AN EXPLORATION ON PARAMETRIC DESIGNARCHITECTURE

ON DIGITAL

STUDIO AIRTUTOR: PAUL LOH, LECTURER: ALISON

2ACKNOWLEDGMENTS

This journal is a record of my progress understanding of digital architecture, especially parametric design in archi-tecture. Special thanks should be given to my tutor Paul and lecturer Alison, for not only leading me to a new world of virtual environments but supporting me in the presentation with all the kindness and warm cares.

Also, Bond and Aland, nice being in a group with you guys. Hope our cooperation would rock out a nice result in the end. Just keep going!

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4ARCHITECTURES NEW DISCOURSE

ON PARAMETRIC DESIGN MODELLING

CONTENT STUDIO AIR

CONTEXT AND INTRODUCTION

COMPUTING ARCHITECTURE: ROLE OF COMPUTER IN ARCHITECTURE DESIGN

COEXISTENCE OF THE DIGITAL AND THE REALSEATTLE CENTRAL LIBRARY

FABRICATION AND ARTICULATED FACADE DE YOUNG MUSEUM

FORM FINDING

FABRICATION INNOVATION -A SECOND REVOLUTION

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BIOMIMICRYVORONIORCELLULAR AUTOMA-4REVERSE ENGINEERING

5CUT CASE STUDY 2

6METRIX OF CHOOSEN METHODOLOGYFURTHER IDEA DEVELOPMENT

SCRIPTING IN ARCHITECTURE

COMPUTING IN BIOMIMICRYKINETIC

REVERSE ENGINEERING

ELAVULATING OF FORM

METRIX OF METHODOLOGY

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5METRIX OF CHOOSEN METHODOLOGY

7PROJECT DEVELOPMENT

DEFINE BOUNDARY

FABRICATING

VIEW CULLINGOCULLUS CULLING

3D PRINT

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PREVIOUS GRASSHOP-PER TRIAL AND RE-THINKING10

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LAZER CUT

CONCEPT FORMATIONCHOSEN TECHNIQUE

3D MODELING AND RATIONALIZATION

PERSONAL FEEDBACK

REFERENCE

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71.1 ARCHITECTURES DISCOURSE

8 ARCHITECTURES DISCOURSE IN PREVIOUS WORKS

The first project I did in my architecture career was the headpiece project. By designing, modelling and fabricating a headpiece in sketch-up, I started to step my first step into the realm of architecture. I think this project sets a good example in exem-plify how far the architecture discourse can go. The headpiece is neither a traditionally perceived building, nor a sophisticated structure. Is it archi-tecture? I asked myself.

Can it be architectural? The thinking on whether it belongs to architecture lies on the question: WHAT IS ARCHITECTURE?

Dating back to mid 20th, Nikolaus Pevsner claims that architecture is the most comprehensive of all the visual arts and has a right to claim superior-ity over the others. In this respect, headpiece, as a

form of visual art, should be regarded as a dis-course of architecture. ( Rampley, 2005,p103)

However, with the rise of functionalism and for the aim of maximum profits in global capitalism, some shopping malls, petrol stations and skyscrapers go the opposite way where visual arts should go. Here, architecture is more a complex social and professional practice. ( Rampley, 2005,p6)

The second project shown here is a public civil project: a water remediation center for a small city, Berkeley, near San Francisco. The concept of this project is to create an intertwining land bridge, through which water is remediated. The building strokes both vertically and horizontally between the two existing land bridges and its function goes beyond its actual function as water treatment

ARCHITECTURE AS VISUAL ARTARCHITECTURE AS PSYCHOLOGICAL PHENOMENONARCHITECTURE AS CONSTRUCTION DETAILS

ARCHITECTURE AS A PROFESSION

WHAT IS ARCHITECTURE?WHY STUDY ARCHITECURE DISCOURSE ?

9plant. It creates a psychological connection between the people accessing from two sides of the build-

ing through the negative space it creates when stroking. In this design, each fold suggests strong directional view to the surrounding view, aiming to engage people in the unified space it creates.

I summaries this project into a discourse as a pro-fession. As the building designed here needs to

be finished with the collaboration between differ-ent industries and subtrades. Also, interms of design

concepts, I think it belongs to architectures social and psychological discourse. Richard Williams states that archi-

tecture is not only a matter of materials, but it is as much as a phil-osophical, social or professional realm. ( Rampley, 2005,p103)Despite the traditional attitudes that appreciate architecture as a form of art, people should more regard it as experience and engagement. Here, architecture is not isolated as merely sumptuous facades and steady structures. It concerns more about how people would move within the space, how accumulated effects reflect on their minds, how would people make decisions within the system that the architect designed.

As in my mind, architecture is a humanized approach in reflecting hu-man culture. From the prehistory bungalows, shabby shelters to the sensitive poetic gestures spring in our surroundings, those structures are like mirrors, reflecting the social needs among the generations. With buildings and avenues define our movements, building faade evoke our feelings, multifunction malls meet out need for social con-necting, architecture can be labelled as part of human culture.

Despite architecture as a piece of art and a profession, sometimes we can see architects design furniture, such as lamps, chairs, textiles, glassware and tables. They conclude these small scale structures as a total work of art. For example, during the Bauhaus period, architects concern about a Gesamtkunstwerk can explain how broad architec-ture discourse can exist. Each piece of furniture advocates the design-ers theories: Alavar Aaltos chair and organic shape glass speaks out his concern about organic while Miess world renowned table is anoth-er example of less is more. Thus the third studio work I choose here is a trampoline I made last semester. It is hard to say if a trampoline belongs to the discourse of architecture, but consider the elaborated joints we made when designing the trampoline, the discourse, I as-sume, lies in the construction discourse in architecture, where joints are designed according to materials, functions and appearance.

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COEXISTENCE OF THE DIGITAL AND THE REALSEATTLE CENTRAL LIBRARY

ARCHITECTURES NEW DISCOURSENowadays, we are in a time of transition, where

computer work is gradually substituting the place of paper work. Some digital architecture is hard to be categorised into either a piece of art, a profession or construction details. The urge to look back at architectures discourse owes to Patrik Schumachers call for a new discourse in

architecture ARCHITECTURE AS A SYSTEM OF COMMUNICATION.( Patrik, 2011) In his Introduc-tion: Architecture as Autopoietic System', he argues that architecture is a closed system of communica-tion , where

distinct elemental COMMUNICATIONS of archi-tecture functions as DESIGN DECISIONS, and the distinction of FORM VS FUNCTION is the LEAD-DISTINCTION of the discipline, while the inter-ar-ticulation of the values of UTILITY AND BEAUTY is understood to constitute the code that secures the disciplines operational closure. (Patrik, 2011, p10)

Both discourses of architecture - as a form of art and as a profession- need communication. The communication can be traditionally paper work; can be verbal presentation and arguments; and can be an exhibition. Schumacher lists the commu-nication as sketches, drawings, CAD files, render-ings, buildings, photographs of buildings, as well as face to face communications to discuss a design, academic seminar contributions and lectures.

Communications will ensure the client visualise and understand the design idea and help them to make decision. Within 70years development of digital architecture, computer has become a mean of communication in this industry. With the help of computer, architects can draw out more complex forms and accordingly they will seek ways to build what theyve drawn out.

In identifying and understanding various aspects of architectures discourse, I realised that architecture is a not only about arts, structures, professions, but it is a comprehensive study of a system. The system can includes series social and political issues, con-struction technologies, aesthetic values, interpreta-tions of forms and functions, communication tools, etc. Below are two buildings I choose to discuss my thinking in contemporary architecture discourse

"The stacks, arranged along a continuous spiral ramp contained within a four-story slab, reinforce a sense of a world organized with machine-like precision."

Nicolai OuroussoffLos Angeles Times

The reason I like OMAs Seattle public library is not only for its delicate construction details,its fold-ing form( that follows function), but, most impor-tantly, how architect speaks out his convictions in the time of digital architecture. The Seattle public library is said to reveal an intention to confront the dilemmas of producing architecture in digital era by playing with spatially and temporarily excit-ing visual scheme rather than simply decorating a buildings faade.

Instead of demoting architecture into mere back-drop for immersive digital media, Rem Koolhaas provides visually engaging urban experiences in

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COEXISTENCE OF THE DIGITAL AND THE REAL

real time and space. says Amy Murphy( 2006)

I see the Seattle public library as a blend of both virtual and actual experience. The architect tries to dissolve the conflicts between digital technol-ogy and traditional technology (being threatened by new technologies.) The exterior grid, neatly wielded and bolted together, can be seen as a construction discourse, which falls into an old school architecture discourse. However, taking a closer inspection, the translucent facade here is trying to solve the distinctions between the inside virtual space and outside city fabric. The facade attempts to confirm users actual site in the city fabric. Upon entering the library, users will experi-ence the spatial contrast of a civic destination and conceptual intersection of space. The richness of spatial experience Koolhass creates( through sec-tional layering of many visually connected spaces ) falls into psychological discourse.

DISCOURSE as city qualities

Within the building one can find many of the qualities that could be found when travelling in a city, such as simultaneity, vibrancy and voyeurism. (Murphy 2006) Koolhass pushes the simultaneity of by visually exposing different program elements at the same stage. I like his strategies in creating multi-visual experience and temporarily visual illu-sion at the same time. This approach can be seen as a new architecture discourse negotiating with both old and new.

