Kalay.
With continuous trial and error, the team gradually understands the potential
and characteristics of each Grasshopper operation and progressively gains
the ability to select components that are more likely to generate more
powerful and sophisticated outcome. In the end, the team was able to
choose more promising options for further development among a wide range
of candidate solutions. Here, the team adapts another method of search
best first, which is also defined under Kalays view of design methods.

MATRIX

[ 59 ]

DIOR GINZA

Kumiko Inui

[ 60 ]

Reverse Engineering
We selected to reverse-engineer the Dior Ginza facade as we
believed that it had the more interesting concepts that we wished to
investigate. This is because at this stage we had a decided to focus
on the use of perforation and layering as our method to design.
To achieve the desired result the image sampler and surface divide cut
definitions were utilised. These gave the outer layer of the building, with
the interior simply being a printed image of the design at a smaller scale.
Through this method of reverse engineering, we were able to achieve an
understanding of the potential uses for these techniques to create optical illusions.
The main aim of this process was to try and recreate the Moire affect. This was
achieved and helped to direct our design proposal to the use of optical illusions.
Further to this, we experimented with how whe the size of the
circles are changed, there will be a dramatic change in effect.
This method of approach will help in future work as it will allow for a more integrated
approach to design. It allows for the quickl analyses and refinement of design.

[ 61 ]

Design Intent
A design, which would adapt to the changing
context of its surroundings over time, whilst
representing the rapid growth of Wyndham
as an international city through exploring the
interconnections between Wyndham and its sister
cities: Chiryu, Japan and Costa Mesa, California.

[ 62 ]

Architecture has long been more than

just the built object; it represents and
communicates ideas as well. In view of
the discourse of architectures multiple
reading and ability to interact, we
propose that computational design
would be the most powerful response to
the challenge of developing an exciting,
eye-catching proposal for Wyndham that
inspires and enriches the municipality.
The emergence of digital morphogenesis
in architectural design, after all, is already
challenging the practice and norm of
the profession, offering unimaginable
design potential ranging from an
unprecedented non-linear approach, to
the finding of fluid form and solution, and
to the generation of complex relationships.
All these innovations have pushed
the boundaries of design space to an
unprecedented dimension. New ways of
designing space, affect and experience are
rendered possible only with contemporary
design and technologies. However, it is not
just the extravagant outcome that makes
computational design an obvious choice.
The engagement of latest design
approaches is also the most solid
and direct response to the most
highlighted statement in the design
brief generation of new, inspiring and
brave ideas that advance discourse.

EOI CONCLUSION
[ 63 ]

[ 64 ]

_ LEARNING OBJECTIVES
AND OUTCOMES: INTERIM

I think I have come a long way from the start of semester when I was
faced with fear and panic at the thought of tackling learning Rhino
and Grasshopper, design something using the newly learnt software,
whilst studying four other subjects. But as 8 weeks flew by, my persistence with trying to learn the programs the best I could has paid off as
the group successfully repoduced and fabricated the Dior Ginza facade.
I was rather skeptical of the course structure initially, having been programed in my previous studies to the standard design process of heres a
brief, now research, develop a parti diagram, refine, refine, check dimensions, refine, check functionality and then bam! theres your final design.
The course structure of this subject was just so new to everyone, but
I think it provided for a refreshing change and allowed me to focus more
on the discourse behind design, as well as learn a lot from precedents.
In regards to the software, the step-by-step learning process each week
through the tutorials on the LMS, the aid of the tutors and the Grasshopper Forum, allowed me to learn Grasshopper with ease and confidence,
knowing where I could go for help if I ever got stuck with a definition.
Im rather glad that we were finally taught some computational design in
the B.Envs Architecture course (when I completed Virtual Environments,
it was about how to model in sketchup, so Im glad to see thats changed
since Stanislav has taken over as subject coordinator, but quite sad that I
wasnt exposed to computational design in first year like most in the class).

[ 65 ]

PART II
[ 66 ]

_ PROJECT PROPOSAL.

