A R C H I T E C T U R E D E S I G N S T U D I O A I R392129 JI IN KIM

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CONTENTS

PART A :00. INTRODUCTION 06

01. ARCHITECTURE AS A DISCOURSE 08

02. COMPUTING IN ARCHITECTURE 12

03. PARAMETRIC MODELLING 16

PART B :04. CASE STUDY 0.1 22

05. CASE STUDY 0.2: INTRODUCTION 24

06. CASE STUDY 0.2: INVESTIGATION 26

07. CASE STUDY 0.2: DEVELOPMENT 28

08. MIDSEMESTER PRESENTATION 32

PART C - GATEWAY PROJECT

09. DESIGN TRANSFORMATION 40

10. CONSTRUCTION DETAILS 46

11. DESIGN PRECEDENTS 50

12. FINAL PRESENTATION 52

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PART A CASE FOR

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My name is Jiin Kim and I was born in South Korea and was brought up there. I came to Australia in 2008 and graduated highschool in Australia to study at Melbourne University. I defered a semester in my first year and now I’m doing first semester for my third year at uni. So I’ll still be around next year as well!

I see myself as more of an artist or a graphic designer rather than an architect, so I have more experience in Photoshop, Illustrator and hand drawing and had no experience in any of the architectural design programs. I learnt how to use SketchUp through Virtual Environments in my very first semester at uni, I continued using it for Designing Environments, Mapping Environments, Architecture Design Studio: Water, since it was the only program I knew how to use.

Before I started this course, architecture to me was only a rectangular buildings and I could not see any design in it and had no interest in appreciating them. However, since learning more about architecture, I realized there were more than just rectangular space and that there were a lot of possibility of creative designing of buildings.

I’ve had close to no experience with digital architecture and do not know much about the examples of them either. However, I do have interest in learning more about it.

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ARCHITECTURE AS A 01.

Architecture is a superior form of art which comprehends all forms of visual arts. The façade and the exterior design of architecture can be viewed as a two dimensional form of art such as painting, while the overall three dimensional design of architecture could be seen as a sculpture. However, architecture being seen as only a form of visual art is understatement and should not be conceived as a subsystem of visual art. Although architecture is expected to express the creative mind of its designer, we also expect architecture to reflect on its surroundings, historical background and social status and if it is a modern building, we expect for it to be revolutionary in some way. Architecture exists because a person or a community needs it to exist for its roles listed, not because an individual artist wants to express their creative ideas. This shows that architecture just isn’t a form of art but an autopoietic system – an individual system that communicates and interacts with many other systems. Therefore, to analyse architecture it should be analysed as a discourse and be it observed and communicated through many different mediums.1

1 | LOU RUVO CENTER FOR BRAIN HEALTHLAS VEGASFRANK GEHRY 2009

1 | Richard Williams, ‘Architecture and Visual Culture’, Exploring Visual Culture : Definitions, Concepts, Contexts, Edinburgh: Edinburgh University Press, 2005, p. 102 - 16.

9Image 1 & 2 | http://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frank-gehry

The Center for Brain Health by Frank Gehry is sure to interest the crowd with his wonky and constructivist style of design. The design of the building disagrees with the usual rectangular or simple geometric buildings, which reflects on architecture as a form of ‘art’. However, this architecture does not only stop with a ‘pretty’ two-dimensional façade. The steel material reflects the coloured lighting at night, which shows spectacular colour change of facade through day and night. 2 The shape and the crazy change of the colour between night and day also reflect on the use of the building as a research centre for brain disease - as it seems to reflect on the creative and varying works of our brain.

2 | http://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frank-gehry

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ARCHITECTURE AS A 01.

Naga Tower creates discourse through its differentiation from traditional Indian architecture and through the symbolics of its form. Naga, or snake symbolizes spiritual truth and energy – the civilization was represented in the building with twisting and curving form of the design. The concept also shows the duality and vitality of ‘Naga’, as the joining of two separate-looking buildings. These building shows how architecture is not only a visual experience but can also stand as a symbol and a sign to communicate with the public.3

3 | http://designsatire.wordpress.com/2012/08/03/naga-towers-in-gandhinagar-india

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3 | NAGA TOWERGANDHINAGAR, INDIA

Image 3 | http://designsatire.wordpress.com/2012/08/03/naga-towers-in-gandhinagar-india