DISCOURSE as social needs

Since the library tries to accommodate all the pos-sible types of patrons that will utilize the library, the Seattle public library confronts the issue in treating homeless people humanized and equalized. The building itself is rich in space and every program is designed openly under one edifice, thus there is little isolated areas, which makes the building feel user-friendly, safe and diverse.(Vaneessa, 2006) In this regards, I think the library reflects another layer of architecture discourse as a social need.

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1. I like the visual illusion the library creates in forming a contrast with the spatial identity within the urban context2.3. The richness of spatial experienc-es in this library enhance its discourse as visual arts4. neatly wielded steel grid exemplifies a discourse as construction details

Despite the striking form with a dramatically ex-truded chimney structure, de young museum is famous for its experimentation with materials in their designs. The choice of local material, such as copper, wood, stone and glass allows the design to merge into the land it occupies. Wood flooring and finishes create a warm atmosphere that at-tracts visitors from room to room, while the cooper faade is the most interesting part of the design.

I appreciate how the materials are manipulate in order to blend the building into local surround-ings. Due to oxidation process, copper will rust into green, which will slowly fade into its natural surroundings. The project uses the perforation and debossing techniques on the faade in achiev-

ing the effect of natural light filtering through a canopy of trees. In this case, architecture can be understood as a display of materials and new tech-nologies. Though Richard argued that architecture should not be seen as a mass of materials, the material discourse here means architecture can be interpreted as how human manipulate materials and fabricate out their ideas wisely.

The issue of how people manipulate materials and fabricate out the form they want is crucial, espe-cially in the digital architecture era, where many of the seamless structures are produced on screen yet hard to fabricate out. Ben pell used to argues the importance of fabrication in architecture:

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FABRICATION AND ARTICULATED FACADE DE YOUNG MUSEUMDISCOURSE as materials and fabrication

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However, by the end of the decade a series of rough translations from the virtual to the real chal-lenged the easy plasticity of these seamless digital surfaces, making apparent the difficulties of transi-tioning an otherwise freely complex form into log-ics of fabrication and assembly. (Ben Pell, 2010)

I think the discourse of using new construction technology and materials will exist long in archi-tecture industry as form will always be informed by new technologies that are available. Think about the Sydney opera house where for the first time that computer analysis method was used in architecture design. The use of digital technology allows the Sydney opera house shoots higher with elegant shell structure.

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To summarise the two building examples I choose, they both explore the notion digital architecture to certain extent. Seattle public library is a negotiation between virtual and actual experience. It creates rich visual illu-sions that make the visitors feel their existence in the digital age while avoiding being criticised as super-facial. While De Young Museum finds its way in explor-ing new fabrication techniques as a respond to digital architecture design.

The discourse of these two building lies not only as land arts, an organised trade, exhibition of new materi-als and technologies, but also as an announcement of ones architecture conviction. I appreciate how these two architectures speak out themselves, yet still keep their humble attitudes in the age when digital architec-ture is so overwhelming.

For the gateway project, I want to keep the idea of ne-gotiating between virtual and actual experiences. Thus the discourse of the gateway is not only interpreted as merely art work as decorating faade but a psychologi-cal phenomenon. At the mean time, I want to keep exploring the use of new technologies in materials and fabrication., as I think the fabrication and construction has always played a central role in architectural dis-course.

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1.2 COMPUTING ARCHITECTURE

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As discussed in the introduction of this journal, computer plays an important role in nowadays architecture industry. Architects are prone to rely on computers to share information, commu-nicate design ideas and search precedents due to its nature of precision and rationalization. In the design phases, computers role ranges from drafting and modelling system, to analytical system (such as energy and fire analysis). (Kalay, 2004)

In the above situation discussed, computers is constrained into more a RATIONAL ANALYTICAL ENGINE AND MEANS OF COM-MUNICATION that has little to do with the design concept and a lack of creativity calls for another computational design system which is intelligent.

An intelligent computational design system can PROPOSE DESIGN SOLUTIONS FOR AP-PRAISAL AND FURTHER DEVEL-OPMENT BY HUMAN DESIGN-ERS. (Kalay, 2004, P6) Kalay referred this method of seeking result as puzzle making rather than problem solving. That is, instead of seeking the result ac-cording to the problem directly, computer will produce series of possibilities that may be the result of the problem according to the provided logic. (p15) The latter approach utilised comput-ers fast speed and precision, and can make up computers disadvantage of lacking creativ-ity. It produces vast possibilities of design outcome and passes on the decision making process to human. This will cut down designers time in exploring re-sults manually on their own and

computer itself can generates more complex form according to its nature of precision.

Furthermore, in the fabrication phase, computer can help the construction process to keep track of the process and alert to potential inconsistencies and errors.

Computer helps the fabrica-tion process in various ways, but loosely falls into 3 cat-egories: panel cutting (which I interpreted as laser cutting), subtractive fabrication and ad-ditive fabrication.( Jacobo,p34) all of them provide a file- to factory way for digital model fabrication.

Cutting refers back to the idea of penalization that can help with parsing complex sur-

FROM COMPUTERIZATION TO COMPUTING - ROLE OF COMPUTER IN ARCHITECTURAL DESIGN

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THE CURRENT TRANSITION FROM COMPUTER AIDED DESIGN TO COMPUTATIONAL DESIGN IN ARCHITECTURE REPRESENTS A PROFOUND SHIFT IN DESIGN THINKING AND THE METHODS.

ACHIM MENGES

1.2 COMPUTING IN ARCHITECTURE

face into smaller buildable components. But some information lost during the transition process of breaking a seamless digital model into a rigid wire-framed language. i think this issue is a very im-portant problem for nowadays digital architecture that during the fabrication process, the main idea of the design is lost due to constrain of fabrication method.

In order to keep the smoothness of their virtual predecessors, some architects choose to use CNC (computer numerical controlled), which allows architects to control over processes of a full scale. But the application of CNN is limited due to techni-cal constrains. Sometimes when the installation is too big in scale, it is hard to fabricate out with CNC mills.

Despite all the constrains computer faced in fab-rication process, addictive fabrication(also known as rapid prototyping) find its ways in constructing more complex forms in larger scale. ( Jacobo,p35) Guggenheim museum in Bilbao sets a good exam-ple in how large structures is fabricated using GPS to position each elements. This cannot be realised by using traditional measuring techniques.

In conclusion, computer is playing a more and more important role in architecture from just being communication and storage tool, to engaging in the design process. Its function goes far beyond drafting and analysing tools. It speeds up peoples design process, provides more variations of design outcomes and can help to construct structure that cannot be done in the past. However, in my opin-ion, computing in fabrication still needs more de-velopment in order to catch up its step in design-ing great virtual models. Architects should build what they draw, otherwise, the discourse of digital architecture can just lies on screen.

In the following spreads i will cfurther discuss the innovations computers bring to architectural de-sign process, and how I think them should related to the gateway project.

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1,2,3 all illustrates the use of computer in architecture fab-rication1. installation created from 2 dimentional elements2. CNC fabrication and its constrains3. GPSf abrication makes construction of complex forms in large scale possible

TVERRFJELLHYTTA, NORWEGIAN WILD REINDEER CENTER PAVILION

GUGGENHEIM MUSEUM IN BILBAO

STUDNET WORK FROM UNI MELB FABLAB

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1. Computer helps the design to generates various design outcomes through rational logics2. Visualisation of the main wind-flow around proposed building. In this stage, computers help to analysis and evaluate the design outcomes3. Computers in exploring formal complexity

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DIGITAL MODELLING SOFTWARE HAS OPENED NEW TERRITORIES OF FORMAL EXPLORATION IN ARCHITECTURE.

- KOLAREVIC (2003)

COMPUTNG IN FORMAL FINDING - GENERATIVE & RECURSIVEMARC FORNES THE VERY MANYThe innovations that computer brought to architecture design process is numerous: from formal explo-ration to performance analysis. Here I am interesting in how computer generate geometries in a closed, self performance system.

I like the recursive growth idea behind this project, which makes me think of last weeks reading where Patric Schmacher points out that architecture is a close system of communication. In this recursive sys-tem, the defining logic applies to the logic it defines. The communication method, which I think, in this design, refers to the defining function, is the design decision. Thus, computer in this design create tre-mendous complex yet interesting geometry that is impossible to control by direct manual manipulation.

Though the formal and geometry discourse never fades in the architecture discourse, computing archi-tecture cannot just be criticised as a form finder. It is not just being framed in the aesthetical discourse. Below are two l discourse I found interesting in using computers- Biomimicry and Kinetic.

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BIOLOGICAL SELF ORGANIZATIONComputers are used to model and analyze the cellular patterns and structural performance in biological structures. This project studies the geometrical mor-phologies and cellular organisa-tions of plants cells when they are responding to stress. A study of these patterns and compo-nents can improve the architec-ture structure by using weak ma-terial to make strong and robust structures. (Michael Hensel,p27) ) Digital models are of value in understanding the structural performance of plants, and the construction of appropriate digital models enables analysis by experiment virtually. By us-ing computers as a modeling

and analyzing tool, designers will understand components hierar-chies and adaptive strategies of biological structures easily, and this also permits the exploration of the mechanical performance of growth under stress.

