ADS3AlexAnDrA Gower 201443

DESIGN

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DISCOURSEA

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DESIGN

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sPart One

Discourse as Design:-Wyndham City Council brainstorm-Herzog and De Meuron; Ornament-Callum Morton; Art interpreting architecture-Scripting Culture and emotion-R&Sie(n), dynamism and emotion-Computerisation, mass customisation

Part Two

Parametric Design- Solution Development- Matrix- Case Study: Cut

Part Three

Design Devices-Brainstorm- Zoo: Camouflage- Rose: Fractal sequence- Scripting: Butterfly effect- Break form: colour

Part Four

Fabrication

Society is changing. The continuing growth of the popula-tion on the limited surface of the world and the reduction of distance within the world through fast methods of travel and instant communication has resulted in a shift in soci-ety’s relation to space. Space is becoming a valuable com-modity. Advances in design tools and construction tech-niques has also altered how and what space is defined.

Architecture is also changing. The introduction of para-metric modeling allows designers to respond factually to site factors and removes many assumptions to allow a new freedom in design. Parametric design therefore enables the designer a fresh appraisal of their project, site and con-text and the ability to respond to the issues in a directly cause and effect manner.

As a suburb in flux, Wyndham is moving through these is-sues of space and it’s new meaning in 2012. In many ways this rapid change of a community can be perilous. Com-munity identify can either be revitalized and strengthened when guided in the right direction or completely broken down by the disturbance. It is therefore important for Wyndham to create an icon that engages with contem-porary notion of space exploration and encourages dis-course. As only through discourse can a positive direction be discovered.

PART ONE

- Wyndham City Council brainstorm- Herzog and De Meuron; Ornament- Callum Morton; Art interpreting architecture- Scripting Culture and emotion- R&Sie(n), dynamism and emotion- Computerisation, mass customisation

discourse as design

Great Australian Dream of the detached house = Urban sprawl Fastest growing municipality in Australia by %

Per week: 60 babies born and 120 new rubbish bins requested

Rose Garden, Fibonacci sequence

Former orchard farming area, mostly family run. Only pockets now remaining

Site for filming one of the car chases from Mad Max, great Australian cultural icon with

comments of the sustain abil-ity of our preoccupation with

cars, petrol and speed.

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The Country Suburb

Werribee Mansion: -Historic landmark-Former nationwide recognized art competition, suspended due to financial difficulties

Werribee Races; former cultural event appreciated by general population, suspended due to track reorien-tated as quarantine for Melbourne Cup horses.

Melbourne’s outer west suburb

Werribee open range zoo, African animals with strong fur patterning

Yarra river referred to the spine of the country by local indigenous population

Herzog and de Meuron - Ornament

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Ornament has consistently been a point of contention in architecture. SOMETHING ABOUT SEMPER< RUSKIN PERHAPS. The Art Nouveau and Art deco styles illustrated with ornament the new dynamism and en-ergy of the modern period. These previous explorations in ornament predominantly fo-cused upon ornament as an applied fixture, very separate from the mass of the build-ing. As a result, ornament was rejected by the International style as a extraneous trap-ping of past styles and not to be included in a new rational architecture based on the economy of industry.

Architecture materializes an extensive range of elements, some pragmatic but also many arbitrary, interrelated but often contradictory idealizations. These aspira-tions, while not entirely related to func-tion, are what differentiates humanity from the animal kingdom and are a vital inclu-sion in our built form. It is due to these competing factions that successfully bal-anced architecture, is by nature complex and cannot be comprised of a singular ele-ment. Nor can elements exist in isolation, as highlighted by the International style, as units such as ornament consequently loose

all significance without context. It is only when individual units are in dialogue as a whole that the distinction between them dissolves and each alters the conception of the next to create an entirely new architectural ex-pression. Herzog and DeMeuron re-frame orna-ment, form and structure to investigate how orna-ment in this manner shifts the conception of space to something transitory.