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COMPUTING IN 02.Computer aided designing can create more possibilities in architectural designing process. As Kalay stated in Architecture’s New Media (2004), computers are great analytical engines that can store great amount of information which still allows easy search of information and errors. Computers can also analyse, keep track of, and group its stored information for the designers’ efficiency. It also does not tire like humans and does not make silly arithmetical mistakes.4

However, to design with a computer, the designer must be able to recognize its textual, numerical, graphical and auditory message and be able to manage the information. Also, computers cannot design something by itself; there needs to be a designer with creativity behind it to instruct the computers to design for possibility of creating a work of art.5

Kalay states two different design processes – ‘problem-solving’ and ‘puzzle-making’. ‘Problem-solving’ process generates multiple solutions, which will be tested against goals and constraints and seeks for the best solution. The ‘puzzle-making’ process seeks for goals that match the spatiotemporal constraints of the design problem. These processes of designing both require various ideas to be generated and the ideas may need to be edited time to time accordingly to suit the goals and constraints.6

Computers come in handy in these situations as they can generate various prototypes effortlessly. They will be able to generate more ideas and changes can be made to the design quick and easy. Computational design can create more chances of finding the best solution for the design problem. Therefore, to create a great project, there needs to be a skilled designer with creativity and intellectual ability to work with computers.7

Frank Gehry creates his designs by traditional model making, but still uses computation to create refined final model. This shows that computational designing is a must in finalizing a masterpiece architecture in this present.

CCTV Tower (the image on the right) was built with computing technique. The architecture’s design intent of the lopsided structure would have been difficult to calculate the balance and would have wasted time and effort. With the aid of computer, it became much simpler and reduced errors in the structure.

4 | Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design, Cambridge, Mass.: MIT Press, 2004, p. 5 - 25

5 | Yehuda E. Kalay, Architecture’s New Media, p. 5 - 256 | Yehuda E. Kalay, Architecture’s New Media, p. 5 - 25

7 | Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, New York; London: Spon Press, 2003, p. 3 - 28

13Image 4 | http://www.nathanielmcmahon.com

4| CCTV TOWERBEIJING, CHINA2004

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COMPUTING IN 02.

5 | THUMB PRINT BUILDINGTHAILAND

The complex structure of the Thumb Print Building had to be designed with computing. It would be difficult to calculate each of the surface structures and eidt any structural errors with traditional designing.

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Image 5 | http://pinterest.com/pin/276338127106030951

In the earlier days, the public has been critical to something new and used to take a while to accept innovative ideas. Even though the Eiffel Tower by Gustave Eiffel and the Crystal Palace by Joseph Paxton has been recognized, it has not been at its time of construction.8

Digital technology hasn’t been around for too long in architectural designing, while it has been widely used not only for designing but also monitoring performance and features in many different fields including aeroplanes, aerodynamic, cars and many more. It is now time for architecture to use computation more actively in our design process.9

In the past, it has been difficult and expensive to make any complex designs. For this reason, architecture designs were mostly stuck with orthogonal and linear, while the curvy contours and plastic shapes were seen everywhere in life.10

With development of computation, it became easier to design smooth and complex shapes in architecture and the digital technology made it possible to fabricate buildings with various types of materials. This opened up great possibilities for architecture towards new forms and creating spatial qualities and psychological feelings to the viewers, hence, once it’s developed, it can lead to substantially different design and creativity.11

8 | Branko Kolarevic, Architecture in the Digital Age, p. 3 - 289 | Branko Kolarevic, Architecture in the Digital Age, p. 3 - 2810 | Branko Kolarevic, Architecture in the Digital Age, p. 28 - 6211 | Branko Kolarevic, Architecture in the Digital Age, p. 28 - 62

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PARAMETRIC 03.

There is more to architecture than just aesthetics and when being designed, it has to be structurally and functionally efficient as well. Traditional designing process can allow more freedom of creativity and free flow of generating ideas; however, structural and functional issues has to be considered throughout the design process and calculations and fixing errors can get complicated and time consuming. Computational design can save time and editing effort in designing process as computers do not make silly mistakes and makes editing and locating errors in a design easy with simple commands.12 Although computational design may limit one’s creative expressions, through parametric designing, we can achieve unexpected solutions to the design process.

6 | PARAMETRIC MODEL OF BIRD’S NEST STADIUM

Image 6 | http://myclipta.blogspot.com.au/2012/06/beijing-stadium-birds-nest-olympic.html12 | Yehuda E. Kalay, Architecture’s New Media, p. 5 - 25

13 | http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article

14 | Mark Burry, Scripting Cultures: Architectural Design and Programming, Chichester: Wiley, 2011, p. 8 - 71.