The most interesting result of this project I think is that computing analysis found that the occur-rence of certain small, simple components in the process of self-organization is remarkable and each cell assembles to-gether in 3-d patterns to form a larger organization. (Michael Hensel,p28)

I find this idea interesting not only because the cellular forma-tion idea in larger scale will cre-ate rich spatial experience, but also a structure built on this logic will save many materials and yet still be strong. This idea particu-lar suits for the gateway project where minimised budgets is de-sirable. In mimicking the biologi-cal performance, the installation will save much budget, but still be elegant and robust.

COMPUTER ANALYSIS ON STRUCTURAL DYNAMICS OF PLANT

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1. Three-dimensional models of the morphology and internal fibre archi-tecture of a bamboo stem2. Kinetic sculpture outcomes form-ing

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materials: metal sphereskinetic factor: steel + electronic

The kinetic sculpture interesting display the process of design inspiration and decision making through visually communication pro-cess.

I appreciate how the kinetic sculpture cre-ates an artistic visualisation of the process of form-finding in actual space and time. With the help of computer, the visual exhibition is a negotiation between virtual and actual. This character can refer back to my interest in the first week in Seattle Public Library.

THE KINETIC SCULPTUREBMW KINECT SCULPTURE MUNICH ART+ COM

One could argue that in this project, computer has nothing to do with the design process, but I think the use of computer in this design is wise but tricky. It departs away from traditional computer form finding process and provides viewers with differ-ent possibilities of outcomes dur-ing the exhibition. The outcome of the design lies differently in everyones perspective depend-ing on personal interpretation. The design releases an open outcome with various possibilities and let the viewers to decide the final one. The idea was pointed out by Schumacher: Design de-cision lies in communication.

Controlled by computer and electronic, the precise coor-dinates of every sephere is mapped out and directed to move over time. With the pre-cise calculation of computer, the whole installation move precisely within time and space.

I appreciate this design as the way it narrates the story and interacts with the viewers with greater appealing, evoking more emotional responds. In this view, the discourse of kinetic sculp-ture lies not only in computing, kinetics, form finding but also a psychological phenomenon.

I would like to pass on this unique discourse in the gateway project in forming a spatial and time experience negotiating be-tween virtual and actual. Also, I would like to pass on this design idea of letting the viewer to decide. ( Let the viewer to de-cide the final outcome through the communication process of viewer and the architecture)I want to use computer to provide various possibilities of design outcome and let the viewers to pick what they think should be the final decision of the design.

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Black, D, 2008, Kinetic sculpture, BMW Museum Munich,art+com, accessed Aug, 2012

Kalay, Y.E. ,2004. Architectures New Media : Principles,Theories, and Methods of Computer-Aided Design (Cambridge,Mass.: MIT Press), pp. 2,6,14-15

Kolarevic, B, 2003. Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press).pp. 3 62

Krauel J, Contemporary digital architecture design & techniques, p 11-13

Menges, A , Weinstock,M, Guest-edited by Michael Hensel 2006,Techniques and Technologies in Morphogenetic Design, AD, March/April 2006, pp12-18, 26-33

University of Melbourne Fablab Gallery, Student work,accessed 19 Sep, 2012

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1.3 ON PARAMETRIC DESIGN

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Parametric provides for a power-ful conception of architectural form by describing a range of possibilities, replacing in the pro-cess stable with variable, singu-larity with multiplicity.( p17)

In my opinion, parametric de-sign is a design approach that designer creates his own design vocabulary. By setting up para-metric equations that describe the relationships and principles between different design com-ponents, one can derive particu-lar design solutions as a re-sponds to specific variations and conditions. I think parametric de-sign goes beyond the limitation of conventional CAD thinking by providing huge flexibility and potentials for final outcomes. The arrival of parametric digital

modelling changed digital repre-sentations of architectural design from explicit formal notation to instrumental relationship. (Meng-es, P43) This urges architects to shift his thinking from a design as an explicit form to instrumen-tal logic. In my view, the logic of parametric design overturned the conventional expectation on an architect. Architects need to accept this new set of concept and pay more attention to their design theories, computational theories, in order to produce rational outcome. Personally, I think parametric design thinking requires for stronger concepts compared to previous conven-tional design. That is every form should have logic to build.As a new learner of parametric design, I found most of the para-

TTHE ARRIVAL OF PARAMETRIC DIGITAL MODELLING CHANGED DIGITAL REPRESENTATIONS OF ARCHITECTURAL DESIGN FROM EXPLICIT FORMAL NOTATION TO INSTRUMENTAL RELATIONSHIP.

1.2 ON PARAMETRIC DESIGN

metric design in this industry is limited to form finding, especially using the logic such as cellu-lar automata, self-organization and genetic algorithm to create voronior. Though in the lecture, professor mentioned that para-metric design is not limited to super facial faade but some parametric plug- ins can be used to purify structures, test archi-tectural performance. However, little project can actually escaped the criticised being super facial. I owe this phenomenon to lack of experiences considering para-metric design has just started his pace in our age. Some other advantages of parametric de-sign, in generally, can be fast fabrication, various possibilities of design outcomes, complex geometries, etc.

MICHAEL HENSEL

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Parametric design can not only be used to create aesthetic beauty, but it can be used to support for technical superiority and elegance of detalings. This is a winner entry for the second annual TEX- FAB competition. It explore the ideas of modular assembly and material efficiency.

A minimal periodic surface structure is created with the repetition of only 16 different components. A macro-scaled modular cellular pattern emerges through symmetry that is infinitely expandable and open-ended while becoming differentiated at its edges. Ornament functions as a simultaneous expres-sion of the whole and the part working in dynamic equilibrium.

I am fansinated by its structural robustness material efficiency an inherent logic of assembly. As what I have mentioned in previous journal, that I am into construction as a discourse and also concerns about the efficiency digital architecutre brought us. This modular fabrication saves time and labor as well as create an emotional gesture as a poetic design.

MINIMUM COMPLEXITY VLAD TENU MODULAR

Geno-Matrix is a modular structure for skyscrapers. The structure was inspired by Lego, and uses mostly prefabricated parts. It consists of a large vertical grid, in which modular units are placed at vary-ing depths. These units can be pushed or pulled to different levels in order to create an infinite number of patterns, and their arrangement is driven by factors in the buildings environment, as well as spatial requirements. I appreciate this projects idea of using modular fabrication method yet still create an organic form. I like how the building can respond to surrounding environments as the factor driven the outcome is the environments constrains, such as sunlight and rains.

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CONCLUSION: THREE WEEKS JOURNEY OF DIGITAL ARCHITECTURE

After three weeks of intense digi-tal architecture design journey I was kind of overwhelmed by the boundaries this filed can reach. Digital architecture traditionally is regarded as for merely aes-thetic values by most of people, which also includes me. But after weeks' study of digital architec-ture, I started to understand that digital architecture is far beyond form and aesthetic. It renovates the construction process, making it faster to fabricate and certain programmes can even improve performance of structure by eliminating excessive struc-tures, purifying the system and modelling force system within structures. Computerization can also involves in the design process rather than just trans-form the hand drawing on the computer screen. Take previous journal case study as examples: the 'minimal complexity' actually generates complex geometries and shapes in hierarchy accord-

ing to the script of computer. In terms of parametricism which advocates by Schumacher, I pro-pose some of my thinkings:Parametricsim is a style, but it can not be stated as an end to international style that people strived to seek for nearly ten decades. Computer indeed improves the design process for a more efficient expression, and speed up both construction and design to respond to the term of globalization where everything is preferred to be modulized and fabricated fast. But think of the new technology and industrialization rought to us: glass, steel, reinforced con-crete. Those technology and new materials inform the design into a rationized approach that minimised the exaggerated ge-ometries, creating neat straight lines responding to industrial movements. The structure, or we say structrual discourse in

architecture, these technolo-gies produced were regarded a fashionable style dating back to 1940s. But do we see them as a new style today? No, we say it belongs to a branch of inter-national style. So in this case, I assume, even though paramet-ricsim improves architecture de-sign in a new stage, it is never an end of seeking for international style. To use updated technology for new forms and faster design process is part of the evolutional principle in this industry.

Based on this belief, I still have confidence in the future of parametric design in architecture that I can use new technology to inform new forms and optimise my structures by using minimum materials, cutting down un-wanted structures. Thus this will also save the labour and cost in construction phase.

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2.1 CUT CASE STUDY 1.0

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Biomimicry, by its natural meaning, is taking inspirations from an examination of nature, abstracting its systems and processes, and imitating its order to solve human problems. This idea loosely suits our parametric design principle where a strong logic clue guides the whole design concept, that we find a clear direction and abstract its logic in developing our design. This topic is interesting as this will embody our gateway

NATURAL SYSTEMS DISPLAY HIGHER-LEVEL INTEGRATION ANDFUNCTIONALITY EVOLVING FROM A DYNAMIC FEEDBACK RELA-TION WITH A SPECIFIC HOST ENVIRONMENT.

MICHAEL HENSEL

2.1.1 ARGUMENT FOR BIOMIMICRY

project as a unique icon that suits nowhere other than this particular site. It is a gateway of Wyndham, neither Wyntan nor Wyngan. To reach our goal of making this gateway unique to the place informs us to make strong links between the local natural system and our gateway project

Potentials that we think the design would be benefited by biomimicry:

1. Formal inspiration and performance architecture: Some projects have shown advantages in using the idea of biomorphic mineralization which is to produce structures resembling natural living organisms by using bio-structures as templates for mineralization. Take The Voussoir Cloud as example where they used less material where less force is applied. (Mimicking cellular patterns and structure performance in self

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organization process) This will particularly suits for the city project where limited budget is required. Also, the biomorphic mineralization is environmentally benign in cutting down the consumed material.