The two dominant walls of the Ricola-Europe SA, Production and Storage building are constructed with translucent poly carbonate panels which have been printed with a repetitive plant motif. Although weight bearing, the effect of the patterned panels is more like a curtain or robe. Light filtered through the patterning transforms the appearance of the in-ternal space during the day, as the volume seems to shift and recede. At night, the facade material dominates, closing and sealing the volume within the confines of the form and becoming more akin to the concrete capping ends.

Australia’s current insistence upon separated space such as the detached family home with specific room designation and private but often under uti-lized backyard space and consequent unmitigated sprawl is no longer sustainable. This new concep-tion of space as transitory and flexible is an impor-tant consideration for the future society of Australia and in particular Wyndham as our fastest growing suburb.

Notes1. Ching, Jarzombek, Prakash, A global history of Architecture, New Jersy; Wiley and sons, 20112. Jean-Francois Chevrier, Ornament, Structure, Space. A conversa-tion with Jacques Herzog, Basel, Winter 20063. Herzog de Meuron, Ricola Europe Storage Building, www.herzogdemeuron.com/index/projects/complete-works/076-100/094-ricola-europe-production-and-storage-building.html4. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012

Need unit/whole diagramHe defined Featurism as

not simply a decorative technique, it starts in concepts and extends upwards through the parts of the numerous trimmings. It may be defined as the subordination of the essential whole and the accentuation of selected sepa-rate features. Boyd, Australian Ugliness, pp. 22-23.

flexible nature of your appraochtransitory nature of experience

space applicable?? not building a space to be inhab-ited!!!!

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The International style as defined by Gideon, ****** something about wanting a style that was allicable to everywhere. The new preva-lence of technology like ****** from WWII encouraged the more dogmatic Modernist architects to believe that this building type was applicable to all climates as a discrete unit, shut off from the environement and independantly conditioned with machines to the ambient temperature of 24’C. Conditions were treated as black/white, yes/no, light and hvac system on/off. Grey was not to exist.

A suggested alternative model is the camp fire. With a gradient of heat and light, the inhabitant is able to adjust their comfort by their proxim-ity to the fire. Additionally external influences such as airflow, drafts experienced by the in-habitant, type/condition of wood use etc will change the experience to create a more thresh-old/dynamic experience and offer a more flex-ible solution.

More akin to the comprehensive needs of hu-mans which includes emtoinal requirements is the this threshold manner. In order to convert this transient model into the conclusive mode of built form, a highly complex object must be created. Consideration must occur of both the unit scale and the whole, how each affects the other and is also affected by environmen-tal factors. Parametric design is built around this notion of self organisation, where the base geometry is populated by a unit that can be continually altered and updated. Elements re-spond and adapt to external stimuli which in turn affects the configuration of the adjacent component and the whole until equilibrium is achieved. REF An entirely unique space is cre-ated by an entirely unique manifestation of the form. In the case of Daniel Coll I Capdevila’s, ‘Strip Morphologies; Design Study for Environ-mentally Differentiated Healing Environments’ a unique wall configuration creates a special-ized variety of conditioned spaces in the aim of terrorization to each hospital, ward (wall itself altered) and ultimately patient (choice of ap-propriate rooms). As stated by LAB; Industri-alization in this case no longer equates to standardization but rather mass cus-

tomisation.

Like a renaissance sculpture, the Wyndham gateway project will be viewed from a mul-titude of different angles, in both directions on the freeway, the service station, the free-way overpass and the side road. It will also be viewed at a variety of different speeds and heights from a pedestrian, car and truck cabin. With parametric design it will be possible to account for each of these instances and create a work that will be successful from all vantage points while still maintaining it’s character as a whole.

Additionally, make something complex, of many parts and be able to properly intergrate them to make a new thing. intereelate, sucess-fully above.