Parametric modelling is a newely emerging style that has been maturing in the last 10 years. Architecture should represent its own historical time with its style as it always did in the past. “Parametricism is the great new style after modernism”, as Patrik Schumacher said, parametricism is currently world-wide spread style of architecture.13

The dynamic forms of parametric modells are created with parameters and mathematical calculations by defining their relationships. This can create unexpected and vibrant forms with a tweak of a set parameter. This way, it covers the limitation of creativity of an architect using computational designing and provides variety of new ideas and quick and effortlessly and also makes it easier to generate complex designs with higher precision.14

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7 | BIRD’S NEST STADIUMBEIJING, CHINA

Image 7 | http://www.mondoarc.com/projects/Architectural/209848/the_birds_nest_stadium_beijing_china.html

Although parametric modelling could be a quick and easy technique for producing a prototype model, it could be even more difficult to actual standing building. The form of parametric models created can be very complex and to calculate the loads the model can bear and consideration has to be made for the structure’s stability.

The Bird’s Nest Stadium had issues that was relating to decision on the material, as the structure may twist or fail if a strong enough material is not used. This was due to complex shape and elements that overlap. Although parametric modelling could come with these problems for its models can become very complex, however, the Bird’s Nest Stadium has become internationally well-recognized architecture due to its interesting, bird’s nest inspired form.14

14 | http://myclipta.blogspot.com.au/2012/06/beijing-stadium-birds-nest-olympic.html

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PARAMETRIC 03.

Image 8 | http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article

8 | GALAXY SOHOBeijing, ChinaZaha Hadid Architects 2009

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The Galaxy Soho by Zaha Hadid used parametric modelling of contour lines going across the body of the building. This creates modern-mountain like feel in the centre of Beijing. This blob-like parametric building seems little out of context in between other rectangular buildings in the city, however, its enclosed courtyard style architecture creates its own environment within itself, creating a different mood from the outside world.

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BrikStudio, Design Satire, NAGA TOWERS IN GANDHINAGAR, INDIA, 2012, 02-08-2012<http://designsatire.wordpress.com/2012/08/03/naga-towers-in-gandhinagar-india>.

Burry, Mark, Scripting Cultures: Architectural Design and Programming, Chichester: Wiley, 2011, p. 8 - 71.

GeekDude, Myclipta.com, Beijing Stadium: The Bird’s Nest Olympic Stadium, 2012, 09-08-2012<http://myclipta.blogspot.com.au/2012/06/beijing-stadium-birds-nest-olympic.html>.

Kalay, Yehuda E., Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design, Cambridge, Mass.: MIT Press, 2004, p. 5 - 25

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing, New York; London: Spon Press, 2003, p. 3 - 62

Patrik Schumacher, Architects Journal, Patrik Schumacher on parametricism - ‘Let the style wars begin’, 2010, 10-11-2012<http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article>.

Rose Etherington, De Zeen Magazine, Lou Ruvo Center for Brain Health by Frank Gehry, 2010, 02-08-2012<http://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frank-gehry>.

Williams, Richard, ‘Architecture and Visual Culture’, Exploring Visual Culture : Definitions, Concepts, Contexts, Edinburgh: Edinburgh University Press, 2005, p. 102 - 16.

BIBLIOGRAPHY

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Image 1 & 2 | Center for Brain Health, 02-08-2012<http://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frank-gehry>.

Image 3 | Naga Tower, 02-08-2012<http://designsatire.wordpress.com/2012/08/03/naga-towers-in-gandhinagar-india>.

Image 4 | CCTV Tower, 02-08-2012<http://www.nathanielmcmahon.com>.

Image 5 | Thumbprint Building, 02-08-2012<http://pinterest.com/pin/276338127106030951>.

Image 6 | Bird’s Nest Stadium, 09-08-2012<http://myclipta.blogspot.com.au/2012/06/beijing-stadium-birds-nest-olympic.html>.

Image 7 | Bird’s Nest Stadium, 09-08-2012<http://www.mondoarc.com/projects/Architectural/209848/the_birds_nest_stadium_beijing_china.html>.

Image 8 | Galaxy Soho, 09-08-2012<http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article>.

IMAGE SOURCE

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PART B CUT

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CUT CASE STUDY 04.

