Composing Architecture and Interior Design

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CONTENTS Introduction

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ORGANISING SPACE

8

conclusions COMPOSING SPACE preface A. THE CUBE

48 54 56

conclusions

90

B. THE SURFACE

94

conclusions

124

C. CONTOURS conclusions

128 152

Bibliography

156

Image credits

158



INTRODUCTION Composing Architecture and Interior Design introduces different ways of creating architectural space, based on controlled transformations of physical models. It explains how to compose architectural spaces step by step and can be used from the first years of architecture and interior design studies - and beyond. The first chapter named Organising Space focuses on basic terms and notions of making architectural space. The next chapter named Composing Space focuses on contemporary design approaches for the synthesis of architectural space, using transformations of basic geometries, such as a cube. These approaches, extend to folding surfaces or combining curves. The transformations design logic is explained step by step with diagrams and physical models. Each chapter begins with a globally aknowledged, built project. The design logic of transformations is actually the base of generative digital design- that is if we were to oversimplify what generative design is. What is really important is that generative design can be applied in practice, even if someone never learns how to use digital or parametric computer software. 6


Generative design is the base (or precedent) of parametric computational design. Parametric software “automatically� calculates any changes to a 3D computer model done by the designer and digitally transforms the model. All examples under the Composing Space chapter are actually generative design examples, without the use of computers to design them. The innovation of this book lies in the fact that physical models are used to explain a much more complicated, computational design process. Another fact of this book that aims to help understand / get acquainted with the generative computational design logic, is that the keywords in each example of this book are only a few of the computer software commands one might use for the design of a project.

COMPOSING SPACE

7


ORGANISING SPACE

8


A few basic architectural terms, notions and ideas regarding ways to organise architectural space, such as using a grid in a layout or a centerpiece.

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The Square Grid

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Initial space explained

A grid is the most common way to organise space in smaller or larger increments. It can be rectangular, square or diagonal. In this case, it is square. It is also very helpful to use a grid in order to place our structural elements such a columns and load bearing walls. All architectural elements such as walls, floors and ceilings can follow the grid geometry in order to create smaller zones. Elements that do not follow the grid and are placed diagonally, become more visible as we will see in one of the next examples. A grid is there to help us compose, but it should not limit our design; we can always choose to neglect it at a part of our building. 13


Spatial Rhythm

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Initial space explained

A common way to organise space is by creating a rhythm by repeating an architectural element. In this example, rhythm is created by repeating a wall three times. Since the floor has a triangular shape, the second wall is a “mirrored� copy of the first wall and is almost parallel to the third wall. The floor (or plot in a bigger scale) geometry always affects the way we organise space, since architecrural elements such as walls have usually to align with the floor (or plot) boundaries. Elements that do not align with the boundaries become more visible and dominant within the space. In order to express that even further, the middle wall in this example has a number of vertical openings, acting as a feature element that splits the space into two areas. 21


Spatial Rhythm -extension How can we understand the design logic of this example? The main new proposed elements are a big circular roof, an extension to the existing wall and an extension to the floor. The below diagrams explain the design steps (in plan): A. Walls are extended

B. Floor is extended

C. Circular seating is copied

A. Walls are extended to guide people to adjacent spaces. B. The triangluar floor is extended by copying and pasting it three times. C. The circular seating area is copied, scaled up and added as a new roof over the wall extension. 22


Final outcome Initial Space

Extension

mock-up & diagrams by: Natasha Crowe

Notice how white paper creates a continuous floor surface in the extension, creating a physical and visual continuity. The floor extension follows the same triangular geometry, like the floor in the initial space. The central wall extension also supports the circular roof addition. The circular roof follows the same geometry as the sitting area in the initial space, creating a coherent formal vocabulary. 23


The Connector -extension How can we understand the design logic of this example? The connector leads to the new space, which is organised around it. A. The connector leads visitors to the extension

B. Rectangular path

C. New wall A.The connector leads visitors to the extension because of its geometry and elongated shape - the extension leaves a free space around it, creating another collective space. B. Adding a rectangular path as a white paper strip follows the same logic as the initial space, where a beige floor surface differentiates a zone which acts as a collective space. C. A new, “clear� background wall in the extension follows the same design logic as perimeter walls in the initial space. 42


Final outcome Initial Space

Extension

mock-up by: Luiza Maimescu

Notice how white paper creates continuous surfaces (such as the new roof and floor path) in the extension, creating a physical and visual continuity. A new connector is also added that has the same L-shaped geometry as the initial connector, creating a homogenous composition and leading visitors outside the extension space. A new roof in the extension signifies the new communal space that is created, the same way the beige floor surface was signifying the initial collective space. 43


PERMANENT ARCHITECTURAL ELEMENTS: WALLS / FLOORS / CEILINGS / ROOFS Walls can also define larger spaces that can host larger numbers of people where they canmeet. These are called collective spaces.