Notes1. Hensel and Menges, ‘Differentiation and Performance: Multiper-formance architectures and modulated environments,’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Mor-phogenetic design, London; Architectural design, 20052. Banham, The Architecture of the Well-Tempered Environment,Chicago, University of Chicago Press, 1973.3. Hensel, ‘Computing self organization: environmentally sensitive growth modelling’ in Hensel, Menges and Weinstock (eds), Tech-niques and Technologies in Morphogenetic design, London; Archi-tectural design, 20054. LAB architecture, Federation Square Fractal Facade, www.labar-chitecture.com

Callum Morton - Art interpreting Architecture

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Design has always involved discourse. Sub-jective elements such as aesthetics tradition-ally compose a large portion of architectural composition. Innovation depends upon dis-course for stimulus and refinement. Dis-course as the final desired product of design however is a new phenomenon. To present ideas and stimulate discussion as ultimate purpose is a conceptual and luxurious notion. Poignant only to the first world, this form of architecture is concerned with the moral ele-vation of a society not their physical situation.

Discourse as design is contrary to object prized architecture. It is common for archi-tecture to be described purely as an aesthetic object, without critical reference to function, site or context. Although aesthetic objects do engage in the general discourse of architec-ture, they refer to ideas only familiar to those initiated and often use jargon to further alien-ate general society from reflection or input. Claire Hooper, the ever poignant social com-mentator as a stand up comedian, reflected that of general soceities interaction with art However as stated by Williams, when dis-course is the aspired to product, it purpose-fully seeks participation from all members of society. This egalitarian approach is a core objective of Wyndham for this project.

One method of materializing dis-coursed based design is replacing the focus upon the creation of an object with the creation of an emotional re-sponse. More subjective than aesthetics, this primal response cannot be validated by nor requires previous knowledge or specific language in order to participate. The psy-chological effect of architecture has been acknowledged since the C19th with the over-whelming affect of the new building typol-ogy of the soaring skyscraper in the 1880‘s. More recently, the sameness of suburbia and housing estates have encouraged a particular type of depression in many residents includ-ing those from Wyndham. The purposeful provocation of an emotional response, while popular in cathedrals of the Gothic period and contemporary art I feel is under utilized in current architecture.

Daniel Liebsky, watch ted talk again

The art of Callum Morton works to highlight our relationship to and interaction with the built envi-ronment. Public and private space are explored, with a focus upon how ‘we encounter, perceive or experience personal or communal space often unconsciously.’ Valhalla was Australia’s inclusion in the Venice Biennial and is 1/3 scale model of the Morton family home which Morton’s architect father aspired to provide. In its representation for the biennial, the building is not idealized as an object of perfect Australian Modernist architec-ture. Instead the badges of habitation and time are celebrated as Morton presents both personal and general stories of childhood, family and the soci-ety of the time, highlighting the positive as well as the not so. Morton hoped that viewers would respond, either sympathetically or critically, to the notions of life presented in this physical form and in this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’ The design serves as a prompt for an emotional response and as a consequence, en-courage discussion.

Design orientated for emotional and sensory ef-fect is therefore an appropriate device to encour-age egalitarian discourse for the betterment of the Wyndham community.

Notes1. Williams, ‘Architecture and Visual Culture,’ in Rampley, Exploring Visual Culture, 20052. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012 3. (Morton, ‘Babylonia,’ in ACCA Education kit, Melbourne; ACCA, 2005)

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Parametric design offers architecture, as a profession, the opportunity to reconsider the role of computers in design. Predominantly, computers have simply been approached as alternative drawing implement to the pen and not to be involved in the conception stage at the risk of thwarting inspiration.

Parametric design places focus primarily upon the process of creation in scripting instead of the final object. The eventual form of the design therefore be-comes an inconsequential byproduct of this system-atic application of best suited componant to script to meet the objective. The postwar funcitonalists found that this rule based generation of ideas was important when designing new building types that were without precendent. Form was limited by their then current knowledge of what was possible and applicable. Al-ternatively, parametric design as rule based de-sign can be a design tool whose determined focus upon the process enables systematic analysis of the site, brief and even concepts previously considered as ridiculous. Historical applications of this design mechanism include Lewis Carroll’s use of mathematics in his fiction, applying

R&Sie(n); dynamism and emotional response

mathematics principles of symmetry and proportion to his writing in order to rationally consider the absurd.

