PERSONAL discourse Headpiece
architecture as discourse WEEK ONE
This project was undertaken in Virtual Environments. The head piece was designed using Google SketchUp and constructed using individual panels which were joined by tabs. Whilst other participants in the studio chose designs that hid the tabs on the interior of the headpiece, I was the only participant who opted to have the tabs showing on the outside as a design feature. Had the tabs been interior, the overall effect of the headpiecce would have been completely different. In terms of advancing architectural discourse, I feel my project stood out during the exhibition because I had dared to do something different. Sometimes putting in the extra work reaps its own rewards; most likely I spent more late nights than anyone painstakingly gluing each piece together, and the results were worth it: my head piece had stretched the creative boundaries given to us for the project and caused a stir within the subject for being one-of-a-kind.
CASE STUDY discourse Nanning Gateway Denton Corker Marshall
CASE STUDY discourse Dynamic Tower Dynamic Architecture
This project is possibly the best current example of creating architectural discourse within both the architectural and general community. Designed by architect David Fisher, who admitted to not having been in practise for decades and who has never designed a skyscraper, the Dynamic Tower has been creating controversy since its conception in 2008. The team at Dynamic Architecture has since created a site showcasing its vision for the future: dynamic towers amongst a beautiful countryside. Since the tower itself is supposedly self sufficient, generating electricty and utilising solar panels and wind turbines. The concept of a building with rotating floors was one that had not been fully envisioned previously
and arguments within the architectural community try to determine if the idea is original, and in fact if it would even work. Whilst originally the tower was to constructed in Dubai, where it would be part of a similarly architecturally advanced built landscape, construction is yet to begin on the project, with Fisher constantly pushing the date back and announcing in 2011 that he was now keeping the date a ‘surprise’. Is this a ploy on Fisher’s part to generate even more interest in his already much-hyped building? If so, it is highly effective, and we continue to wait for this building
This project by Melbourne firm Denton Corker Marshall is located in Nanning, China, at the gateway to the city of Nanning via the freeway. As visitors emerge from the toll gates of the freeway, one of the scattered flowers deconstructs into petals along the road as you travel. This project aims to create a strong ‘green’ statement for visitors and the way this has been stated by the form of the gateway is worth talking about. Rather than design a static monument, the architects have created a display that is almost ‘alive’ as the petals decontruct along the course of the road. This has created a time/space experience rather than a meaningless statue which holds the attention of a viewer for only a few seconds as it passes by. The unconventional nature of the display which leads visitors into the city pinpoints an exciting direction for architecture, creating the possibility of dynamic architecture as a means of promoting a message and holding the attention of those whom the message is intended for. As the EOI for the Western Gateway Design Project is also seeking to convey a message to visitors entering a city, this case study showcases a means of effectively catching and holding the attention, albeit for a short period, of the visitors.
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Amanda Rowe
CASE STUDY discourse Seed Cathedral
architecture as discourse WEEK ONE
Heatherwick Studios
The main objective of the UK Pavilion design was to create a structure whose architecture was directly related to the content it exhibited, through a simple idea that was strong enough to attract attention and stand out amongst the other competing pavilions at the Shanghai Expo. The Seed Cathedral showcased the Millenium Seedbank work as undertaken by the Royal Botanical Gardens at Kew, by means of 60000 transparent optical fibre strands, with each tip embedded with a seed. Schumacher stated that “the built architectural works that architecture releases into the wider social world... circulate within the architectural discourse as examples and evidence.” (1) In such a way was the Seed Cathedral released into the world, generating discourse and being pinpointed as an example of innovation and creative use of technology and structure. This project is relevant to architecture as a discourse as it generated much public and academic interest, just by being completed (2). It was consistently ranked by visitors at the Expo as one of the most popular pavilions and was visited by more than 50000 people each day (according to Heatherwick Studios official website) (3). In architectural circles, the project shot to credibility when it received the prestigious Lubetkin Prizei 2010, awarded annually by the Royal institute of British Architects (RIBA).
“An outstanding emblem for Britain.”