9 |ORIGINAL MODEL

Step 1. Changed each of the three shapes in Rhino.

Step 2. Changed the plane (direction) of each shape to YZ plane (from XY plane)

Step 3. Changed the image source in the image sampler definition. Also played around with the number sliders to create something different.

Step 4. Used “Rotation” Output definition and played with the number sliders. This made all the shapes curl in like a snail. I found this definition very interesting.

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10 | VOISSOIR CLOUD IWAMOTOSCOTT

Panelisation in this context, allowed for the architects to break down the surface into both solid and open spaces. The translation of the surface into parametrically designed petal-shaped panels creates greater visual and experiential intrigue than a planar surface would have. Also, the exhibition display features unique and disperse voids between the 2300 petal-modules which play with light and shadow, and draws further attention to the structure.

11 | ART615 AALBORG UNIVERSITY

Inviting visitors to “step into the art”, this pavilion was intended to create a safer and artistic environment. The use of panelisation to divide the surface into uniform geometry made the process of fabrication and assembly easier for the team of students to undertake. The panels that cover the waffle-system allowed for a multitude of perforations between, which gave way to the designers’ intent on creating a visual and audible connection between the Pavilion and the community.

PANELISATION

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CUT CASE STUDY 05.

ART615 PAVILIONSTUDENTS OF AALBORG UNIVERSITY

The Ar t615 Pavilion was the end product from a studio under taken by 4th semester architecture students from Aalborg University. Intending to link Computer Numerical Control (CNC) fabrication and parametric modelling, the students wanted to create an art pavillion for a crime-related park in Denmark, and in the process create a saferenvironment for visitors.

The semi-closed nature of the pavilion was generated in Rhino from a series of experimentations to create the variability and undulation. “Parametric modelling in Grasshopper allowed us to tweak all parameters controlling the form, until we were satisfied wth the structural abilities and overall aesthetic.”

The realisation of their design into reality was down by CNC-fabricating a series of vertical and horizontal profiles so the form would be self-supporting. These profiles would be notched to allow for the placement of MDF panels, which were the result of a definition in Grasshopper. Using Grasshopper, they were able to resolve the fabrication issue of the large panels by creaing a puzzle joint that would connect smaller segments together successfully.

ART615

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The MDF-wood panels of the Art615 pavilion had to be placed along the surface: creating the base geometry in Rhinoceros and referencing it into Grasshopper, the module was then “Orient(ed)” to locate itself on the planes generated along the face of the surface. The gaps between the layers can be linked to the spaces in the original installation, to allow for light and sound to pass through selectively. This is not a recreation that can be put through to fabrication (due to a lack of knowledge on how to generate waffle system and the necessary profiles).

Initial attempts to recreate the case study were unsuccessful: in the case of using the component “Divide Surface”, the tiles were oriented in the X-Y plane, rather thaninclined in respect to the varied inclines of the loft. A way to vary the directions of the panels on the loft needs to be figured out.

To recreate the structure of the pavilion, a series of horizontal profi les were lofted to generate the overall form. In Grasshopper, “Surface Frames” were applied to the surface, to generate planes perpendicular to points on the surface, which were input via number sliders.

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MATHS FUNCTIONS

ATTRACTOR POINTS

BOOLEAN PATTERNING

EXPLICIT GRIDS

DATA DRIVEN ROTATION

MULTIPLE MATHS FUNCTIONS

ATTRACTOR CURVE

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CUT CASE STUDY 06.

This matrix has been created by manipulating inputs, associative techniques and outputs definitions to seek different concepts.

The ones that created forms that we felt would be most suitable were Data Driven Rotation and Multiple Attractor Points (As grouped in boxes). As Attractor Point can vary the directions of our initial panels which may create dynamicity and change of each forms and could further twist our panels with Data Driven Rotation to show more change in the overall shape.

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EXPLICIT GRIDS OVERLAPPING PATTERNS

DATA DRIVEN EXTRUSION

STREAMING TEXT FILES

X

This matrix has been created by manipulating inputs, associative techniques and outputs definitions to seek different concepts.

The ones that created forms that we felt would be most suitable were Data Driven Rotation and Multiple Attractor Points (As grouped in boxes). As Attractor Point can vary the directions of our initial panels which may create dynamicity and change of each forms and could further twist our panels with Data Driven Rotation to show more change in the overall shape.

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CUT CASE STUDY 07.