R&Sie(n) explored the potential for Parametric design in creating new building types from exisiting funcitons. A code was scripted for the FRAC Center project which continued to grow and change from past performed iterations by further adding to it’s own future script. A machine controlled by the script was to adjust the location and extension of glass rods which projected into the courtyard space to form the circulation spaces for the building. The final outcome of the courtyard space is not a static object which can be idealized by the architects but rather a space which is informed by the history of the action of the machine. Although a changing space is impractical for a programme space such as the intended circulation space for FRAC, the idea of dynamism in both conception and manifesta-tion is something sadly lost in architecture today. The progressive script also prevents the architect from ma-nipulating the script in order to achieve a certain pre-conceived notion of form. This fraudulent approach to parametric design is at risk of becoming common-place, as designers aim for the parametric aesthetic without comprehending the motivations and possibili-ties of the tool.

As an ever unfinished space, almost alien in appear-ance as the rods protrude out to invade the private space of the occupant, R&Sie(n) believe people will respond strongly to the unique nature of the space. Whether this emotion is positive, negative, curiosity or apprehension is not important. The shock of the different and unapologetic change of conventional ap-proach to space is intended to shatter the indifference with which many people view their built environ-ment. Habits and conforming dull the senses of ob-servation and reflection, so that subtle changes are not perceived. This is particularly prevalent in commuting driving where boredom and habit slowly reduces the alertness of the driver to external stimulus other than the road. The potential for a unique, unconditioned response to the Wyndham gateway project as provided by latest technology in Parametric design and its ability to compose radically unique forms without precedent, would reawaken many people to the project, encour-age them to engage emotionally and reflect upon the concepts provoked by the piece.

Notes1. Inaba, Clouette, Unfinished Business, François Roche Interviewed, C-Lab Columbia laboratory for architectural broadcasting, 2006, http://c-lab.colum-bia.edu/0063.html2. Herbert Matter, Charles Eames and R Buckminster Fuller, Prefabricated Housing, From Arts and Architecture, July 1944R&Sie(n), Olzweg, Paris, 2006 www.new-territories.com/welostit.htm3. Fornes, Scripted by purpose, Philadelphia; Fuel Gallery, 2007. http://script-edbypurpose.wordpress.com/participants/rsie-francois-roche/

PART TWO

- Solution Development- Matrix- Herzog and DeMeuron re-engineered

parametric design

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nrelate parts together and defer to the system the task of keeping parts so relatedprocess not the final objectcomputerisation, a way/ return of thinking. RUle based generationremoves precdent ideas but not necessary computer onlymaths based but hugly long and comlicated.enables exploration and experiementationgenerative programmingnew building types required that are beyond our cur-rent imaginationlimited building forms

rapid form exploratingenerativebest solution acc to criteriaable to explore, test and respond as a prototype

computation: just represent what you had in mind, autocad

Grasshopper: simple list to make simple task but co-mine to make more complex and involved.

heirarchy: populate base model with other geometries that have embedded info which allows you to update unit and affect whole

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tIn successful architecture, a singular object is cre-ated that is composed of many different elements that work together in union to create a better whole. The complexity of this seemingly singular object can therefore seem to many to be produced from a singular flash of genius and that something this harmonious could never be worked towards nor taught in elements as suggested by Kalay. This is one reason why it is common in architecture to be means-ends driven, prescribing the product without opening the mind up to possibilities. As many architects tend not to be as rational as Lou-is Sullivan’s ‘form follows function’ prescription, exploration can be structured so as to encourage discovery and flirting with uncertainty. ‘Solution Development’ as outlined by Kalay establishes the parameters of the design, not as the end goal, but instead as a limited list of components possible and then a method for working through the possibili-ties.

