Bartlett anna 539086 final journal by Anna Bartlett

STUDIO AIR 2014, SEMESTER 2, TUTORS STUDENT NAME

ARCHITECTURE DESIGN STUDIO

AIR

S E M E S T E R 2 2 014 T U T O R : BR A D L E Y A N N A BA R T L E T T 5 39 0 8 6

CONTENTS INTRODUCTION 03 PART A. CASE FOR INNOVATION 05 PART B. DESIGN APPROACH PART C. PROJECT PROPOSAL

INTRODUCTION

It has always been my favourite thing to do to create. As a five year old I would find anything in our house - cereal boxes, pot plants and old curtains- and make them my own. I would spend hours in these worlds, absolutely consumed . This is still how I view design - as an escape. I am now in my third year of my bachelor of environments degree at the University of Melbourne. While I have always loved design, architecture has not come intuitively to me. It has taken three years to feel at least a small amount of confidence in my designing abilities. I am also now able to understand exactly where I can improve and what are my strengths and weaknesses. Architecture is a way to positively shape people’s lives, as it has mine. I have stood in centuries old buildings in Italy and Spain, incapable of describing my feelings. However I also see that this type of overwhelming architecture is not what all good architecture is. I’ve felt great architecture walking in to a friend’s farmhouse, or seeing a tiny but beautifully executed house extension in Melbourne. This is the kind of architecture that I adore. Humble, understated and classic.

It also informs my design ethos. My knowledge of digital design theory and practise is embarrasingly limited. Having never completed virtual environments, my skills are all self-taught. Previous studio work I have done on AutoCAD, Revit, Photoshop and rhino barely prepared me for the grasshopper plugin, which was a completely new concept for me. Parametric design has been an amazing jump however, allowing me to dream up shapes and geometries previously unattainable. In this studio I hope to truly master grasshopper and explore all it has to offer to develop my skills and prepare me for the workforce.

MY inspiration: 1:

CONCEPTUALISATION

PREVIOUS WORK

As stated before, my digital experience is very limited.

triangles create and I am

Water in 2013. The design

to Revit and Photoshop. I

and Photoshop, the lessons

the basics of the program. 4

come to light. I love the 3

1: 2013: Anna bartlett, Studio: Earth. The University of Melbourne

2,3: 2014: Anna Bartlett, Studio: Water. The University of Melbourne. 4: 2014: Anna Bartlett, Construction Design. The University of Melbourne

PART A.1

A CASE FOR INNOVATION

CONCEPTUALISATION

A.1 ARCHITECTURE AS DISCOURSE

Architecture is an autonomous network 6

of artefact, nor a mere form of knowledge, 1

encompasses all three categories: artefacts, other in an ongoing recursive networkâ&#x20AC;&#x2122;5

and sub-system of society

6 7 8

NOTES: 1

CONCEPTUALISATION

A.1 PRECEDENTS OF INNOVATION

ALVAR AALTO: PAIMIO SANATORIUM, PAIMIO, FINLAND, 1932

NOTES: 1 Quantrill, Malcolm. Alvar Aalto: A critical study. New Amsterdam Books, 1990. 2 Anderson, Diana. “Humanizing the hospital: Design lessons from a Finnish sanatorium.” Canadian Medical Association Journal 182.11 (2010): E535-E537. 3http://www.alvaraalto.fi/net/paimio/paimio.html 4 Anderson, Diana. “Humanizing the hospital: Design lessons from a Finnish sanatorium.” Canadian Medical Association Journal 182.11 (2010): E535-E537. 12

CONCEPTUALISATION

5 http://www.alvaraalto.fi/net/paimio/paimio.html IMAGES: http://www.archiprix.org/2015/index.php?project=2544 CONCEPTUALISATION

A.1 PRECEDENTS OF INNOVATION

LE CORBUSIER: NOTRE DAME DU HAUT. RONCHAMP, FRANCE 1954

The three enormous

NOTES: 1Ching, Francis DK, Mark M. Jarzombek, and Vikramaditya Prakash. A global history of architecture. John Wiley & Sons, 2010. pg 721

CONCEPTUALISATION

2 Ching, Francis DK, Mark M. Jarzombek, and Vikramaditya Prakash. A global history of architecture. John Wiley & Sons, 2010. IMAGES: 1 http://de.wikipedia.org/wiki/Datei:Notre_Dame_du_ Haut%28ws%29.jpg

CONCEPTUALISATION

A.1 PRECEDENTS OF INNOVATION

From the New York Times: “There is another link 2

French love of both technology and monumentality, and he has created a structure that neatly marries an exquisite object, less a real building than

court1

most contemporary industrial architecture; this tensile structure, made possible by advanced technology taken in part from the cabling systems of America’s cup yachts, has a delicacy that makes it feel more like some kind of magical machine” 4

I. M. PEI: PYRAMID, THE LOUVRE, PARIS, FRANCE, 1989

CONCEPTUALISATION

PART A.2 COMPUTATIONAL ARCHITECTURE

CONCEPTUALISATION

A.2 COMPUTERISATION VS. COMPUTATION

NOTES: 1 Terzidis, kostas. Algorithmic architecture. Routledge, 2006. 2 Menges, Achim, and Sean Ahlquist, eds. Computational Design Thinking: Computation Design Thinking. John Wiley & Sons, 2011. 3 Terzidis, kostas. Algorithmic architecture. Routledge, 2006.