[ 67 ]

1.1

PP: PROJECT INTERPRETATION

DEFINING THE BRIEF

Provide an entry statement and arrival experience, and become a new

identifier for the municipality. The installation should create a focal point of
iconic scale and presence and encourage a sense of pride within the local
community.
The Western Gateway should propose new, inspiring and brave ideas, to
generate a new discourse.
- Wyndham Council
[ 68 ]

DESIGN INTENT:
Our group aimed to create a design, which would adapt to the evolving
context of its surroundings over time, whilst representing the rapid growth
of Wyndham as an international city through exploring the interconnections
between Wyndham and her sister cities: Chiryu, Japan and Costa Mesa,
California.
The design will aim to become a part of the branding of Wyndham, acting
as an icon/symbol of innovation, similar to how the Eiffel Tower represents
Pairs.
The design will be innovative as it will be designed to push the limits of conventional structure and perceptions that an object must only have one meaning. The fluid form, generated through computational design, takes reference
from the common prominent feature of Wyndham and her sister cities - the
ocean wave. The structure may also be seen as an emerging cloud, hovering
over the freeway at what appears to be an structually impossible angle, challenging the conventional arch or tunnel style gateway design, therefore
not only contributing to the discourse of the innovation of the city but also to
innovative architectural, artistic, engineering discourse.
The structure will offer an unique interactive experience for motorists driving
towards, through and past it.

WESTERN GATEWAY BRIEF

[ 69 ]

1.1

PP: PROJECT INTERPRETATION

DISSECTING THE BRIEF

WYNDHAM: Prominent location of the site at the entry to metropolitan Melbourne.

PROJECT|SMAP: The Gateway has been positioned at a location to be viewed from the
inbound traffic lane towards the Melbourne CBD (to be viewed mainly for motorists
driving on the freeway eastbound).
WYNDHAM: Back dropped by a large service centre.
PROJECT|SMAP: As we didnt want the service centre to become a distraction from our
instalation, we have deliberately situated our installation away from the service centre.
WYNDHAM: Consideration of how the installation integrates with and/or sits in the immediate and surrounding landscape.
PROJECT|SMAP: Elevated off the ground to gain further visibility as you approach the
gateway.
WYNDHAM: Iconic feature.
PROJECT|SMAP: Through the use of computational design (Rhino + Grasshopper), we
aimed to create an innovative installation demonstrating the advances of modern technology towards ease of fabrication and installation, which aided us in creating an eye
catching installation.
WYNDHAM: Appropriately scaled.
PROJECT|SMAP: Large enough to allow for visibility at a distance, but at the same time
small enough to allow for interaction at a close range.
WYNDHAM: Dialogue between sculture and landscape to compose the Gateway.
PROJECT|SMAP: The gateway will appear as if it is emerging/growing out of the ground.

[ 70 ]

Exciting, eye catching installation...

- Wyndham City Council

Wyndham now wishes to establish another innovative and prominent indicator

to provide a focus to the Western Interchange entry to the city
- Wyndham City Council

DESIGN PROCESS

[ 71 ]
image source: http://www.wyndham.vic.gov.au/freestyler/files/generated/river_4d6fbfa7bb39f_4e6ea66a9145b_w800_h445.jpg

1.2

PP: PROJECT DELIVERY

BLOOD, SWEAT & TEARS

SITE B - WYNDHAM

SITE A - COSTA MESA

SITE c - CHIRYU

Initially, we explored the possibility of having three components in representation of the three sister cities - Chiryu, Costa Mesa and Wyndham.
The diagram above shows the eight bridges on Site C representing the Tale
of Ise for Chiryu Japan, the Fuschia flower (the citys regional flower) at
Site A representing Costa Mesa, and the wave representing the city of Wyndham and also representing the shared physical property of all three cities.
However, after consulting Gwill in regards to the design, we realised this would end
up being too literal, busy and complex for an installation which was to be viewed
at high speeds. Therefore, we retained the wave idea, and Gwill introduced us to
the possibility of designing something that is cantilevered (sketch to the right).
Our initial interpretation of Gwills sketch resulted in a series of cantilevered structures placed at different angles to create a wave effect as the
motorists drove past, but we soon realised this would not be very innovative and would end up looking like a bunch of sticks on the side of the road,
instead of the empheral floating structure that we were trying to achieve.
[ 72 ]