Triangular panels were chosen as it shows better sense of direction and speed compared to circular or rectangular panels.

The static orientation of the panels was guided by multiple attractor points, with the idea of maintaining the feeling of speed and movement when still, while Data Driven Rotation twisted the geometry in different directions.

RHINO MODEL

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The base of the form is a waffle structure, with the panels glued in place in the direction we had in mind.

In the Rhino model, we used Attractor Points to guide the direction of the triangles pointing. From this, our group got an idea that we could make them responsive to the wind movement so the directions of the pointers could change through wind flow.

In making of the physical model, we considered the joints to create the responsive effect, however, the techniques to develop that effect couldn’t be figured out at this stage.

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12 | FRAGMENTED SEA NED KAHN

The Fragmented Sea, along with other works by Ned Kahn showcases the strengths and capabilities of panelisation. This particular project, which is composed of square panels that respond to wind, has effectively conveyed the designer’s intent to create a wind-animated screen around the Mesa Arts Centre. This generates the ever-changing illusion of rippling water enveloping the building.

13 | TALEE ISETAN UNSTUDIO

The Talee Isetan is another example of how panelisation has been utilised in a commercial context to create a distinct and memorable experience for people. For the redesigning of the facade, they decided to create a visual link to the Star Place adjacent to it, and at the same time create its own unique identity amongst the cityscape of Taiwan. The curved pattern on the face of the structure, made from twisting rays of panels from being horizontal to vertical, continues the trend by Star Palace while maintaining its individuality.

PRECEDENTS | PANELISATION

MIDSEMESTER 08.

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The basic concept was explored towards a form depicting wind flow through the city. Our ideas developed from the wind flow to the form of tornado, which shows strong movement and represents sense of directional change such as twisting and morphing.

Through exploring the twisting movement, we realized similarities between the movement expressed through ‘dragons’ and used this idea as inspiration for our design. The movement of ‘dragons’ are usually expressed dynamically in images and we thought that it links in with our concept of speed, direction and movement.

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MIDSEMESTER 08.

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We believe that our physical model has encompassed the ideas that we felt were important from panelisation: translating wind into physical art that can be experienced from a moving vehicle. The movement of the panels in response to the natural wind flows and potentially vehicular flows of the area would draw interest and add to the experience of travelling through Wyndham. Unlike the Art615 pavilion calming the viewers, we feel the triangular panels gives shock value and can leave a lasting impression of the drivers passing by.

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PARAMETRIC TECHNIQUESEven though we had a good design idea, the lack in effective use of parametric technique and random placement of panels let us down. We did use grasshopper in some measure for placement of panels onto the lofted structure, but did not fully utilize the potential of grasshopper and created something we could draw up in Rhino. This was because we didn’t have a set idea how to express the concept of wind visually. Full use of grasshopper to its potential could be practiced with better defined form of the model structure.

DESIGN IDEASWe were noted that our initial inspiration that we took from the wind was visually more powerful than our final model. We need to look closer at wind spirals and direction to understand fluidity of its formation to develop our ideas and get the similarly powerful visual effect. Also, we have used triangular panels to express direction and speed, but we were told that we have other ways to articulate this idea. We could research more precedents about visually articulating sense of direction to get some inspiration.

FABRICATIONThe waffle structure of our model was too prominent compared to the panels and were visually ineffective. We need to thin down the waffle structure or camouflage it or not use the structure completely. We could also consider other materials to experiment and find something with the best effect.

FEEDBACK &

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Image 9 | OMA - McCormick Tribune Campus Center, 17-08-2012<http://www.lms.unimelb.edu.au>.

Image 10 | Voissoir Cloud, Iwamotoscott Architecture, 12-09-2012<http://www.iwamotoscott.com>.

Image 11 | Art615, Arch Daily, 12-09-2012<http://www.archdaily.com/59960/art615-a-pavilion-by-aalborg-university-students>.

Image 12 | Fragmented Sea, Ned Kahn Studios, 12-09-2012<http://www.nedkahn.com>.

Image 13 | Talee Isetan, UNStudio, 12-09-2012<http://www.unstudio.com>.

Image 14 | North Dakota Tornado, National Geographic, 12-09-2012<http://images.nationalgeographic.com/wpf/media-live/photos/000/587/cache/tornado-north-dakotadobrowner_58703_990x742.jpg>.

Image 15 | Tornado, A.T Willett, 12-09-2012<http://www.atwillett.com/lighting_pictures/tornado_photographs022.jpg>.