This method is complimentary to Parametric de-sign. Computerisation of the design enables quick visualization of forms and changes. The heirarchy between the whole and geometry which populates it also facilitate the straightforward tranlation of small alterations to the modular to their application on the whole. A matrix also enables the student to visualize which element is working where and which parameters are related to another. In a high-ly complex and interrelated project such as Wynd-ham Gateway project, with various influences like vantage points and speed this will be important.

Notes1. Kalay, Architectures New Media, 20042. Burry, Scripting Cultures, 2011

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Cut pattern is independant of the em-bossing. Circles on a grid are altered in

diameter according to the contrast present in the image.

Case study: CUT

The embossing varies in depth according to the contrast present in a different image. Positive embossing where white was present, neutral as in the original flat material sheet for grey and negative debossing for black. This corresponded to the script as a remapped values of -1, 0 and +1 respectively

Ornament in this instance breaks up the solid appearance of the facade material to make a permable skin that erodes the boudary between inside and outside of the building. This transforms the flat conventional surface into an undulating emotive form.

PART THREE

- Bio-mentor- Brainstorm- River as Spine- Rose: Fractal sequence- pic- Materiality- Escher morph- Zoo: Camouflage- Components for Wyndham

design devices

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3. Nature as Mentor – Biomimicry is a holistic way of viewing and valuing na-ture. It introduces an era based not on what we can extract from the natural world, but on what we can learn from it.

Janine M. Benyus

The forms of nature are produced by complex principles. Rather than sim-ply applying the given forms of nature, Architecture can examine and interpret the underlying principles as a method or script to derive highly sophisticated forms.

Storey Hall was inspired by fractals, self similar patterns which are commonly found in nature inc Romanesque broc-colis. The principle of self similar pat-terns was translated mathematically into the Penrose Tile pattern; flat and thin rhomboids which create a pattern that is identical at the finite small scale and the infinite large scale. At Storey Hall, the Penrose Tile pattern is utilized to organically cover and unite the ex-panse of the facade, walls, floor and ceiling.

The points of inspiration obtained from Wyndham will be approached in the manner of bio-mentor. They will be broken down to their essential princi-ple and this script will grow the form of the project. This will further extend the creative freedom produced by script-ing through parametric design.

Notes1. Stuart Hanafin, Growth and Replication: Explor-ing Façade Subdivision based on Natural Processes, Geelong; Deakin University, 2011.2. Janine M. Benyus, Biomimicry: Innovation Inspired by Nature, New York; Harper Collins, 2002

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Time MovementRAAFCut: Build/destroyMomentaryHistoric LegacySamenessShadowWittyNoveltyInspiringClaustrophobicReflectWonderUnit WholeRiver as SpineNegative SpaceCommunityCarsPetrolOrnamentSpaceFormColourMix primariesMonumentSoundThe country SuburbArt CommunityCommuterHolidayFreedomMaterialsDynamicKinetic1950PatternsFurEngulfedAnti - indifferentInvoke emotional reactionPositive changeIdentityGreat Australian DreamReframeCar enabledTransform MeaningInnovativeexperience vs objectrefract

InnovationNovelty and Positive change

Establishment in context, acceptance is vitalTransforming meaning

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ing to create complex space that is interelated not just sepperate units. and not just one unit. first two arguments.

Materiality Brick: Experimental House by Alvar Aalto breaks apart the flat surface on the house by manipulating bricks to create the appearance of an undulating surface. Brick Vaneer is also venerated in Australia as a more expensive and therefore elevated form of house in the Great Australian Dream and is thankfully well suited to our climate with thermal mass.

The configeration of petals to create a rose is formed in accor-dance with the Fobbonacci rule.