Described by the RIBA president as “an outstanding emblem for Britain” (4), the project was a representation of Britain that was openly portrayed to the rest of the world. “The strong visual and formal juxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and their perception of being exceptional and marvellous”. (5) If this is the case, then the exterior structure was truly innovative and thus it is a prime example of a project that generated discourse. An underlying purpose of the cathedral was to create an architecture that was a direct manifestation of the content it exhibited. This was achieved, and relevance to the Gateway Project can be drawn from this success. If the Gateway is to be a success it could be worth drawing on the ideas of successful projects and applying a similar school of thought and innovation to the design of the Gateway Project.
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Amanda Rowe
CASE STUDY computation Beijing Water Cube
computation in architecture WEEK TWO
PTW Architects
The ability of computational design to recreate natural forms was put in the world spotlight shortly before the Beijing Olympic Games in 2008, when Australian firm PTW architects used computational techniques to create the Water Cube, the National Aquatics Centre at Beijing. The form of the building was based on the formation of soap bubbles. The use of computation allowed a strict geometric pattern to be created underneath a seemingly random arrangement of “bubbles”. The concept combines the symbolism of the square in Chinese culture, with the natural structure of soap bubbles as translated into an architectural form (6) to create the atmospheric aquatics centre. Digitalization gives us the ability to reproduce forms with forgotten geometries lost to us because of the difficulties of representation (7). For the Watercube project, it was possible for this structure be created thanks to the use of computation. The intricacies of the project were described by PTW Architect’s director, Andrew Frost as “appearing random and playful like a natural system, yet it is mathematically very rigorous” (8). The accuracy of each detail that was pinpointed using technological means to translate nature into design is outstanding, and an excellent reason as to why computation has a significant future in the field of architecture. The use of computation allowed the project to combine design with engineering seamlessly, a technique which will no doubt be called upon numerous times in the future in order to push the limits of architecture and create designs that are structurally sound.
“It appears random & playful like a natural system, yet it is mathematically very rigorous.`
- Andrew Frost, Director, PTW Architects
As a winner of the Atmosphere category of the Venice Biennale, it is obvious that the space within the Watercube has succeeded in creating a suitable atmosphere for its context. The jury of the award stated that “the project demonstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenology can create an airy and misty atmosphere for a personal experience of water leisure.” (9) In relation to the Gateway Project, creating an appropriate atmosphere for the viewers of the Gateway is tantamount to conveying the project’s message. The success of the Watercube’s atmospheric creation, due to its unqiue engineered structure, is proof of the extent to which computation can be manipulated to control a space and portray a certain feeling. The Gateway Project should take advantage of this function of computation by applying it to the design process.
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Amanda Rowe
introduction to parametric design: contemporary scripting & programming cultures WEEK THREE
CASE STUDY scripting ICD/ITKE Research Pavillion 2011 Faculty & students at Stuttgart University
Biomimcry is not an overly new concept to the architectural world. The focus recently however is creating forms that imitate nature by means of computation. While architecturally it is simple enough to imitate natural forms, programming allows the process to take a further step towards reconstructing the structure of these forms as well. The accuracy that can be pinpointed by computation has allowed for a highly detailed representation of the natural form that is not only aesthetically accurate, but is also structurally accurate and thus stable. The 2011 Research Pavilion by faculty members and students at Stuttgart University used programming methods to accurately recreate the structure of a sea urchin. Both the design of the pavilion and the manufacturing methods were controlled by computation techniques. The computational process allowed the designers to extend recognised bionic principles to a range of different geometries, resulting in the exclusive use of 6.5mm sheets of plywood to construct the pavilion.
The exciting range of possibilities that arise from the project are significant to the EOI in terms of extending the parameter of project. The EOI calls for representation of something; of drawing awareness to a certain situation. I believe computation is the way to achieve this representation to the best quality. The use of computation to design this project will enable the design to be structurally sound and the level of detail achieved in terms of design will be exquisite. If computation can imitate nature so perfectly, there is nothing else it cannot represent without accuracy.
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Amanda Rowe
introduction to parametric design: contemporary scripting & programming cultures WEEK THREE
CASE STUDY scripting
Art Basel Miami The VeryMany architects
A gateway in the manner of the VeryMany architects will of course advance architectural discourse in the way that this small firm is slowly attracting interest due to its daringly different approach to installations. The thrust of this firm’s popularity, and indeed its livelihood, lies in its embracement of parametric design. Thus it seems that Marc Fornes would agree that scripting is vital in design, and that computer programming is an activity without which nothing would happen (13).