Sketch - Gwyllim Jahn

DESIGN PROCESS

[ 73 ]

1.2

[ 74 ]

PP: PROJECT DELIVERY

BLOOD, SWEAT & TEARS

Using Gwills sketch as inspiration, we aimed to create a similar base structure

and surface in Rhino, to which we could alter and add perforations to with Grasshopper. Unfortunately, instead of some amazing design, we somehow ended up
with these mushroom/hot air balloon/atom bomb explosion cloud looking things.
From here, we realised the the structure would have to be a LOT more cantilevered, in order to achieve more of a floating effect, instead of being just a blob
on the side of the road. Here, we also experimented with the Fabrication definitions provided on the wiki, and began exploring two way waffles as a means of
how we could fabricate such an oddly shaped structure eventually, and as you
can see above, due to algorithmic constrants of the irregular shape of the structure, the waffle was not successful on the design with the most tapering base.

At this stage, PROJET|SMAP had decided that we wanted a

singular structure, as we believed this would have a greater
impact, and would tie in more with the icon effect we were after.
In order to create a more fabricatable structure, we experimented
with cantilevered forms in Rhino, manipulated using another external
plug0n [T-Splines]. Using T-Splines, we were able to easily manipluate
control points, edges, faces and verteces of our cloud like surface.
The surface below is the one we decided on in the
end for its contoured, cantilevered shape and ability
to be fabricated using the two way waffle definition.

DESIGN PROCESS

[ 75 ]

1.2

PP: PROJECT DELIVERY

BLOOD, SWEAT & TEARS

Above is the nested Rhino fabrication file sent to be lasercut in order to create our 1:50 scale model.. Nesting a file, means flattening each component of
the two way waffle, and placing it onto one or multiple sheets of material in
the most efficient way.
*(in real life, this could be rather environmentally friendly, as you would be
able to calculate very accurately the amount of material required, therefore
minimising waste and off cuts)

[ 76 ]

PHYSICAL MODEL FABRICATION

[ 77 ]

1.3

PP: PROJECT PRESENTATION

VECTOR DRAWINGS

Construction Process Summary:

1. Rhino Design File sent to CNC/Laser Cutting Machine to be pre-cut.
2. Individual cut pieces, ready for assembly, are transported to the site.
3. Fast & Efficient on site assembly using pre-defined connection details.
CROSS-BEAM
CROSS-BEAM
EARTH

FOUNDATION

For such a cantilevered structure, we made sure that the foundations were deep and solid to
counter balance the force of pull, using pile footings to anchor the base of the structure as well as
large pad footings to ensure structural stability.
[ 78 ]

This connection detail illustrates how the waffle structure

will be connected together
in real-life situations, as no
piece of wood would be large
enough to create a waffle
(dont think there would be a
machine large enough either),
therefore in real life construction, the structure would be
fabricated in sections/panels, and connected together using clamps and bolts.

CONSTRUCTION PROCESS

[ 79 ]

1.3

[ 80 ]

PP: PROJECT PRESENTATION

VECTOR DRAWINGS

[ 81 ]

TO GEELONG

Following the set requirements in the brief, we aimed to

create a design, which would adapt to the evolving context
of its surroundings over time, whilst representing the
rapid growth of Wyndham as an international city through
exploring the interconnections between Wyndham and
its sister cities: Chiryu, Japan and Costa Mesa, California.
The Cloud of Growth will be an exciting and eye-catching
installation, which will inspire and enrich the municipality
of Wyndham, as well as generate discourse in the field of
architecture and design. The Wyndham Gateway project
follows on from the Seeds of Change installation, located
at the close-by Eastern Interchange of the Princess Freeway,
and House in the Sky, located at the interchange with the
Western Ring Road. The Cloud of Growth will be situated
at the Western Interchange of the Princess Freeway, acting
as a Gateway into Metropolitan Melbourne, but also as a
signpost signalling the location of the city of Wyndham.