2. Icon and poetic gestures: Making links to our project to the history of the site or the natural setting of the site is never out of date. The city wants the project to be an eye-

catching installation that will become the city icon in the future. (gateway project brief). Thus strong links should be made between the local site and the project. We want to sort out a strong force growing in this particular natural setting and spurge this force out into our design.

3. Ideal structures and engineering: Structures should always stand up in order to be called a structure. Thus the construction aspect of

this design is a significant part. As the logic behind natural selection is lucid where only the reasonable and wanted structures are selected and kept. By mimicking the logic behind natural objects, we could sort out an efficient and stable structure.

Illustration: Coloured X-ray of hyacinth flowers at differ-ent stages of growth.

(Environmentally sensi-tive growth can deliver a paradigm for architectural design )

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IWAMOT SCOTT ARCHITECTS | VOUSSOIR CLOUD

2.1.2.1 BIOMIMICRY CELLULAR FORMATION

One potential advantage that biomimicry held for the gateway design is that cellular formation and cells self organization. Following the logic of natu-ral cell formations, the structure will stands robust economically. It eliminates unnecessary material for structure and hence adds aesthetic values to the structure, such as permeability and loft structure.

Lisas Voussior Cloud exemplifies how biomimicry as cellular formation adds value to the whole de-sign from structure to aesthetics.

The whole installation follows the logic of cellular formation and structural performance in biological self-organization. The logic of self organization: the internal component of a system adapts to the en-vironment to promote a specific function without being controlled from outside.

In this case, plants cells responds to the gravity in such a way that at the bottom of the structure cell density is higher and size is smaller compared to the top part.

The self-organisation processes underlying the

growth of living organisms can provide important lessons for architects, claims MICHAEL HENSEL.

Here I like the idea of self-organization since it can give permeability at the top structure with framed views at the bottom. Also, since each cell is fabricated in modular, different types of cell as a basic modular can be gathered to form different 3 dimensional experiences. Permeability, framed views, as long as richness in spatial experience can add visual value to the gateway project.

Also, the thin laminated wood material works in tension reminds me of another project byAchim Menges in the Universitt Stuttgart where the same material is used. This material is flattened when the weather is humid and rolled up when it is dry. This movement of the material is caused by water in wood fibre much like paper. Though it has nothing to do with parametric design, I still think it an interesting one.

Further considering the fast fabrication of timber structure and various joints that can be prefab-ricated, I perfer timber structure for the gateway

35

2.1.2.3 BIOMIMICRY DODECAGONS TESSALATIONS

CHINESE NATIONAL AQUATIC PTW ARCHITECTS , CSCEC , CCDI, INTERNATIONAL FIRM ARUP

The second precedent for biomimicry is the Beijing National aquatic centre. The Watercubes struc-ture is derived from principles of geometry and crystalline systems. Wrapped in the steel frames, the bubbles are made from ETFE (Ethylene tetra-fluoroethylene) pillows measuring 0.2 mm thick. The membrane will lets in more light and heat than traditional glass, which keeps the pools insider warmer and thus reduces energy cost. I like how the form and structure of the building follows the principles of bubble structure and how the use of membrane structure allow for energy- efficient and ecologically significants.

Taken advantages from both the precedents above, I started to think about how the form of the cell can affect larger effect when the basic modules accumulating and how the arrangement of the basic module can give aesthetic value. In Voisvios case, it givers permeability and creates contrast between dark and bright. While in the water cubes case, it uses layers of structure frame to create a sense of complexity. Here I am inspired to think about layering truncated octahedron, as a basic modular, to give a contrast of void and dense.

In terms of materiality, different from Lisas wooden structure, I like how the building makes full use of the membrane. But the fabrication and installation process is time consuming considering the struc-tural steels needs to be cut in angle and the whole structure needs to be temporary braced with huge structure before it is totally welded in a strong integrated one. This kind of construction method probably does not suit for the gateway project where the traffic is desirable not to be blocked for a long period of time.

As a summary of these two precedents, the follow-ing journal will develop thinking on how to gener-ate various cellular forms using parametric logic and what larger effect can different basic structure creates. We abstract the form logic in the Voussoir cloud as voronior and Beijing water cube as trun-cated octahedrons. Experiments of forms can be found in the following methodology metrix.

36

37

Despite searching for logic that generates desir-able cell forms, we also concerns how the cells are generated and according to what logic will the cell growth. The voronior system allows for the cells to grow according to the location of the prescribed points, while truncate cubic can grow along an in-dicated pipe. Cells in these two systems grow with the human interaction that it is the designers first referenced item that determine the growth path of cells. However, the case game of space dem-onstrates a different system that cells can grow on their own decision. The cells grow according to the logic of cellular automaton which was discovered by John Conway in 1970s that: a living cell remains alive only when surrounded by 2 or 3 neighbours, otherwise it dies of loneliness or overcrowding. A dead cell comes to life when it has exactly 3 living neighbours. In this logic, the cells grow without the human in-teraction and determine their own formation. As shown in the picture on the left, the outcome of game of space express a chaotic form yet eve-rything generates under reasonable logic. I am interest in the form the cellular automaton can generate and the idea of self generating is exactly what I was looking at during the past case studies in this journal that I would like to pass on this self generating idea in the gateway project.

2.1.2.3 BIOMIMICRY CELLULAR AUTOMATON

12

3

1. expressive form cellular au-tomaton can generate

2. since the art piece is scale-less, the system can work in various design field( as shown, as a single shelter)

3. system working as a plazza

4.original prototype and rela-tive location of cells changing with time according to the logic

4

38

VORONOIS

39

CELLULAR AUTOMATATRUCATED OCTAHEDRON

40

CELLULAR AUTOMATACellular automata with rabbit reflection :

Three issues are to define the cellular automaton: cell prototype, grid dimensions and initial configu-ration of the cell states. The above two matrixes show how cells are generated and how the change of logic change the formation of cells.For diagram 1, the logic is if there are 3 cells sur-round a dead cell, then the cell can be alive. Only cell that is surrounded by 2 or 3 cells can alive.For diagram 2, the logic is if there are 5 cells sur-round a dead cell , then the cell can be alive. Only call that is surrounded by 3 cells can alive.Both the diagram show the growth in certain time frame: First phase 0s( the original cell), second phase 10s, third 20s, forth 40s.

As can be shown above, the form cellular au-tomaton creates is intriguing but the growth can be hardly control. The growth is mainly manually controlled by time and it is hard to predict the outcome. Another way to change the outcome is through manipulation the relative position of the original cell. But the outcome is still unpredictable as shown in the matrix in previous page. Here the matrix trial informs us that in the gateway pro-ject where a real structure is wanted, we need to consider the structural stability. Cellular automaton somehow stays unrealistic as for real construction industry.

GRO

W W

ITH TIM

E: FROM

BOTTO

M TO

ABOVE: 0S, 10S, 20S, 40S

41

RULES FOR THE SELF GENERATINGREVIVE WITH 3 CELLS AROUND

CAN SURVIVE WITH 2 OR 3 NEIGHBORS

ONLY MANUALLY CONTROLl TIMER

DEFINE THE BASIC SIZE OF THE BLOCK

42

X>Y X>Y Y >X

KEEP THE DATA WITHIN THE BREP

USING ATTRACTOR POINTS TO CULL DIS-TANCE THAT IS LESS THAN 42

CREATING VORONIOR SYSTEM

1 2 3

Another way of mimicking cellular formation is the voronior system. Here we were interested in how to form a controlled form using cull-ing from the voronior. First column shows how the voronior is gradu-ally culled using attractor points by increasing the threshold value. Second column was accidentally generated. It is the bounding box of voronior. Though it looks like an invaluable trial, it actually inform us in the later design to morph ge-ometry in the culled ( or controlled ) boxes. The third column shows how the inversed logic works: as in 1, reverse the ratio of X and Y, 2, cull inside or outside of a brep, 3, cull randomly.

43

The truncated octahedron was generated using a simple definition and it was supposed to be in a more flexible arrangement, such as arrange along a curve. But due to incompatability to the 64 bit platform of rhino 5, the form can only be generated in a rigid cubic form which means it does not follow the command. This shows that although convenient sometimes 3rd party plug-ins run an inherent risk of instability.But this serial trials show how basic geometries can give different larger effect. Benefits these form can provide, spatial experience and intriguing form, while the disadvantage is obvious:

44

2.2 CASE STUDY 2.0 YORKSHIRE DIAMOND

45

46

Yorkshire diamond was a finalist in the open international competition for a mobile pavilion for Yorkshire Forward. The diamond - like lattice structure is mined out to form a grotto- like interior space reminiscent of the coal mines of Yorkshire. In this aspect, the concept of this pavilion is embodied with lo-cal culture and regional symbol with biomimicry approach. Also, the design refere back to the concept of celluar formation, where a basic C atom struc-ture is stable and strong in resisting outer force.