Classification of Roses is established by a linear change in cup shape and number of petals.

go back to bit about fire place and transitory space and morph-ing to create complex space that is interelated not just sepperate

units. and not just one unit. first two arguments.

The Werribee River was referred to as the ‘Spine’ by the local Indigeonous people. The spine has connotations of *******

Materiality Brick: Experimental House by Alvar Aalto breaks apart the flat surface on the house by manipulating bricks to create the appearance of an undulating surface. Brick Vaneer is also venerated in Australia as a more expensive and therefore elevated form of house in the Great Australian Dream and is thankfully well suited to our climate with thermal mass.

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go back to bit about fire place and transitory space and morph-ing to create complex space that is interelated not just sepperate units. and not just one unit. first two arguments.

go back to bit about fire place and transitory space and morph-ing to create complex space that is interelated not just sepperate units. and not just one unit. first two arguments.

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Dazzle Zebra:To confuse lions in chase. Diffi-cult to estimate speed and direc-tion and discern individual ani-mal from pack

DisruptionLeopard:high contrasting, unrepititious pattern to disrupt recognisable shape outline of animal

CountershadingDeerCompensative application of graded colour. Darker on area likely to be lit by light and lighter on darker areas so as to appear flat.

Dazzle Zebra:To confuse lions in chase. Diffi-cult to estimate speed and direc-tion and discern individual ani-mal from pack

DisruptionLeopard:high contrasting, unrepititious pattern to disrupt recognisable shape outline of animal

In my design for a parkour training ground suitable for wheelchair occupants, I explored ideas of privacy, habits of public curiosity and cloaking.

The vacant site of the Melbourne Museum court could not facilitate discretion in the placement of the park away from the curious and intimidating eyes of the public. There-fore my design solution was to mimic the ex-isting entrances of the carpark to camouflage the object. It was hoped that this would ren-der the object as uninteresting, as the func-tion of the other two original forms was not a secret. The skin formed the equipment of the park but also provided shelter from prying eyes and a degree of confidence.

relevant?

River as spine/Car travel: linear direction

PIX: Population/ Arrangment on Spiral

Rose Classifi cation: shape to populate

Rose Fibonacci: Spiral form

Components for the Wyndham Gateway

Escher: Rate of Morph between shapes

Rose Classifi cation: shape to populate

Components for the Wyndham Gateway

Escher: Rate of Morph between shapes

Camoufl age: Embossing concentration

PART FOUR

- Prototype translation to 2d- Standardisation- Exploration of qualities achieved- Documented performance of Protoype- Scale to freeway site

fabrication

In the case of your previous work used as a case-study, of course it is OK to replace it with better examples now that you know better examples. On the other hand, if that part was interesting, it can be preserved or find new life on the Wiki, as a superseded version. You can also include it (possibly in the shortened form) into the section about your learning progress, as evidence of where you were at the beginning of the course. You could then compare that initial effort with your improved argument and explain your progress. Or, you could decide not to focus on this and spend your effort and pages somewhere, where you interest lies. The idea here is that thinking about this and doing this work will encour-age you to appraise the content we are offering critically because you are considering your choices and trying to explain them. Which is a crucially useful ability to develop (in design or elsewhere).

personal development

This stage is something we are trying to improve on by making it well argued rather than arbitrary. Our Research Projects and case-studies will serve as argu-ments demonstrating the innovative characteristics of the chosen approach in contrast with the competition.

Personal Work - Space and Camouflageth

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In my design for a parkour training ground suitable for wheelchair occupants, I explored ideas of privacy, habits of public curiosity and cloaking.

The vacant site of the Melbourne Museum court could not facilitate discretion in the placement of the park away from the curious and intimidating eyes of the public. There-fore my design solution was to mimic the ex-isting entrances of the carpark to camouflage the object. It was hoped that this would ren-der the object as uninteresting, as the func-tion of the other two original forms was not a secret. The skin formed the equipment of the park but also provided shelter from prying eyes and a degree of confidence.

relevant?