The Cloud of Growth becomes a part of the branding

of Wyndham, acting as an icon or symbol of innovation,
similar to how the Eiffel Tower represents Paris.
The design proposal is innovative and provocative
as it pushes the limits of conventional structural
integrity and laws of physics, contributing to the
discourse for cases of innovation. The design also
challenges the notion of perception; perceptions that
an object or sculpture must have one set meaning.
The fluid form, generated through the aid of computational
design, is influenced by the prominent features of Wyndham
and her sister cities - an ocean wave. But keeping with
the notion of different perceptions, the form can also be
viewed as an emerging cloud, a more fluid form that pushes
the boundaries of the rigid waffle structure, suggesting
a new innovative way of interpreting conventional
construction methods using solid materials such as wood.

The Cloud of Growth is both structural and sculptural,

offering multiple meanings to different peoples under
various circumstances. It offers a unique interactive
experience to the motorists taking into consideration the
high-speed movement of traffic along the Princes Freeway
as you approach the Melbourne CBD. The visibility and clarity
of the structure will change according to time of the day, as
well as different weather conditions. As a motorist driving
towards the Melbourne CBD, the installation will appear
to emerge as you approach, undulating as you drive under
and then gradually vanishing as you drive into the distance.

PREFABRICATION & TRAN

B
A

During daylight the Cloud of Growth will be viewed as a

solid timber structure, the high visibility allowing motorists
to view the structural connections to the landscape. In
contrast, at night, the installation will be lit from below,
creating the optical illusion of the cloud, where the
installation will appear to float as the motorist approaches.

4
5

5
6

3
4
5

CNC

Prepare for fabrication

CLOUD OF GROWTH

WYNDHAM WESTERN GATEWAY PROPOSAL

1. TRANSPORT TO SITE, CONDITION WOODEN PAN

WERRIBEE, VICTORIA

4. ATTACH BASE PANELS TO FOUNDATION (DETAIL

JOINERY DETAILS
CROSS-BEAM
CROSS-BEAM
EARTH

FOUNDATION

FIG 1. STRUCTURE TO FOUNDATION

Following a simple grid system, the p

according to a specified X axis a

PROJECT|SMAPTM

[ 82 ]

_ THE A1 POSTERS.
TO MELBOURNE CBD

TO GEELONG

rowth is both structural and sculptural,

e meanings to different peoples under
tances. It offers a unique interactive
e motorists taking into consideration the
ement of traffic along the Princes Freeway
he Melbourne CBD. The visibility and clarity
will change according to time of the day, as
weather conditions. As a motorist driving
bourne CBD, the installation will appear
u approach, undulating as you drive under
ly vanishing as you drive into the distance.

PREFABRICATION & TRANSPORT

B
A

he Cloud of Growth will be viewed as a

cture, the high visibility allowing motorists
ctural connections to the landscape. In
ht, the installation will be lit from below,
tical illusion of the cloud, where the
ppear to float as the motorist approaches.

4
5

5
6

3
4
5

CNC Cutting

Prepare for fabrication

1. TRANSPORT TO SITE, CONDITION WOODEN PANELS

2. SITE EXCAVATION

3. FOUNDATIONS AND BACKFILL

4. ATTACH BASE PANELS TO FOUNDATION (DETAIL FIG. 1)

5. CONNECTING PANEL TO PANEL (DETAIL FIG. 2)

6. CONTINUE CONNECTING PANEL TO PANEL

CONSTRUCTION PROCESS
JOINERY DETAILS
CROSS-BEAM
CROSS-BEAM
EARTH

FOUNDATION

FIG 1. STRUCTURE TO FOUNDATION

FIG 2. PANEL TO PANEL

Following a simple grid system, the panels are attached

according to a specified X axis and Y axis order.