collective spaces

walls as filters

Walls should not be seen only as opaque surfaces. They can be translucent, transparent or perforated, acting as a visual filter between spaces. A “filter� wall can be the main feature within a space. It can be either exterior or interior. A physical model can imply the materiality of a wall, without having to be specific regarding the material we want to use. 52


We can also use volumes to connect spaces instead of just walls. An example would be to use a hollow box or any other geometric form. Using a large box as a connector between two spaces will signify the importance of the transition between them. It will also attract people’s sight, acting a way finding element that will guide people to our next space. Any geometric form can be placed in the center or our space. The example below shows that instead of having a box, we placed circular bleachers for seating in the center of the space. volumes / shapes as connectors

volumes as centerpoints

Placing our seating in the middle of our space makes it the most important element. The walls around a centerpiece become quite important: Firstly, because they act as a visual backdrop to our centerpiece. Secondly, because standing on the centerpiece will make someone observe whatever we might have on the surrounding wall: a painting, a projection screen or a view through a window. 53


COMPOSING SPACE PREFACE: THE CONTROLLED TRANSFORMATIONS DESIGN LOGIC

the cube

the surface

the contours 54


After understanding basic terms and notions of architectural space, this chapter focuses on different ways of composing space through a number of steps of controlled transformations of basic geometries. These geometries are a cube, a single surface and a curve. The transformations are done through physical modeling. The controlled transformations design logic allows to compose architectural spaces step by step, with the ability to go back to any step and iterate / change the design.This approach imitates the generative / parametric architectural design software logic, as a way to introduce designers to computational design thinking. Notice that the verbs used below, are the basic commands used in any digital software.

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COMPOSING SPACE A. THE CUBE BUILT PRECEDENT A “follie” building in the La Villette park, Paris Bernard Tschumi Architects, 1987

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There are many built examples globally that follow the design logic of transforming any geometry, while also adding complexity by adding secondary elements. Maybe the most recognizable buildings that follow this architectural approach in composing space are buildings which are based on the cube geometry. One of the most architecturally notable examples - and also globally acknowledged - is the La Villette Park in Paris, by Bernard Tschumi architects. It can be found in a number of diverse publications, from contemporary architecture history academic books, to magazines and online sites. It is already a “classic�, a point of reference and a must-know for all architects. All 41 buildings in the park that are placed on a grid and organise the large spaces are successful and diverse examples of architectural compositions based on a cube geometry. The examples that follow in the next pages cannot compare to the depth of thinking and architectural quality of such built projects. They are basic and simple examples of a fundamental architectural way to compose space that is explained simply, in order to make it comprehensible to any practitioner or student. 61


A5. Transformation steps one by one How can we understand the design logic of this example? The exercise starts by drawing lines on the cube and then using those lines to split the cube into smaller parts: Initial Cube

3. Fold back

1. Unfold cube surface

2. Cut shapes

4. Move cut rectangles inside

1.Unfold paper cube surface. 2. Cut out the rectangular parts. A variation would be to cut different shapes or sizes out of the cube. 3. Fold back the cube to its initial shape. 4. Move cut parts inside the cube. A variation would be to move the cut parts to different locations. 80


Final space visualisation

visual & diagrams by: Hannah Rand

A visual made from a physical model photograph can also be edited in a way that it shows a perspective section. Like any other drawing, plan or section, all cut elements have to be shown using thick lines, implying wall and floor thicknesses. Do not forget to add people in all visualisations, they help understand the scale of spaces, as well as the way the spaces are used. Since multilpe windows are the key feature in this design, a person appears to be opening one of the windows, attracting our attention towards it. 81


A7. Diagonal surface cuts

mock-up by: Kotryna Jonaityte 86


Initial space transformation steps (working / concept model)

1. Initial cube

2. Cut / split

3. Move parts

keywords: draw / cut / split / move This example is using a paper cube, so it is transformed as a surface and not as a volume, like the foam cubes. In this case, diagonal surfaces are cut off each cube exterior plane, in order to create openings, such as windows. These surfaces are then used to create walls, floors and stairs. Like before, anything inside the cube is considered as an interior space and anything outside the cube, an exterior space. Like before, due to the small size of the physical model, a technique that is used quite often is to fold a paper surface, in order to imply a stair. 87


COMPOSING SPACE B.THE SURFACE

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How can we compose architectural space through steps of controlled transformations using a basic geometry such as a surface?

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COMPOSING SPACE B. THE SURFACE BUILT PRECEDENT

The lobby of the Hotel Q, Berlin, Germany GRAFT Architects, 2004

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There are many built examples globally that follow the logic of transforming a surface. One of the most architecturally notable examples - and also globally acknowledged - is the Hotel Q in Berlin, Germany, by GRAFT architects. It can be found in a number of publications, from contemporary architecture books to magazines and online sites. It is already a “classic”, a point of reference and a must-know for all architects. GRAFT laid out a hotel landscape, that changes the classic spacial canon through the topographical folding of the program. The tectonical logic of elemented construction distorts itself, blends into hybrid zones with double functional occupancies. The inclined area is simultaneously a separating wall but also usable furniture, the lifted floor is circulation surface or a space, emerged from underneath the skin of the house. The flow of this “landscape” creates generous connections where otherwise a typical dissection into singular spaces would prevail. The topographical treatment of the design problem maximises program utilization and creates a continuous flow of form and space. 97