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4 Terzidis, kostas. Algorithmic architecture. Routledge, 2006.

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A.2.1 COMPUTATIONAL ARCHITECTURE: PRECEDENT PROJECTS NOX ARCHITECTS: SON-O-HOUSE, SON EN BREUgEL, THE NETHERLANDS, 2002

1 2

of the hands and feet)4.'

generates the sounds. The score is develops with the traced behavior of the actual bodies in the space.2' structure on another dimension1

around a sink or drawer 'This carefully choreographed set of movements of bodies, limbs and hands are inscribed on paper bands as cuts (an uncut area corresponds with the bodily movement, a

of interlacing vaults which 5

cuts correspond with movements

CONCEPTUALISATION

A.2.1 COMPUTATIONAL ARCHITECTURE:PRECEDENT PROJECTS 1

REISER + UMEMOTO: KAOHSIUNg PORT TERMINAL, TAIWAN (SCHEDULED FOR 2014)

shells

well designed open and secured spaces,

“under this plan, cruise and passenger ferry environment will be improved; visitors will be provided with more convenient and comfortable

‘nested, long-span

visual appearance from the ocean the cruises

between the local culture and site

integrated into one area to enhance service quality. The plan will also

2http://www.arup.com/Projects/Kaohsiung_ NOTES: 1 http://www.arup.com/Projects/Kaohsiung_

Port_Terminal/Details.aspx

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Port_Terminal/Details.aspx

3http://www.dezeen.com/2010/12/17/kaohsi-

ung-port-terminal-by-reiser-umemoto/

4 http://www.arup.com/Projects/Kaohsiung_

Port_Terminal/Details.aspx http://www.reiser-umemoto.com/

6 http://www.arup.com/Projects/Kaohsiung_ Port_Terminal/Details.aspx IMAGES: 1: http://www.reiser-umemoto.com/ 2: http://www.reiser-umemoto.com/

CONCEPTUALISATION

A.2.1 PRECEDENT PROJECTS

"THE IDEA OF FORM EMERGING IS A THING THAT REALLY FASCINATES ME: FROM A RANDOM START, HOW DOES IT HAPPEN? IT HAPPENS THROUGH CONTROL AND CONTINUAL FEEDBACK." -FELIx CANDELA

kind of interconnected world. It would have been unthinkable that cuts the steel - and straight from the computer modeller 1

geometry itself3. 1

TOYO ITO: SERPETNINE PAVILLION, KENSIgTON gARDENS, LONDON, UK, 2002

glass... if you followed the algorithm strictly, as the line comes down it can avoid having a corner touch the ground2'

NOTES: 1Candela, Félix. Seven structural engineers: the Felix Candela lectures. Ed. Guy Nordenson. The Museum of Modern Art, 2008. 2Candela, Félix. Seven structural engineers: the Felix Candela lectures. Ed. Guy Nordenson. The Museum of Modern Art, 2008.

CONCEPTUALISATION

3Candela, Félix. Seven structural engineers: the Felix Candela lectures. Ed. Guy Nordenson. The Museum of Modern Art, 2008. IMAGES: 1: http://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyoito-cecil-balmond-arup/ 2:

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A.3

COMPOSITION VS. gENERATION

PARAMETRIC MODELLING PART A.3

CONCEPTUALISATION

A.3.1

PARAMETRIC DESIGN:PRECEDENT PROJECTS

NOTES: 1 2 3

CONCEPTUALISATION

ZAHA HADID ARCHITECTS, KOLLISION, CAVI, WAHLBERG : DANISH ARCHITECTURE CENTRE, 2013

4 5 IMAGES:

CONCEPTUALISATION

A.3.1

PARAMETRIC DESIGN:PRECEDENT PROJECTS

â&#x20AC;&#x2DC;Conceptually the square box and the interior spaces are carved out 2

5 2

wire frame model into an accurate three-dimensional solid CAD model; 12

from the three-dimensional model. By the end of the design phase, 6

PTW ARCHITECTS: THE WATER CUBE. BEIJINg. CHINA, 2008

NOTES: 1 http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=2008196910 2 http://architectureau.com/articles/practice-23/ 3 http://architectureau.com/articles/practice-23/ 4 http://architectureau.com/articles/practice-23/ 5 http://architectureau.com/articles/practice-23/ 6 http://architectureau.com/articles/practice-23/ 32

CONCEPTUALISATION

7 http://architectureau.com/articles/practice-23/ 8 http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=2008196910 9 http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=2008196910 10 http://architectureau.com/articles/practice-23/ 11 http://architectureau.com/articles/practice-23/ 12 http://architectureau.com/articles/practice-23/ 13 http://dynamic.architecture.com.au/awards_search?option=showaward&entryno=2008196910 IMAGES: 1 http://trendcrib.tumblr.com/post/8035993018/cube-architecture 2,3,4,5 http://architectureau.com/articles/practice-23/ CONCEPTUALISATION

A.4 CONCLUSION

A.5 LEARNINg OUTCOMES

an architect must consider

must be interdisciplinary

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A.5 ALgORITHMIC SKETCHBOOK

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A.5 ALgORITHMIC SKETCHBOOK

CONCEPTUALISATION

PART B.