7. CONSTRUCTION COMPLETE!

PROJECT|SMAPTM

PROJECT|SMAPTM

[ 83 ]

1.4

[ 84 ]

PP: PROJECT PROPOSAL CONCLUSION

RESCUE MISSION

After taking in the criticism from the tutors and critics at the Final Presentation, we embarked on an emergency rescue mission to salvage
our final design and final model in the short timespan of one week.
Following the advise of the tutors and critics, we proceeded to
clad our rather soiid and clumsy looking waffle structure to create the empheral and light-weight effect we were originally after.
We searched low and high for materials to clad the original waffle
structure, experimenting with the possibility of weaving material through
the waffle structure, or cladding it with metal strips similar to that of the
facade of Hills Place by Amanda Levette Architects but realised that this
was not the way to go as the structure was simply too big and too thick.
Previous to final submission, we had also been working on another
design, which unfortunately we failed to fabricate in time (we had
sent the model to Melbourne Laser Cutter to be cut from white ivory
card, but due to the strength of their lasers, the model returned looking rather burnt and definitely not exhibition quality). After consultation with the tutors, we decided to push this design further, using
our knowledge of the two way waffle structure, we made two light
overlapping light weight structures, to originally be clad in perforated
fabric. However, due to scale calculations, we realised that the perforations would be impossible at 1:50 scale, and would not represent
the structure in real life, so instead we chose to tie-dye the fabric
(100% silk) to show the effects of the overlapping on the cladding.
Luckily this time round, Peter had gotten a job at Makethreeofive (another laser cutting place in Melbourne), so we were able
to fabricate a new model, otherwise this would not have been
possible due to the large queue at Melbourne Unis FabLab.

DESIGN PROCESS

[ 85 ]

1.4

[ 86 ]

PP: PROJECT PROPOSAL CONCLUSION

RESCUE MISSION

Now we were faced with a few options appropriate for fabrication. The
first was to make the structure from wire, but we realised this would
not be the most viable or efficient option to produce in the span of
one week, therefore we were with the second option, but altered the
final surface to be more smooth and fluid, and the internal structure
was changed to a two-way waffle grid for ease of fast fabrication.
Initially, these perforations were going to be added to the cladding to add to the sense of lightness, and provide for interesting effects during different lighting conditions. As mentioned previously, we soon realised the scale of 1:50 would make it rather
difficult to fabricate the perforations correctly, and financial constraints meant that we were only able to make one more final model (at this stage wed spent about $500-600 on the subejct already).
Luckily, we chose not to perforate the fabric, because the
moire effect created by the tie-dyed overlapping fabric created a more ghostly effect, similar to that of the Dior Ginza
building, helping us achieve the effect of the floating cloud.

OPTIONS

[ 87 ]

1.4

[ 88 ]

PP: PROJECT PROPOSAL CONCLUSION

RESCUE MISSION

This time round, the two way waffle structure was made a lot thinner as we
would be overlapping two layers, this made it rather structurally unstable
at the base, and we had run out of funds to fabricate another model, so we
decided to improvise and worked out the solution of using tension cables
which would be used in real life construction as well, instead of or in addition to deep foundations to structurally support the cantilevering structure.
The tension cables were attached to the two way waffle grid at certain control points, and then hidden underneath the silk cladding
to ensure the structure still appeared to float like a cloudy mist.

SOLUTIONS

[ 89 ]

[ 90 ]

_ LEARNING OBJECTIVES
AND OUTCOMES: FINAL

 Recently, Ive been looking at international and local internship programs,

and have noticed that most firms require some level of competence with
computational design, so it is great to see that this course is not only educational theoretically, but is also aiming to prepare us for future employability.
These 13 weeks have been time consuming, challenging, sleep depriving, and
stressful, but in the end, I really benefited from the course and feel a great
sense of achievement having learnt so much in such a short timespan. It has
definitely made me more aware of time management, an area which I think I
could improve more in.
I also enjoyed that we completed this course in groups instead of individually,
meaning that we not only learnt from the material provided, but also from
each other. At times, the groupwork was advantageous, at other times, possibly adding more stress as we fight over ideas and final decisions, but then
again, I guess this mimicks real life situations as well.
So, to that note, I believe this subject has allowed me to develop not only my
design and technical skills, but has also provided a stepping stone for me
into computational design; an area which I would definitely be interested to
explore further in the future.
- Annie

[ 91 ]

THE END.
[ 92 ]

_ THANK YOU FOR YOUR TIME.

[ 93 ]