The whole structure of the pavilion is inflatable. Thus this will make the struc-ture light in weight and easier to be transported to site, which inturn adds value to sustainability, and environmentally benighed. The inflatable structure is portable and can be suited to various environments. Also the inflatable structure of the pavilion saves labor and time in installation process. The en-tire structure is inflated only in2-3 hours.

The backout space within the lattice structures is flexilble and can be used for everything from small gatherings, large conference to public presentation hall. The pavilion can also be turned extrovert to open up a large outdoor space creating ultimate mobile venue for concerts or big screen events.

Despite the celluar formation concept as well as the use of new materials, the main argument for this pavilion is sustainability. The material itself is recy-clable ,light in weight and easy to pack. Thus it has lower embodied energy. Also, the pavilion itself features innovative uses of natural light, natural venti-lations. This adds up its sustainability values.

Sum up the characters we want to keep in this design:

TETRAHEDRAL LATTICE& BIOMIMICRY

Mobile performance venue with black out space Inflatable materials, sustainability Flexibility and portable Cellular formation, high efficiency in natural structure Embodied with local symbol of mines Structurally independent Modular lattice structure

We appreciate the use of inflatable material in this design and hope the use of inflatable material and construction method could benefit our gateway project. Thus we went on further research on developing these ideas :

YORKSHIRE DIAMOND VARIOUS AR-CHITECT 2009 YORKSHIRE RENAIS-SANCE PAVILION COMPETITION

47

48STRUCTURES & NEW MATERIALS

Inflatable structure of Yorkshire pavilion exempli-fies how recent innovations in materials have ex-panded fabric architecture into larger profile with higher cultural importance. I like how the mobile membrane building can benefit our gateway pro-ject in certain ways that:

1. FREE PLAN: It makes it possible for build-ing to enclose large space with low building mass. Low pressure pneumatic structure can be column free when high internal air pressure keeps the roof aloft. This will eliminate the traditional columns which block the views.2. FAST FABRICATION: High pressure air col-umns, beams and walls can be erected very quickly.3. FLEXIBLE: It starts the eara of portable and flexible architecture that suits to various sites4. SUSTAINABLE: Also tries to deal with is-sues of power supply, climate control, lighting and information display.5. ENVIRONMETAL BENIGH: Being more independent of external services, membrane mo-bile building save on infrastructure,which in turns

benefits in efficiency, sustainability and the envi-ronment.

Though, as exemplified in the Yorkshire diamond, inflatable material is beneficial, inflatable material is not suitable for large installation as when the structure goes larger, it requires higher pressure which goes beyond the anti- pressure limitation of the material. In Yorkshire diamond, the pavilion uses an inner layer as structural diaphragm.

Thus for our gateway project, we want to strength-en the benefits inflatable structure could bring along, yet also tries to combine inflatable mem-brane structure with traditional construction meth-od, seeking for a more economical, environmen-tally friendly way for the design.

Going back to Yorkshire Diamonds design concept and its parametric design approach, we summa-rised its arguments and want to keep these charac-ters into our gateway project:

The subtractive space: MOBILE PERFOR-MANCE VENUE provide a new spatial experience Material SUSTAINABILITY By using inflatable material, it is STRUCTUR-ALLY INDEPENDENT, and easy to dismantled and

INNOVATIONS in techniques and material have facilitated the born of a new type of architec-ture that is able to house increasingly larger and caulturally more significant facilities.

49

STRUCTURAL DEPTH

isometric of inner clad-dings

inflatable triangulated struc-ture

internal cladding formed of in- plane inflatable triangleswith PVC cushions in 2 layers

structure provides in plane stiff-

reconstructed Fast FABRICATION Complex FORMS Associated SYMBOLIC LOCAL MEANING of diamond BIOMIMICRY: high level of efficiency in mimicking natural structure Adaptability of PARAMETRIC APPROACH

With an additional consideration of the shortcom-ing of applying Yorkshire Diamonds design con-cept into our gateway project , we proposed our questions:

How to change the Yorkshire diamonds rigid and monolithic form into and organic evoking gesture

How to add identity of Wyndam city (an in-novative new city) to the project?

Hard to fabricate with inflatable structure which is not modular.

MOBILE PERFORMANCE VENUE

FAST FABRICATION & FLEXIBILITY

SUSTAINABILITY

INNER DIAPHRAME

50

GRASSHOPPER DEFINITION

pipe basic geometry

orient to a surface

51

jump to vertical layers

52

TEREAHEDRAL LATTICE

53

54

MAIN TECHNIQUES DEVOLPED THROUGH METRIX

MORPHINGCULLINGATTRACTING

To morph geometries on both planar and non-planar surface can form exciting outcomes. While we also get some forms that do not suits for the gateway concept, such as sphere, cone and cylinder volume. This shows computing as a means of de-sign generation approach has its shortage in being design with blindness.

THE SECOND SIGNIFICANT SKILL WE DEVELOPED IS CULL-ING. BY USING ATTRACTOR LINES AND ATTRACTOR POINTS, WE CULLED PART OF THE STRUCTURE AS A NEGETIVE SPACE. THIS IS INFLUENCED BY LAST WEEKS MOBILE PERFOR-MANCE VENUE IDEA.

The third skill we developed is related to the second skill- the attractors. We want to use the local views as attrac-tor points in future for the design.

55

Exploration in joint making, allows for interlocking structure performance between each cubic.

The effect we want to achieve by culling is to create a mobile performance venue, through which viewers view to some extent is framed. Also we wanted to create directional view to-wards Werribees places of interest.

Our final aim for the matrix is to produce layer of morph geometries that can change in size and density gradually. This not only correspond to the idea of biological cell formation, but also the change of geometries will create rich spatial experience and form contrast between solid and void. We had technical issues in making the morph box changing in size and density, so we cull the morph box alternatively and fill up with larger morph box. In order to achieve our aim, we still need to develop our technical skill. However, every software has its limita-tion, and I assume, weve hit this limitation.

CONCERNS IN PRODUCING METRIX

Experiments with the effect basic geometries produce in large scale. As discussed in previ-ous journal, we are interesting in the self or-ganization concept of cells, where through the repetition of basic cell unit, the whole structure will present different effect in large scale. We want to experiment with various spatial effects through changing the morph basic geometries.

56

PRECEDENTS SUMMARY

tRECURSIVE - BIOMIMICRY

RWEATHER DRIVEN PARAMETRIC

CELLULAR FORMATION, VORONIOR

MATERIAL, STRUCTURE, AESTHETIC

FORM FINDING USING SUNPATH

SELF GENERATING, REGULATING

CELLULAR AUTOMATONSELF GENERATING, EFFICIENCY

DODECAGONS TESSALATIONSLARGER EFFECT , MATERIAL

TETRAHEDRAL LATTICEMODUALISED

57

t

CELLULAR FORMATION, VORONIOR

LARGER EFFECT , MATERIAL

BIOMIMICRYSELF - GENERATINGSELF - ORGANIZATION

STRUCTURALY RUBOSTNATURALLY ESTHETICEFFICIENCY AND ECONOMIC

FORM FINDING USING LOCAL WEATHER PARAMETRIC

SELF GENERATINGEFFICIENCY SPACE

TETRAHEDRAL LATTICEAS FOR EASY FABRICATION

FORM FINDING METHODOLOGY MATRIX58

1.Dodecagons Tessalations

2.Voronois

3.Cellular Automata

3.Tetrahedral Lattice

DIAGONAL CONNECTIONSFORMAL COMPLEXITY

EASY GENERATION, CULLING LOGIC GENERATED FROM METRIX

AUTOMATIC GENERA-TION

POROSITY, EASY FABRICATION

COMPLEXITY IN TECTONICS FAB-RICATION

COMMON USE

LACK OF CONTROL IN FORM

CONNECTION LIMITED TO EUCLIDE-AN PLANELACK OF CHANGE

59

USING CULLING AS A METHOD OF CONTROL OVER THE SELF GENER-ATING SYSTEM

TETRAHEDRAL LATTICE AS BASIC CELLULAR GE-OMETRY

60

2.3 PROJECT DEVELOPMENT

61

2.3 PROJECT DEVELOPMENT 2.3.1 CONCEPT FORMATION

62

2.3.1 CONCEPT FORMATION

OUR CONCEPT is the process of explora-tion through the journey from highly ur-banised Melbourne city to the naturalised romantic Wyndham. As such the gateway is one that should be experienced as a place of wonder that luring drivers curios-ity to the site and further, the Wyndam city. The gateway also manifest a changing experience for the driver that at the end nearer to Melbourne city should represent something that makes it different from the countryside rural impression that is given by Wyndam.

In achieving this goal, we abstracted the grotto idea from the 18th century England garden as the grotto effects not only refer back to many of the places of interest built in Romanism style in Wyndam, but also represent a sense of mysterious arousing drivers interest in Wyndam city. Diagrams on the right shows the main effect we want to show to drivers: mainly framing views and creating contrast in dark and bright. ( such as illuminating the wanted view while blocking unwanted happenings)

In order to keep the cohesiveness of the journal, and make the design process smooth and easier to follow, I rearrange the way the story should be told: I the put the EOI and intellectual background research in the last chapter, and aim to make the concept formation process as concise and explicit as possible. For grotto effect research and EOI model fabrication process, please refer the last chapter.