Image 16 | Image of a Dragon, 12-09-2012<http://dragon-order.webs.com/Tribal_Dragon.jpg>.

IMAGE SOURCE

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PART C GATEWAY

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DESIGN 09.

TILT

ORIGINAL FORM THICKNESS

HEIGHT

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ROTATION

TWISTING

RADIUS / MAGNITUDE

0.5(z^2) 1/(z^2) 4(z^2)

The elements that create the form of tornado were divided, and these elements included thickness, height, tilt, rotation, twisting, radius/magnitude and other mathematically created form. These elements were each experimented and manipulated in each section of elements to see what other veriety of forms a usual spiral tornado shape could create.

We experimented with the data structure that created the spiral and manipulating it to create more varying and unique forms. In this experimentation process, the spiral expanded horizontally, rather than the typical vertical growth. We chose to make use of it as it would create a shape that would span along the site, and allow passengers in vehicles to view and experience it while passing by.

Our group was interested in creating a sculpture that spreads out towards Wyndham city and which gathers into clusters towards direction of Melbourne city. This was to represent busy and crowded city, and more relaxed Wyndham city which ‘spreads’ into bigger possibility.

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Using data points along the curve of the spiral, we attempted to create one continuous strand that would spring in a linear fashion and align itself at an angle on site. We did find this form interesting, we wanted something that spreads out from a point to represent our ideas. We kept the aspect of the curve wrapping around other curves, and tried to find something that suits more to our concept ideas.

Rather than using all the points to generate curves, particular points along the curve were chosen to create strands that originated from the same point and spread in a seemingly varied but systematic way (similar to Shoal Fly). This one matches our ‘spreading out’ idea.

DESIGN 09.

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This physical model depicts the parametric model on left, upon making it, we felt that it could be more complex and make better use of the tools provided by parametric modelling. We decided that we need to revamp the design even further and use our idea of natural flows in a more interesting way.

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DESIGN 09.

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Our final design makes use of three profile curves to frame the topography of the site. These curves were duplicated parametrically and then shifted in both the Z-and-X axes using a distorted sine wave to create a series of undulating curves in different ways. As a result of this process as well, the contraction, bundling and entwining within the three branches was created. Strands spanning between certain curves were included to add to the structural integrity of the form and to increase its complexity and visual appeal.

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DETAILS10.

CNC WIRE FORMING AND BENDING

The method we propose for the construction of our model is the use of computer numerical control, or CNC Wire forming and bending. With this manufacturing process, it is possible to have accurately fabricated segments with consistent quality and repeatability.

The choice to use aluminium was based on its light weight and the occurrence of aluminium oxide which protects it from corrosion. The small cross strands, in connecting the longer strands, are to be made of copper which will oxidise and change from red to green over time – showing its change over time.

There are some limitations to using CNC wire forming - Some angles and radii are more difficult to achieve. By using the distorted sine curve to generate the pipes, it allows for more lee-way when it comes to the undulating curves. The joint connection between the cross-strands and along the length of the curves itself is to accommodate for the longer strands stretching across the site and to give the connections better structural integrity.

Image 17 | http://www.gordonproducts.co.uk/resources/wire_forming_6282.jpg

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JOINT DETAILS

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REINFORCED CONCRETE FOOTINGS

FILLED SOIL

MODEL

METAL SPURS

Both are structures made with steel and that goes underneath the ground. Therefore it is appropriate to use this footing system for our model.

DETAILS10.

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MODEL

Image 18 | http://www.davidhamiltonsculpture.com/construction/bolt-sculpture-construction

The tectonics of the structure would involve having concrete footings with steel reinforcement that would transfer the loads carried by the structure to the ground. By marking on site the points where the structure is grounded as well as at the origin, the spaces where footings are necessary can be accommodated for. The aluminium tubing is fixed in segments that are linked to spurs at the ends of the pipe-work that are embedded into the concrete to hold it in place and transfer the loads.

18 | SCULPTURE CONSTRUCTION ON SITEDAVID HAMILTON

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19 | SHOAL FLY BELLEMO & CAT

This sculptural series in the Docklands used a shoal of fish as the starting point for the design using an example of a natural system which seems random and erratic but has an underlying organisation system to control its formation. This became a prime example for us in its parametric translation of a natural system in human design. Its use of flowing wires to portray this system of “disorderly order” was one we took onboard for our material use, but with our own spin.