B1. A single space fold

mock-up by: Nicole Wiseman 100


Initial space transformation steps (working / concept model) 1. Draw lines

2. Fold

keywords: draw / cut / split / move This example, like all examples of this chapter, is using folding in order to form and organise architectural space. Maybe the most simple and understandable folding technique to start with, is a single space fold. In this case, the folded surface acts as a funnel, attracting and guiding visitors inside the single space. Like in the first chapter of this book, Organising Space, where walls and floor guided visitors within space, architectural elements such as a folded surface, are used in the same way. Their geometry and form might be a bit more complex than a mere wall, but they can still serve the same cause. 101


B3. Transformation steps one by one How can we understand the design logic of this example? The exercise starts by drawing straightl lines on the surface and then using those lines to cut / split and fold the surface: 1. Draw lines

2. Cut dashed lines

3. Fold along pink lines

1.Draw lines on the surface. The lines have to be parallel to the surface edges for this example. 2. Cut along dashed lines. 3. Fold along pink lines. 110


Final space visualisation

visual & diagrams by: Hannah Martin

Notice that all surfaces appear thicker in the visual than in the physical model. The purpose of always making any surface appear thicker in a visual is that in a built project, any forded surface would need some structure embedded within it, in order to support its own weight and any other loads, such as the people on it. 111


B4. Polygonal / trapezoid folds

mock-up by: Jessica Coulson 112


Initial space transformation steps (working / concept model) 1. Draw lines

2. Fold

3. Close

keywords: draw / fold This example is using a single fold and two pieces of paper. The easiest and fastest way to make the working concept models is by folding any paper, as long as the paper thickness allows it to be folded easily. The initial surface is split in two pieces. In this case, bigger trapezoid shapes are drawn on each piece, which are then folded. These folded surfaces create the walls, floors and ceilings of this architectural composition, as a unique and continuous element. 113


B6. Transformation steps one by one How can we understand the design logic of this example? The exercise starts by drawing diagonal lines on the surface and then using those lines to fold the surface diagonally: Initial Surface

1. Draw fold lines

2. Draw pleat lines

3. Fold

1. Draw main fold lines on surface. For this example, the lines have to be diagonal. 2. Draw secondary pleat lines on surface. 3. Fold surface along main and secondary lines. 122


Final space visualisation

visual & diagrams by: Yuan Ningwei

Secondary folds and cuts on the surface can create details with specific functions. In this case, a cut on the large wall on the left creates a display table. If this cut was larger, then an opening such as a window would have being created. Notice that like in the previous examples, all surfaces appear thicker in the visual than in the physical model. Like before, the purpose of always making any surface appear thicker in a visual is, that in a built project, any folded surface would need some structure embedded within it. 123


C1. Vertical array of contours / curves

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Initial space transformation steps (working / concept model) 1. Draw base line

2. Draw / cut contours

3. Move contours on base line

keywords: draw / copy / paste / cut / move After the built example by GRAFT architects (that creates a horizontal array of contours by stacking them of top of each other), we will explore the same composition logic, but by creating a vertical array of contours or curves. We will need to draw a base line on which the contours or curves will be moved on. The line can have any geometry, it can be a curve, a straight line or have any other shape. Once we draw and cut out the curves using any kind of paper using a cutting knife, we can move them at a specific distance between them and then place them vertically. It is very important to move the curves to a close distance from each other in order to create a form that could act as a wall. 133


C4. Horizontal rotation axis of multiple contours / curves

mock-up by: Natasha Crowe 144


Initial space transformation steps (working / concept model) 1. Draw / duplicate / cut cut curves

2. Rotate curves

keywords: draw / copy / paste / cut / rotate This example is using curves that are copied / pasted a number of times and then rotated in order to compose space. Two “families� of curves are initially created in order to be combined in the final architectural composition. They are shown using black and white paper strips. Like in the previous example, combining those curves a number of times and moving them to a close distance from each other, creates a larger form with actual volume. This technique of creating an overall form through contours or curves, is the main design approach explained in this chapter. 145


Composing Architecture and Interior Design introduces different ways of creating architectural space, based on controlled transformations of physical models. It explains how to compose architectural spaces step by step and can be used from the first years of architecture and interior design studies - and beyond. This book demonstrates how generative design can be applied in architectural practice, regardless of having any knowledge of digital design s oftware. If explained in one sentence, the base of generative digital design is the design logic of transformations. The book starts by introducing different spatial configurations using basic elements, being walls, floors and ceilings , in order to create spaces with different architectural qualities, such as collective or transition spaces. Throughout the book, the most contemporary approaches of composing space, such as folding surfaces or combining curves are explained step by step with diagrams and physical models . Each chapter begins with a globally acknowledged, built project.

ISBN 978-90-636948-7-6

9 789063 694876

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