FRAMING VIEWS

63

EXPLORATION - GROTTO

WYNDHAM CITY IS SEEKING RESPONSES FROM DESIGN PROFESSIONALS FOR THE DESIGN AND DOCUMENTATION OF AN EXCITING, EYE CATCHING INSTALLATION AT WYNDHAMS WESTERN GATEWAY AND ENCOURAGE AND CHALLENGE YOU TO DEVELOP A PROPOSAL THAT INSPIRES AND ENRICHES THE MUNICIPALITY.

CONTRAST OF ILLUMINATNG AND DARKNESS

A JOURNEY OF EXPLORATION THAT AROUSE CURIOSITY

A SYMBOL OF HOSPITALITY FOR THE WHYDHAM CITY

WESTERN GATEWAY DESIGN PROJECT BRIEF

BLOCKING OUT VIEW + DARKNESS MYSTERIOUS SPACE

ILLUMINATING SPACE + BRIGHTNESS CONTRAST

FRAMING VIEWS OF PLACES OF INTER-EST IN WYNDHAM

Enclosed grotto space

You Yangs

You Yangs

1. SCALE UP A SECOND LANDSCAPE: The concept of enlarging the you-yang was to explored the concept of borne out of the land. Youyang represents the natural aspect that Wynd-ham embraces. It is also an exception to the otherwise flat topography of the land, a natural focal point that fit with our context of showing. The articficial landscape that informed the shape of our shell-structure was based on lofting the contours of the existing topography.

2. CULL VIEWSBefore culling the openings and oculus, we created a tunnel openings at the height of 7m to allow for smooth circulation. This could be done by simply using the extrude along curve command in rhino. The circulation path is later set as a clearance space that do not allow geometries to be gener-ated. The culling views definition is mainly focus on framing views that we want to show to the drivers, such as youyangs, natural vistas of the grasslands and werribee. There was a purpose in deliberately opening up the path for more light upon arriv-

ing to Werribee to instil a sense of entrance. This can be referred back to the GORDON CULLEN THEORY.

The views are culled by setting up series of cones and by manipulating the size of the cone we can control the size of the openings.

2. CULL OCULUSFor a more varied change in experience and for the practical reasons of lighting purposes, oculus opening were drawn, extruded and sheared ac-cording to sun-angles to allow for maximum sun-light coverage.

The design intent was also to allow for the gradual build-up of light that will cover the automobile un-til the greater opening of the north for automobile going towards Werribee. While illuminating the original topography in the center of the structure.

CIRCULATION PATH

64

2.3.2 DIGITAL MODELING AND RATIONIZATION

BOUNDARY DEFINE - OUTER SHELL

165

2

3

ILLUMINATED AREA IN PLAN VIEW

THEN EXTRUDE AND SHEAR ACCORDING TO SUNPATH ANGLE

dividing up the curvesaccording to calculation, the distance for a object moving at a speed 100km/hr, its distance is 27,777mm. Varying the division of the curve, we could get the distance points such that distance between points are approximately 27,000 mm

listed cones

TUNNEL OPENINGS AT THE HEIGHT OF 7M TO ALLOW FOR SMOOTH CIRCULATION.

66SECOND LANDCAPE DRIVEN BY LOCAL TOPOGRAPHY

VIEW FRAMING DRIVEN BY SITE VIEWS WITH YOUYANG

referencing the various cones onto the points, theoretically that would give us a frame per second and by varying the width of the cone angle we could control the amount of view per second to the view angle of cars going at that speed

The baked diagram shows that the listed cons represent how many seconds we can have the view.

SCALE UP ORIGINAL TOPOGRAPHY

67

68

2.3.2.2 ARRANGING MORPH BOXES WITHIN BOUNADRY SPACE

Discussed in the previous journal that we wanted to invent a self generating system for the cells and having being tried voronior and cellular automaton, we found all the logic has its shortage and benefits. Since au-tomaton can go beyond control and we have had our shell boundary define space, we decide to let the boxes generate within the space by themselves.

The logic of morphing box in the shell space is to put the biggest box in the space first, following by the ar-rangement of the second large box to the smallest box. The logic starts from the first layer of arrangement.

1. Morph a berep into a divided surfaces bound-ing box. This technique was developed from the re-verse engineering 2. The size of the original berep changes according to how we divide the surface. Smaller UV means smaller box. Here for the first layer, we define the UV as the largest one.

2. Then move the morphed layer of boxes into several layers to create volumness.

3. Cull the boxes that locate outside the shell sur-face. The logic here is if the centre of the box locates outside the shell, it is culled.

4. Above 3 steps are the first layer morphing and later the second layer morphying starts with exactly the same as 1 and 2. But as the second layers box is meant to be smaller. The UV component for the surface divided should be smaller and vertical vector for series should also be smaller that it jumps in a shorter dis-tance.

5. Culling for the second layer is different from the first layer, as we not only need to keep the box that is inside the shell space but also need to aware that we should cull the box that locates within the previous layers box. This is realised by gate not component and and component.

6 repeat step 4and 5 in getting third layer of boxes

7 final outcome of morphing series sizes of box within the defined space.

In order to show the process clearly, I didnt used the site shell we made to demonstrate this process. Instead, I used a simple ellipse to show how the box is culled. The sophisticated shape of the shell will also make the computer run very slow.

1

2

3

4

5

6

7

69

SUBDIVIDE SURFACE AND CREATE BOUNDING BOX ON THE SURFACE FOR

JUMP TO LAYERS OF HEIGHT AND CREATE THE VOLUME , PREPARE FOR CULL

UV AND HEIGHT OF THE SERIES DECIDES THE SIZE OF THE BOX

BREP HERE STANDS FOR THE SHELL SPACEBOXES INSIDES THE BREP ARE KEPT

FIRST LAYER CULL

OUTSIDE THE FIRST LAYERS BOX

WITHININ THE SHELL SPACE

SECOND LAYER CULL

70

2.3.2.3 MORPH GEOMETRY IN MORPH BOX

A-A

A-A

B-B

B-B

c-c

D-D

D-D

C-C

71

Section A-A Sense of Entrance

Section B-B Anticipation

Section C-C Continuation

Section D-D Culmination

1.Varying void space inside each triangle frame accord-ing to the distance to the major views:

.Varying void space inside each triangle frame according to the distance to the major views:

using the grasshopper tech-niques developed in the previ-ous weeks we morphed the base geometries in the grotto boxes we generated in the shell space and used attractor points to creates change of aperture points in the middle of every trusses.

72

REFINEMENT- VOLUMNESS ATTRACTIONS & ECOLOGICAL FUNCTION

vegetation planter box, color change with seasons and quantatives will grow

copper box oxid oxidization within time, will change color from yellow to green

metal box color keeps unchanged but quantities can be larger since can be installed manually to represents Melbournes urbanization

WESTERN EXCHANGE, PRINCESS HWY

WYNDHAM CITY

GEELONG

CITY OF MELBOURNE

PORT PHILLIP BAY

73

REFINEMENT- VOLUMNESS ATTRACTIONS & ECOLOGICAL FUNCTION

vegetation planter box, color change with seasons and quantatives will grow

copper box oxid oxidization within time, will change color from yellow to green

metal box color keeps unchanged but quantities can be larger since can be installed manually to represents Melbournes urbanization

74

The digital modelling for the design process loosely falls into two parts: boundary define shell and the inner detail forms such as formation of the geometry itself and the installation of planter box. Five main grasshopper definitions:

1 . SCALE out a second landscape ac-cording to the original topography 2. CULL VIEWS on the second land-scape3.CULL OCULUS according to sun path in order to illuminate the place we want to brighten 4. BASIC CELLULAR GEOMETRY + at-tractor points for controlling the aper-ture opening within the geometry5. METAL, COPPER AND PLATER BOX DISTRIBUTION according to the location of Melbourne city and Wyndan city

SCALE

OCULUS CULLING

75

PLACEMENT OF PLANTING BOX

VIEW CULLING

MORPH BOXES VOXELIZATION

MATERIALS AND JOINTS: Model fabrication design was influenced by the AA pavilion where elaborated joints are shown. Joints used here are bis-cuits, nail plates and strong bolts. The material shown here is LVL timber as timber material itself is economical and will last long. It arouses a sense of nature and countryside feeling, which corresponds our idea of grotto Romanism and second artificial landscape.

According to the PERSISTENCE OF VISION THEORY, we produced four sets of geometries ranging in different sizes. The smallest geometry is supposed to be invisible when drivers drive on the high way. Accord-ing to the regulation that a car driving on the eastern freeway should be slower then 100km/h, then this should be 28m per second. During a second ( which a driver is supposed to drive 28M) , he will pass by 37 frames of the smallest geometry. (Modern theatrical film runs at 24 films a second.) Then the geometry is dense enough to be invisible. The fol-lowing geometry sizes are noticeable for the drivers since the size of the geometry is bigger enough and the frames that a driver will pass during a second will be less than 18( which is slower than a flick book)

TIMBER SIZE SELECTION: The truss panel for our design is prefabricated .Since there are four sizes of inner cellular structures, the thickness of timber also ranges in four types. They are 38mm for the smallest size, 89,140mm for the medium size and 184mm for the largest size. This is due to a consideration of standard softwood dimensional lumber sizes. Thus the chose lumber for prefabricating the truss should be 2*4, 4*6, 6*6 and 8*8( by nomination)

ARRANGEMENT:One other consideration of fabrication was the arrange-ment of basic geometries. There are various possibilities of arrangement to join the modular geometry. 1, the top arm of the geometry can all align into one direction 2. The top of arm of the geometry can arranged in perpendicular position and align in a row 3, Four geometry can form a cross at the top as shown in diagram ? Since the size of the modular geometry ranges in exponential relationship, it is easy to join the geom-etries in different size: one larger one connects two smaller ones, and the smaller geometry can be located both within and without the larger geometry.