This project by architect Marc Fornes and his firm the VeryMany architects is one of many similar installations produced by the firm. As a precedent, the work of the VeryMany architects is highly relevant to this EOI, as the designs are created using Rhinocommon, a plug-in of Rhino. The firm uses parametric modelling as a means of creating beautiful and intriguing spaces within the structure, with plays on light and colour. The function of many of their installations is simply to be a feature, however the use of computation technologies has also allowed for the installations to be structurally sound. Since the structure looks flimsy and decadent, this certainly comes as a surprise. The firm takes photos of the installation in real life, being able to withstand static loads.
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Amanda Rowe
CASE STUDY public art on a motorway
public art & motorways WEEK FOUR
Nanning Gateway Denton Corker Marshall
Previously mentioned in week one, the Nanning Gateway is highly relevant to the EOI. Like the Gateway project, the Nanning Gateway has a message to send. It has managed to convey this message through its dynamic, rather than static, design. The deconstruction of the flower petals along the road as visitors travel along creates a space/time feeling as though they are caught up in a motion of sorts. This feature draws in viewers and entices them for longer than the usual few seconds than a roadside artwork would usually. This extra time is vital in being able to communicate a stronger message to the audience than would otherwise happen. In order for the Gateway to equally successful, the design must be able to capture attention in the same way as Denton Corker Marshall has managed. In order to do so, the use of parametric design would be useful in order to create an unusual and eye-catching design. Conventional sign posting such as banners will not be engaging and thus not effective. On the other hand, an experiential space may not be effective either if it requires close interaction. Parametric design would be ideal to create an interesting artwork that can also provide an experiential quality, but from afar. As shown in previous precedents, the forms and intricacies that can be achieved using computation, and particularly scripting, are not aesthetically unpleasing, and extraordinary forms can be created which will give the Gateway’s design a greater chance of standing out and drawing attention, whilst still adhering to tiny details that will set it apart from other road signage.
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Amanda Rowe
CASE STUDY perfomance-drive
why computing? perfomance-driven design WEEK FIVE
Bubble - BMW Pavilion Bernhard Franken
The Bubble was created as such to achieve a specific purpose; that is, to create a form to convey a specific message. The form aimed to promote sustainability and more specifically hydrogen as a source of renewable energy and thus a potential fuel for the future. This early drive towards representation of architecture in biological forms was a key influence for biomimcry to follow (see ICD/ITKE Research Pavilions and Watercube) and also provided implications for the future of computation. If, at such an early developmental stage (in terms of software and technology), computation was able to accurately recreate a performance-driven design, then the future of computation holds many exciting possibilities which future designs, namely the Gateway project, should be embracing.
A very early example of computation in architecture, the pavilion at the first BMW trade fair was representative of sustainability. Its structure was based on the shape a drop of water, created by means of a drop simulation computer program. This technology was highly advanced for its time, and the Bubble was one of the first structures in the world to be created entirely by digital means, including its construction. The forms were generated by algorithms which allowed the skin to appear as a giant water drop, by finding the balance between internal pressure and surface tension (15). This defines the project as perfomance-driven as the structure was dependent on the inspiration behind the design. Fortunately computation was able to make the skin a structural physical reality.
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Amanda Rowe
COMBINATIONS with common association
INPUT / pattern & overlap ASSOCIATION / curve attractor
INPUT / arbitrary points ASSOCIATION / curve attractor
INPUT / surface normals ASSOCIATION / curve attractor My group decided that each of us would focus on a different association and experiment by combining it with various inputs and outputs. My association, Curve Attractor, created a number of interesting products, a few successful but some incompatible with it. I continued to experiment with Surface Normals and Surface Grids. INPUT / surface grids ASSOCIATION / curve attractor
By changing the output geometry, the form can become 3D where it was once 2D ie. from circles to spheres can create a sense of solid structure instead of mesh.
INPUT / boolean patterning INPUT / boolean patterning
ASSOCIATION / curve attractor
ASSOCIATION / curve attractor
OUTPUT / extrude
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Amanda Rowe