CRITERIA DESIGN

CONCEPTUALISATION

PART B.1 TECHNIQUE: SECTIONING

architects have taken advantage of form with material tectonic1. on the U and V vector coordinates.

edges of which follow lines of surface can almost instantaneously cut streamlines the process of making 4

to explore on grasshoppper. I have 2

is said to be an ealry example of 1http://atc.berkeley.edu/201/readings/Iwamoto_Digital_Fabrications.pdf 2 http://atc.berkeley.edu/201/readings/Iwamoto_Digital_Fabrications.pdf

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3 http://atc.berkeley.edu/201/readings/Iwamoto_Digital_Fabrications.pdf 4 http://atc.berkeley.edu/201/readings/Iwamoto_Digital_Fabrications.pdf

CONCEPTUALISATION

PART B.1

to create a dynamic environment For context, I have decided to

manages to be both delicate and

CONCEPTUALISATION

PART B.1 PRECEDENTS

CONCEPTUALISATION

PART B.2 CASE STUDY 1.0

can be created from disparate elements. T

CONCEPTUALISATION

PART B.2 ITERATIONS

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PART B.3 CASE STUDY 2.0

food stalls to posess and I

is commnonly seen in

really helped me explore increasing or decreasing heights of these panels and

the smoothest (high designed to cover 1 http://www.australiandesignreview. com/interiors/661-banq

CONCEPTUALISATION

PART B.3 ITERATIONS

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PART B.3 ITERATIONS

CONCEPTUALISATION

PART B.4 TECHNIQUE DEVELOPMENT

I achieved here especially Th images on this page are

decided to change these.

When I deleted layers of the apparent form of the

as part of the exterior of the

CONCEPTUALISATION

PART B.4 ITERATIONS 4

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PART B.4 ITERATIONS

20 24

33 21

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PART B.4 ITERATIONS

44 40

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PART B.5 TECHNIQUE: PROTOTYPES

CONCEPTUALISATION

PART B.6 TECHNIQUE: PROPOSAL

too boring and did not represent changed the base geometry to

CONCEPTUALISATION

PART B.6 ITERATIONS

CONCEPTUALISATION

PART B.7

LEARNING OBJECTIVES AND OUTCOMES

I had not considered before. proceed from here. The main

life system of solar panels in the design. The reverse engineering and that I needed to develop my

all the ideas I have in my head. learning from the prototyping

CONCEPTUALISATION

PART B.8 APPENDIx-ALGORITHMIC SKETCHES

CONCEPTUALISATION

PART B.8 APPENDIx-ALGORITHMIC SKETCHES

CONCEPTUALISATION

PART B.8 APPENDIx-ALGORITHMIC SKETCHES

CONCEPTUALISATION

PART B.8 APPENDIx-ALGORITHMIC SKETCHES

CONCEPTUALISATION

PART C.

DETAILED DESIGN

CONCEPTUALISATION

PART C.1 DESIGN CONCEPT

6 source: http://www.absolutearts.com/cgi-bin/portfolio/ art/your-art.cgi?login=tonidesign&title=multiple_ lane_highway,-1320015619t.jpg

5 source: http://journal.aetherapparel. com/2011/12/06/highway-interchange-photo-series/

CONCEPTUALISATION

PART C.1.2 DEVELOPING THE DESIGN

6 4 10 2

3 1

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7 5

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PART C.1.2 DEVELOPING THE DESIGN

8 7

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PART C.1.2 DEVELOPING THE DESIGN

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PART C.1.2 DEVELOPING THE DESIGN

8 9

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PART C.1.2 DEVELOPING THE DESIGN 13 14

16 17

27 26 28

29 94

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PART C.1.2 DEVELOPING THE DESIGN 30

35 32

36 37

42 44

45 43

48 96

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PART C.1.3 FINAL DEVELOPMENTS

1 98

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PART C.1.3 FINAL DEVELOPMENTS

100

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101

PART C.1.2 FINAL DEVELOPMENTS

102

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103

PART C.1.3 FINAL DEVELOPMENTS

2 4

104

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105

PART C.1.4 INITIAL RENDERING

1 2

106

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107

PART C.2

108

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TECTONIC ELEMENTS AND PROTOTYPES

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109

PART C.2

110

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TECTONIC ELEMENTS AND PROTOTYPES

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111

PART C.2

TECTONIC ELEMENTS AND PROTOTYPES

1 2

112

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113

PART C.2

TECTONIC ELEMENTS AND PROTOTYPES

114

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115

PART C.3 FINAL DETAIL MODEL

116

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117

PART C.3 FINAL RENDERS

118

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119

PART C.3 FINAL RENDERS

120

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121

PART C.3 FINAL RENDERS

122

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123

PART C.4 LEARNING OBJECTIVES AND OUTCOMES

124

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125