6000*6000*6000mm3000*3000*3000mm1500*1500*1500mm750*750*750mm

8800*1800*184mm4400*1800*140mm

1050*1800*89mm

1100*1800*38mm

500*1800*38mm

2200*1800*89mm

2100*1800*140mm 4200*1800*184mm

28/0.75=37 framesUnnoticable for driver

28/1.5=18 framesnoticable for driver

28/1.5=9 framesnoticable for driver

28/1.5=4.5framesnoticable for driver

Biscuit + nail plate

JOINT A

JOINT B

76

2. 3.3.1 MODEL FABRICATION - DESIGN

6000*6000*6000mm3000*3000*3000mm1500*1500*1500mm750*750*750mm

8800*1800*184mm4400*1800*140mm

1050*1800*89mm

1100*1800*38mm

500*1800*38mm

2200*1800*89mm

2100*1800*140mm 4200*1800*184mm

28/0.75=37 framesUnnoticable for driver

28/1.5=18 framesnoticable for driver

28/1.5=9 framesnoticable for driver

28/1.5=4.5framesnoticable for driver

Biscuit + nail plate

JOINT A

JOINT B

77

PLANTER BOX CONSTRUCTION DETAIL

TIMBER PREFABRICATED TRUSS8800*1800*184mm

PLANTING BOXSTEEL BOXCOPPER BOX10mm

NAIL PLATE

BISCUIT JOINT 10mm

STEEL ANGLE BOLTED AND WIELDED TO STEEL BOX AND BOLT TO TRUSS

NOTCH 90MM

78

Box at highier position:5-10cm substrate, SUCCULANT PLANTS & POACESE

Lomandra fluviatilisLomandra longifoliaThemeda triandraMyoporum parvifoliumScaevola calendulaceaZoysia tenuifolia

Box at lower position: 10-20cm substrateSEDUM/MOSS COMMUNITIES, DRY MEADOW COMMUNITIES, LOW GROW-ING DROUGHT TOLERANT PERENNIALS, GRASSES AND ALPINES, SMALL BULBS

Westringia fruticosaGazania tomentosaLiriope muscariDianella caeruleaCarpobrotus rossiiBower SpinachEnchylaena tomentosaRuby SaltbushMyoporum parvifolium

CLIMBERS:

SUN POSITIONS:Zygophyllum billardierei,Coast Twin-leafClematis microphyllaKennedia macrophyllaKennedia nigricans

SHADY POSITIONS:Clematis glycinoidesPassiflora cinnabarina

PLANTS

MULCH

SOIL SUBSTRATE 20MM

AGGREGATES AND SAND BED 10MM

GEOTEXTILE LAYER

WATER PROOFING MATERIAL

WEEPHOLE AND DRAINAGE

STEEL ANGLE 10MM OVERLAPPING 90MM

79

80

2. 3.3 .2 MODEL FABRICATION LAZER CUT

LAYER 4-1

LAYER 3-1

LAYER 2-1LAYER 1-1

LAYER 5-1

The model is fabricated according to layer and every geometry is labelled so that they wont be messes up. After continual adjustment to the di-ameter of the joints the depth of the notches, and the grid structure, the truss panels are oriented on to a flat plane ready to be laser cut, This pro-cess is accelerated with the grasshopper definition availed.

Fabricating the final model seems like to be a rep-etition work for the midterm EOI process, however, this final model is far more sophisticated to be fab-ricated . The manually fabrication work is as hard as the laser cutting labelling work since the change of aperture points within the geometries follows a certain pattern, there is no way to mass them up in the fabrication process. Different from our EOI laser cutting fabrication, this model need to be

JOINTS TAKEN OUT PREPARED TO BE USED GEOMETRIES ON LASER CUT PANELS ARE LABELLED

FABRICATE ACCORDING TO LAYERS NEED TO REFER BACK TO DIGITAL MODEL, OTHERWISE WILL BE CHAOTIC

fabricated layer by layer according to the labelled portion, and one need to fabricate the model by always referring back to the original digital model in computer.

Another issue in fabricating this model is that the smallest geometry is so tiny and the laser cutting material is too thin for the basic geometry to stay strong when gluing. Thus this will take consider-able amount of time when fabricating it. Think-ing in retrospect, this might exemplas some real construction problem that for how long should the worker fabricate these trusses , bolt them and stay in form?

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2. 3.3.3 MODEL FABRICATION 3-D PRINTING

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In regards to 3D printing, it was quite interesting and frustrating at the same time as there were many processes to allow it to be printed. Firstly, converting the 3d print to a mesh allowed it to be a lighter file, although after that there was the need to trouble-shoot the mesh to take out non-manifold meshes, this was much easier with the lec-turers help in Magic, a software that was more adept in correcting meshes.

Although we made the mistake of sky-hookwhere the structure of the set was not se-curely connected, causing the main body of the 3d print to split where there it was not as strong. Regarding the 3d print, a new definition was required to generate the form without the previous frequent crashing in the voxelation defininition. This was done through a few methods, one was allowing the boxes to overlap as it took more com-putational power to calculate the where to take out boxes that overlap, since it did not matter if it did as all of it were going to be printed.

Secondly, using rhino 5 gave a slight boost in speed as it was 64 bit in combination with grasshopper 0.9.

Thirdly, by splitting up the site into multiple parts, we were able to prevent the crashing of the program and by making slow but sure progress, the mesh was generated.By using the convert mesh function, the file was more manageable instead of a heavy poly-surface file.

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3 . 1 DEFINITION TRIAL AND REFLECTIONIn order to keep the cohesiveness of the previ-ous journal and tell the story as smoothly as possible to show that how I started off from be-ing interested in certain fields of knowledge in architecture( for example, in this case Biomim-icry) to abstracting useful information and logic to inform my own design, I didn't put those grasshopper definitions that seems irrelevant to my grotto exploration concept in previous journal. All the ''undocumented' definitions were generated before the EOI. Thought the definitions are very simple, I see them a record or my personal understanding of grasshopper and possibly parametric design.

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FIRST DEFINITION TRIAL

1. reference surface, image, circle 2. Divide surface to points + sample the image, 3. Extrude according to value iaccording to its intensity of colour in the Z direction.

1. reference surface, image, pattern. 2. Divide surface to points + sample the image, 3. Extrude according to value iaccording to its intensity of colour in the Z direction. 4. Connect the extruded points to its original point with LINE

1. reference surface, image, line. 2. Divide surface to points + sample the image, 3. Extrude according to value iaccording to its intensity of colour in the Z direction. 4. Use JITTER component to rearrange points

1. reference surface, image, line. 2. Divide surface to points + sample the image, 3. Extrude according to value iaccording to its intensity of colour in the Z direction. 4. Connect extruded points as control points with POLYLINE

The logic of the first trial is to reference the atom structure in a box and then morph the box into a series of grid. The main difference it has with the previous one is that we try to draw every line by grasshopper. This requires lots of labour in listing points and connecting lines, which leads to a chaos in grasshopper window.

1. draw out the base geometry using trigrid

2. Then move the basic geometry into grid. With steps of MOVE, SCALE, ROTATE, COPY, hoping to draw out every geometry using grasshopper only. I thought this will make the final outcome. flexible and easy to control, but this trial proves to be FAIL as it became harder to move on when grasshopper win-dow shows massive crossing lines.but I see this trial meaningful that, I realise we can not only rely on grasshopper to do everthing. Sometimes we need to combine traditional approach (draw out geometry in Rhino) with advanced technology (reference them into grasshopper).

massive of crossing lines

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REVERSE ENGINEERING 2

For the second trial, we found the basic tetrahedral structure of diamond atom and refer-enced the structure in a trian-gular grid. While the problem occurs when we repeat the geometries within the pre-scribed grid where some grids are unwanted. To eliminate the unwanted grid, we used cull tool. By setting the multiple booleans to True and False, the programme erases the grids alternatively.

TRUEFALSE

TRUE

TRUEFALSE

FALSE

Upon constructing the first layer, we abstract the top point of the first layer making it the start point of the second layer. Same method of trigrid and culling.Then we de-composite the height of the top point, and use the its height in z direction as vector to move the 2 layers in series.

SECOND LAYER DEFINITION

FIRST LAYER DEFINITION

MOVE IN SERIES

FIRST LAYER DEFINITION

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The reverse-engineered case study allows us to lift our first step in designing with grasshopper. Even though finally we all get to the final result, the approaches are different. This leads me to a further rethinking about grasshopper in the view of a new learner.

1. Finding the simplest logic is the key to make definition brief and neat.

To evaluate and sum up my experience in exploring with the defini-tions that create the same effect, I found that a beforehand thor-oughly analysis of the structure is crucial. The stronger your logic is, the shorter your gh definition will be. The longest definition we did follows a traditional drawing thinking which traces the whole process as what people would do in Rhino: draw lines and copy. This cost us a lot of time in figuring out later work in culling out unwanted ge-ometries. The shortest definition: morph idea figures out the basic logic behind this structure and it is flexible as the geometries can be morph to a non-planar surface.

