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Kloppersbos Retreat metz + metz architects cc Dinokeng Reserve, Pretoria, South Africa
The Kloppersbos Retreat project encourages new life to what was once an unused part of history through a very considerate approach. An existing kraal-like ruin was converted to form this retreat1. In effect the new retreat’s geographical point acts as a marker of history for generations to come, whilst simultaneously representing the progression in technologies and ways of living. The ‘retreat’ is used to remind humans of how we used to live in a self-sufficient manner from the gifts of the land. Through these progressions into modern times where humans are more technologically advanced, less self-sufficient and more globally and locally connected with resources, it’s important to look back and acknowledge how we can still be environmentally resourceful and build a working relationship with nature as it will always exist.
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The retreat’s thoughtful design incorporates new human knowledge (materials such as concrete, new technology, controlled sun orientation devices), respect and understanding of the ever presence of nature and the site’s history and environmental context.2 The low energy requirements3 generated by considerate and responsive design allow the structure to act as a ‘retreat’ from the consumerist nature of the city areas. The Kloppersbos Retreat quintessentially promotes a reminder of the past and its benefits to essentially move forward.
1 Pieter Mathews, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011), p.212. 2 Mathews, p.212. 3 Mathews, p.212. 4 Figure 1: Fritz Metz (photographer), Contemporary Capital. 5 Figure 2: Fritz Metz (photographer), Contemporary Capital.
Fig.1. Klopperbos Retreat Photo 14
Fig.2. Klopperbos Retreat Photo 25
A.0.
Design Futuring
This house was developed to predominantly pay tribute to its surrounding context through its aim to provide a continuous unity with the immediate environment.1 The house is situated on a game farm close to this small town of Rooiberg in the foothills of the Waterberg Mountains.2 The endeavour for this project by its architectural and professional team was to have an attentiveness and recognition of being in a naturally beautiful place.3 The intention of this house’s architecture is to be lesser than its surrounding context so as to always predominantly enlighten the viewer to the environment, more so than the structure.4 This engages the theory that architecture does not necessarily aim to focus on itself but rather has the power to be used as a reflective piece to focus alternate matters.
1 Pieter Mathews, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011), p.240. 2 Mathews, p.240. 3 Mathews, p.240. 4 Mathews, p.240. 5 Figure 3: David Ross (photographer) (courtesy VISI), Contemporary Capital. 6 Figure 4: David Ross (photographer) (courtesy VISI), Contemporary Capital.
Rooiberg W Design Architecture Studio Portion Rooiberg, Limpopo, South Africa
Fig.3. Rooiberg Photo 15
Fig.4. Rooiberg Photo 26
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Izmir Opera House (comp.), Nuvist Architecture & Design, Izmir, Turkey
Fig.5. Izmir Opera House Photo 11 Shellstar Pavillion, Matsys, Hong Kong
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1Figure 5: <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015]. 2 Figure 6: Dennis Lo, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015] 3 Figure 7: <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015].
Fig.7. Izmir Opera House Photo 23
Fig.6. Shellstar Pavillion Photo 12
A.1.
Design Computation
adaptive, Innovative, Efficient As opposed to in past, computation now has the ability to generate new innovative ideas responding to the information we feed it instead of having a predetermined idea and playing around or simply copying it onto the computer until the designer is content. Computation is an apparatus that can tell us about the nature of a specific environment and how to change design into sharable, analysable information.1 Design can in turn be produced as an expression of this understanding rather than the usual parameters of cultural background, personal taste or income2 and thus overall may be seen as re-defining current practice.
Subsequently time efficiency was also achieved using advanced digital modelling techniques (form-finding; surface optimization; fabrication planning) for a result in just 6 weeks - design, fabrication and assembly.4 Computation presents many unique possibilities and innovations which read quite differently visually, from architectural history. As seen in the Opera Izmir which presents quite an obvious computerised design. This projectâ&#x20AC;&#x2122;s intention was to create function and inserted data regarding the environment, perceptual data, vista areas and meteorological factors.5
Preceding Architectural theorist Louis Sullivan was adamant form ever follows function.6 We can somewhat appreciate this theory and adapt it into modern thought where function when related to people, flows, the environment and a general consideration of purpose does come first as algorithmic data and the computer can then with all information gathered, create a form.