21 | ARCELORMITTAL-ORBIT GROUPARUP

Looking at this Deconstructivist sculpture for the 2012 London Olympics, our point of interest was not so much the trunk - the tower in the middle, but the red tube – the open lattice of red steel that twists and loops around the trunk. It was an example that despite appearing to be a feat of engineering and a steel giant, it was also an example to us of an engineered flowing structure that was also parametrically resolved work of art. It also demonstrated how a sculpture could capture national and international attention to itself and consequently the region it’s situated in.

DESIGN 11.

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20 | SINGING RINGING TREE TONKIN-LIU

This structure drew our interest in its use of linear galvanised steel pipes to create an organic tree-like structure that responded to its context by harnessing wind flow to create choral echoes in the region, and in doing so drew attention and revitalised interest in heritage and the arts of East Lancashire. With pipes fulfilling structural, aesthetic or acoustic needs of the structure, it demonstrated the flexibility of design.

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The structure is located on site A, near the bend towards the city so that drivers heading in different directions would experience different views.

The drivers towards Wyndham would see the strands spreading out towards the hill which leads to Wyndham, and the drivers towards the city would see the strands emerging behind the hill which contracts into a cluster. The reason for this placement is to symbolize the direction of Wyndham and city where the contraction and cluster towards city represents crowded city and the strands spreading wide towards Wyndham represents the more relaxed environment of Wyndhamc and its ‘bigger’ potential of the region.

FINAL12.

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TOWARDS WYNDHAM

TOWARDS MELBOURNE CITY

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FINAL12.

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We find that our project has fulfilled the requirement of the brief to create a unique and attention-grabbing sculptural element that would garner the attention of the local community, and of the architectural community at large. In using parametric design and fabrication techniques, and looking to organic sources of inspiration, the design has become much more symbolic and complex and this has added to the potential experiential value of the region to-and-from Wyndham and the city.

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PARAMETRIC TECHNIQUESOur design was created based on three curves that was drawn in Rhino, and using these curves in Grasshopper, we used the program’s mathematical function to make more several curves that embrace the original curves. From the feedback taken from mid semester, we did make better use of Grasshopper, where we had our thoughts and ideas into the model, rather than make a random form using grasshopper.

DESIGN IDEASSince we were criticised for having a form that was too random, and made without a thought, we decided to base our design more towards creating a better form. We looked closely into ‘Shoal Fly’, which creates its interesting looking form with curved wires. We decided to take on this idea and create a form using wires and put our concept of tornado, sense of direction and movement into the design. However, it was criticised that it was too ‘spagghetti’ like and wasn’t interesting.

FABRICATIONThe construction of the model was difficult process, as we could not use the real CNC wire bending technique to make this model as it would be costly just to create this small model. So, these models had to be hand-bent which made it less precise.

FINAL

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We did our concept of movement and sense of direction with form of tornado as our precedent. However, it should have had more powerful form and appearance. If we had more time to work on this project, we would start over from our mid-semester model, develop it further while combining the ideas - such as experimental form of tornado, we received from our final development. So we do not focus too much on skeletal form, but also think about creating ‘flesh’.

Using parametric technique during the semester was quite difficult, as just ‘playing around’ can’t create exact form that we’d like. Some definitions did not work because we did not precisely know how it worked. It was quite frustrating to figure out how to make it work, while we had limitted time. It seemed like we were spending more time on figuring out how to work this definition instead of focusing on our design ideas. However, it did seem very interesting how it creates some unexpected outcomes and something that I could not possibly create by hand or Rhino itself. Even though it was annoying and frustrating, I feel like I’ve learnt something useful and interesting.

Image 17 | CNC wire bending system, 10-11-2012<http://www.gordonproducts.co.uk/resources/wire_forming_6282.jpg>.

Image 18 | Sculpture construction on site, 10-11-2012<http://www.davidhamiltonsculpture.com/construction/bolt-sculpture-construction>.

Image 19 | Shoal Fly, Bellemo & Cat, 23-10-2012<http://www.bellemocat.com/images/public-art/shoal-fly-by>.

Image 20 | The Singing Ringing Tree structure, Bestourism, 23-10-2012<http://www.bestourism.com/img/items/big/7787>.

Image 21 | ArcelorMittal Orbit, The sun, 23-10-2012<http://img.thesun.co.uk/multimedia/archive/01506>.

IMAGE SOURCE

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