2. Traditional approach combined with High- Tech.Also, gh definition should be used in conjunction with traditional Rhino drawings. As discussed in the previous weeks, the innovation that computation and parametric design bring us is not only efficien-cy but also the logic of design. Grasshopper can purify and simplify the structure by providing strong logic and with which to generate complex geometries and massive of outcomes. In considering this, drawing our basic geometries in rhino and reference the geometry in grasshopper logic is an ideal time saving design. The purpose of using grasshopper is not to produce design directly but rather de-duce massive of possibilities of design outcomes.

REVERSE ENGINEERING TECHNICAL REFLECTION

This is the definition our tutor gave us. The main idea is to create series of surface boxes on a surface then morph the geometries in a bounding box to the surface. As can be seen the definition is neat and brief and bares more flecibility for later changes.

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REVERSE ENGINEERING 2 METRIX

Reference b ase gemotry onto p lanner surface, interval and height are maintained at same dimension as base gemotry

Duplications on multiple level Gemotries within solid are culled

Create surface domain

Reference twisted box onto the surface

Reference gemotry onto non-planner surface

create a cull pattern according to the distance between base geometry and attractor points

Tertiary set of attractor, lines for circulation

Seconday set of attractor points, (for medium geometry replacement)

Primary set of attractor points

Primary set of attractor points

Reference base gemotry onto planner surface, interval and height are maintained at same dimension as the base gemotry

Base geometry

Primary set of attractor points

Merging different attractor points

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EOI GROTTO PROTOTYPE DEFINITION

Primary set of attractor points

Cull referenced Brep according to distance between base geometry and attractors

Merging different attractor points

Output: replace some part of culling space with large size base geometry

Output

Output: replace some part of culling space with medium size base geometry

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3 . 2 RESEARCH PART FOR GROTTO ARGUMENTS+ LATER ON PRECEDENTS

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3 . 2 RESEARCH PART FOR GROTTO ARGUMENTS+ LATER ON PRECEDENTS

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Before finishing the narritation of this design process throughout the semester , I will start with a bit of the project background research. This will make the whole project more cohesive as this explains the process why we choose exploration as our whole concept and how we generally developed step by step to reach the grotto effect.

WHY EXPLORATION While the city wants an installation that is EXCITING AND EYE CATCHING, yet, it should also INSPIRES AND ENRICHES THE MUNICIPALITY. We want to embody our design with local meaning but what is the local selling point that we will promote to driver? Based on our research, we confirmed out design idea as a journey of exploration. This is supported by several points: First, the Wydham City itself wants to be explored. Located near to Melbourne, Wydham city used to be a small town famous for its water creeks. With the fast speed of urbanization, the area soon develops into a city that is significant on world scale. It constructs relationship with both a city in California and Japan, which announced her importance and desire to be seen as an independent city rather than town, or suburb. The aim of this gateway project is to speaks out citys charm and attract potential visitor on the freeway.

Second, there are lots of undiscovered attractions in the city, that waits people to explore. During our research and site visit , we were amazed at the rich sceneries Werribee boast. The idea of exploration is trying to arouse peoples curiosity towards the city.

Third, the form we were experimenting on suits the idea of exploration. The complex geometries can create rich spatial experiences and sometimes the structure itself creates a visual effect of contrast. Based on this realization , we wanted to make our gateway

WHAT EFFECTAfter confirming our concept as a journey of exploration, we started to research on how to create such a spatial experience of discovery and explore that arouse viewers curiosity. We were moved by the local landscape, which is quite picturesque. The feeling of vast land merging into landscape reminds us 18th century English picturesque, where nature is admired as an ideal home. To respond the surrounding landscape, yet arouse a feeling of curiosity and exploration, we turn to the idea of Grotto effect.

The grotto is an artificial structure or excavation in a garden made to resemble a cave. It is always elaborately, absurdly fake. The grotto found its heyday in eighteenth-century English gardens, provid-ing a dark narrative to the landscape gardeners palette. (tooling, ) This proposal for a highway art piece takes advantage of the grottos essential features, there is always something to discover within. Grotto like idea can also correspond to our culling matrix where the negative space in grotto is caved out.

HISTORY RESEARCH OF GROTTO Grottos were installed in gardens as an appreciation of antiquity and shrine of Gods since ancient. It is developed upon the ancient caves described by Alberti. They are profoundly decorated in Italian and French gardens in late Renaissance as an essential expression of mannerism. In the grottos, natural forms of material are put together to suggest bizarre, exotic, and frightening shapes, reflecting Renaissances preoccupation with the exploration of the natural world phenomena. ( p79) Automata fountains in the grotto celebrate both the nature and the art with water and the sound it creates. (which exemplified by Pratolino) And grotto itself provides series of transformation scenes (exemplified by Grotte des Flam-beaux in The garden of Henry IV) which create rich visual experience for the visitors.

OUR AIM FOR THE GROTTO Grotto, as a highly artificially controlled environments in which viewers are subjected to closed and iso-lated happenings, forms a striking contrast to the surrounding natural settings.

BACKGROUND RESEARCH STUDY OUTCOME

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Our aim is to create art and nature together in one composition, the artificial beauty of which is as great as the natural beauty. Digging into a deeper sense, we want the gateway grotto to be a modern re-creation of classical antiquity, linking back to Werribees rich culture backgrounds and picturesque natural settings. And through the expression of bizarre geometries, pass on the information of exploration and discovery.

The antiquity effect also forms a strong contrast to Melbournes modern metropolitan experience and will arouse drivers interests to explore Wyhdam city. This idea evokes Wydham city councils preserva-tion in many of its local cultural heritages and attractions built in Romanticism style, such as the Werribee Park, K Road Cliffs and Mambourin Sensory Gardens.

In achieving the aims listed above, we sum up the grotto effect we want our viewers to experience: A sense of antiquity that link back to Wyhdams culture heritage A link to the natural settings of weaving topography Sense of enclosure in forming contrast to the bright exterior Framing views Transformations of views Bizarre geometries that manifest the idea of exploration The sound effect in grotto

APPROACHES THAT WE THINK CAN REACH THE EFFECTS: ADJUSTING THE BRIGHTNESS - CREATE A SENSE OF ENCLOSURE.

1. First option is to change the density and the size of the basic geometry, as larger basic geometry ar-ranged less denser is more permeable; 2. Second to change the opacity of the panels between structures (this approach considers to install panels in structural frame); 3. The last is to change the patterns located between the structures. THE PARAMETER to control the brightness can be the sun path (rise the density of geometries according to the sun path), or local views (This requires to desaturate the local view picture and change the bright-ness in to parameter. The brighter the view, the denser our structure is. )

THROUGH THE USE OF WATER OR CHOICE OF MATERIAL TO REFLECT CAR ROARING SOUNDS CREATE SOUNDS THAT STRENGTHENED GROTTO EFFECT

As there is no neighbourhood located around nearby the site, there is no need to turn down the noise that cars create on site. In contrary, we want to blow out the noise into echo effect that drivers can con-firm their existence in grotto in an auditory sense. And the echo effect also gives us a hint on choosing materials that can reflect sound.

Another approach to create the sound effect in grotto is to follow the traditional approach in using wa-ter fountains. Water not only creates sounds but also visually exciting scene,

CREATE BIZARRE GEOMETRIES- MANIFEST THE IDEA OF EXPLORATION

This requires the continuing experiment on the basic modular geometry and the effect it creates when accumulated in large scale.

CULL- USING FRAMES TO SET BOUNDARIES BETWEEN TAMED AND UNTAMED NATURE.

Use local places of interest as attractor parameters.

The first series of precedents we were looking at mostly came from Simeon Nelsons art work, exem-plified by the desiring machine. His used of patterns as both decorations and larger effects pushed our thinking of using patterns to create larger effect. This idea also corresponds to our research of 18th century English garden grotto effect where the pattern itself speaks out the design initial. Also the artwork combines both the mechanical and ornate feeling. Since our mid term models being criticised as more mechanical like which departs away from the Romanism grotto idea. This precedent inspired us to think about using patterns to add a tint of Romanism.The fabrication process of most of Simeons work gives us hints on fabricating our own job. We like how he used the modular panels and weld (if metal) and glue (if timber or board) them together. Since the size of the panel are exponentially increased, smaller panels can be joint to larger panel eas-ily.

PANEL ORNAMETATION AND MODULAR JOINTS

De young museum as discussed in previous journal stand for a material precedent. The copper panel installing as the faade can be deoxidised into different colour. Thus the whole structure will change with time. This precedent informed our design for placing the metal, copper and planting box as a representation of a change from Melbourne to Whydam.

MATERIALS AND CHANGE WITH TIME

The grotto project by Chris Lasch was the project that directly inspired us into the idea of grotto. Each boulder of the grotto formally looks like a cell and the whole system is interestingly generated ac-cording to certain logic to form a grotto. There are four modules of boulders in this design and each facet of the stone can be connected perfectly to the other stone( no matter the same size or not) The way each boulders face is connected is interesting. This project made us to move on biomimicry idea to the grotto yet still hold the cellular formation and self generating idea.

GROTTO AND BIOMIMICRY

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Many of the precedents we looked at did pushed the design process, but the design idea and form formation process will be interrupted if