Efficiency is a key concept allowed by computational practice. In the Shellstar Pavillion, the project focused on achieving maximum strength with minimal structure and material.3 1 Rosemary Gunzburg and Stanislav Roudavski, Air Lecture 1, conducted University of Melbourne, 2015. 2 Gunzburg and Roudavski, 2015. 3 Matsys, Shellstar Pavillion, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015]. 4 Matsys, Shellstar Pavillion 5 Tuvie - Futuristic Technology, Izmir Opera House by Nuvist Architecture and Design, <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015]. 6 Louis H. Sullivan, The Tall Office Building Artistically Considered, <http://academics.triton.edu/faculty/fheitzman/tallofficebuilding.html>, [18 March 2015]. 7 Figure 8: Dennis Lo, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015]
Fig.8. Shellstar Pavillion Photo 27
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The shift from architectural composition to generation is a recent one and may be seen as a gradual and natural progression from traditional practice and thought. The very nature of tradition suggests a relentless attachment to the past regardless of the relevance to the present day and can in the case of architecture have a negative effect if no progress is sought and agreed upon by a majority. Architectural generation is the new form of thought and action in the design process and includes the aspects of algorithmic thinking, parametric modelling and scripting cultures. The focus and difference of generation design is to design a componential system to enable multiple variations of a product. The shift to this approach has come with much reaction, particularly a sense of lament for the place of creativity and old school imagination.1
Whilst many are hesitant to this new direction as they hold concern for the place of creativity and imagination, Peters describes this new method as in fact an expansion of the designer’s knowledge and mind.2 He also believes once the digital is no longer conceived and discussed as a separate thing, then computation can truly receive its accreditation as a verified design method.3 With every method and material, such as a pencil, it will hold certain limitations, benefits and possibilities.4 The present needs of society match with the benefits of computational methods and these methods are able to tackle the more complex issues of this time, which ironically have resulted by humans’ misuse of the planet as a limitless resource.5 Some of these benefits and limitations can be seen in these structures which utilize generation.
Shenzhen Bao’an International Airport Building Massimiliano Fuksas Architects Bao’an, Shenzhen, China
Fig.9. Shenzen Baoán International Airport Building Photo 16
1 Rosemary Gunzburg and Stanislav Roudavski, Air Lecture 2, conducted University of Melbourne, 2015. 2 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 8-15 (p.15). 3 Peters, p.15. 4 Gunzburg and Roudavski, 2015. 5 Tony Fry, Design Futuring: Sustainablilty, Ethics and New Practice, (Oxford: Berg, 2008), pp.1-16. 6 Figure 9: Knippers Helbig, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015]. 7 Figure 10: Courtesy of ICD/ITKE University of Stuttgart, < http://www.architectureforfuture.com/blog/24/8/2014/ interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015] 8 Figure 11: Leonardi Finotti, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shenzhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015].
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Fig. 11. Shenzen Baoán International Airport Building Photo 18
Fig.10. Fiber Woven Research Pavillion Photo 17
A.2.
Composition/Generation
Shenzhen Bao’an International Airport Building Massimiliano Fuksas Architects Bao’an, Shenzhen, China
Fiber Woven Research Pavilion ICD/ITKE team University of Stuttgart (Parametric modelling & computer simulation tools)
(Using parametric software tools)
Benefits •The team was able to create a sense of dynamism – the 3D nature of the features allow them to look different from different positions of the viewer1 •Ability to analyse daylight and energy input2 •Time efficiency – optimization could be repeated and tested very quickly allowing the primary design of the facade and structure to be completed in just a year and immediately passed on to other disciplines (engineering/ planning)3
Limitations
•Lack of specific control over visual product •Limited to patterned style, less freedom
Limitations •Performative morphology in nature
can’t be transferred immediately to the design and construction – human investigation is still needed and then can be applied to technical applications4 •In moving one element, the entity
as a whole will shift – this may be undesired
Benefits
•(ability to be) Collaborative –collaborating with biologists to explore novel and efficient strategies5 •Use of robots as part of construction – time efficiency, automated and precise results, reduced manual labour and risk of error6 •Helps realise novel design and construction potentials that were formerly impossible7 •Exploring unique and new architectural solutions •Resource efficiency (calculated use of resources and use of robots for implementation)8
1 Architectural Record, Dodge Data & Analytics, Shenzhen Bao’an International Airport Terminal 3, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shenzhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015]. 2 AJ Welch, E-Architect, Shenzhen Bao’an International Airport, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015]. 3 Welch, E-Architect. 4 Architecture for Future, Interview with ICD/ITKE, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015]. 5 Architecture for Future. 6 Architecture for Future. 7 Architecture for Future. 8 Architecture for Future. 9 Figure 12: Courtesy of ICD/ITKE University of Stuttgart, < http://www.architectureforfuture.com/blog/24/8/2014/interview-with-icditke-team-on-fiber-woven-research-pavilion-2013-14>, [accessed 18 March 2015] Fig.12. Fiber Woven Research Pavillion Photo 29
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1 Figure 13: Cara Brogno, Photo
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Fig.13. Chains representing linked systems Photo 11
A.3.
Conclusion
Part A critically analyses current architectural thinking and ways of designing and explores the computational thinking and systems of the future at present. My intended design approach is to be contextually focused, be experimentative and try not to be predetermined with a particular visual product but allow computational possibilities to originate an outcome. My approach is to build some sort of relationship between what is there and what could potentially be. It is significant to design in this way because it creates a shift in thinking and puts the emphasis on purpose. It is a very organised and literally methodological approach rather than being aesthetically focussed. It would be innovative to design something which may enhance how someone lives or interacts as well as the method by which itâ&#x20AC;&#x2122;s designed. The users of this structure should be able to relate and interact, much like engaging happily with a new friend. 1 Figure 14: Cara Brogno, Photo Fig.14. Chains representing linked systems Photo 21
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1 Figure 15: Cara Brogno, Photo
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Fig.15. Possibilities Photo11
A.4.
Learning Outcomes
My experience learning about the theory and practice of architectural computing thus far has been a real challenge and extension of my breadth of knowledge but I have found aspects interesting and am starting to realise the beneficial nature of the new technologies being developed. From the beginning of the semester to now Iâ&#x20AC;&#x2122;m a lot more aware of computing possibilities whereas before I had the preconception that computing was just a tool to compose your ideas faster. I realise now that it can act as a generator of things you hadnâ&#x20AC;&#x2122;t even thought of or may have been quite difficult to even conceive and then express. What interests me a lot is the multidisciplinary nature of sharing files and adapting to the surrounding environment therefore making each structure as self sustainable as possible and unique to their individual context rather than just artistically unique.
1 Figure 16: Cara Brogno, Photo Fig.16. Possibilities Photo 21
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A.5.
Appendix - Algorithmic Sketches
Why did i select these to include?
How did reseach extend the material in tutorial?
What new knowledge/ understanding/creative ideas do they represent?
how do they represent some of the arguments made?
The image on the far left is the original product of what I thought was a loft gone haywire, but instead ended up being one of the most interesting geometries. When trying to comprehend it in perspective I realised the obscurity and complexity of the interlapping curvature and that it actually made sense. Turning it upside down, I discovered its possible use as a structure in this state. I think I appreciate the niches, its dynamic nature and the connected yet flowing sense it may give to a viewer as a pavillion - it would leave much to the viewer’s imagination and promote a mental and physical interaction.
I used the search tool a lot in Rhino to find out more about the commands, their definitions, what they require and what they can produce. This helps a lot to increase user creativity by providing the knowledge base and allowing the user to interweave their own ideas. When I turned it over, I wanted to enclose the roof so as to give a sense of closure and finished geometry. I researched into the ‘capping’ feature. Although very simple, it’s a command now under my belt for future reference.
This primarily taught me that experimenting with the perspective can be extremely inspirational and useful and to not judge an execution by how it first comes out. It has made me a believer in the beauty of organic complexeties. What I’m going by is that I don’t have to neccessarily have to understand how everything will turn out, but to keep on trying and experimenting until I’m inspired.
Much of the reasearch I discussed relates to these examples and their process: - Not having a predetermined idea can create something great - The creation of unique possibilities - The invention of something you may not even have comprehended or known how to visually represent - Creating something amazing without working for hours on paper but commanding the computer within minutes to create various representions to share with others who can understand it.
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References Mathews, Pieter, Contemporary Capital: An Architectural Journal, (Brooklyn Square: Visual Books, 2011) Gunzburg, Rosemary and Roudavski, Stanislav, Air Lecture 1, conducted University of Melbourne, 2015 Matsys, Shellstar Pavillion, <http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [accessed 14 March 2015] Tuvie - Futuristic Technology, Izmir Opera House by Nuvist Architecture and Design, <http://www.tuvie.com/izmir-opera-house-by-nuvist-architecture-and-design/>, [accessed 15 March 2015] Sullivan, Louis H., The Tall Office Building Artistically Considered, <http://academics.triton.edu/faculty/fheitzman/tallofficebuilding.html>, [18 March 2015] Gunzburg, Rosemary and Roudavski, Stanislav, Air Lecture 2, conducted University of Melbourne, 2015 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013), 8-15 Fry, Tony, Design Futuring: Sustainablilty, Ethics and New Practice, (Oxford: Berg, 2008), 1-16 Architectural Record, Dodge Data & Analytics, Shenzhen Bao’an International Airport Terminal 3, < http://archrecord.construction.com/projects/portfolio/2014/03/1403-shenzhen-bao-an-international-airport-terminal-3-studio-fuksas.asp>, [acessed 18 March 2015] Welch, AJ, E-Architect, Shenzhen Bao’an International Airport, < http://www.e-architect.co.uk/hong-kong/shenzhen-airport>, [accessed 18 March 2015]
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