Seow_Cassandra_759925_JournalA by Cassandra Seow

STUDIO AIR Cassandra Seow Yie Fang 759925 Finn Warnock, 2017 Semester 1

CONTENT INTRODUCTION

A. CONCEPTUALISATION A.1 DESIGN FUTURING

A.2 DESIGN COMPUTATION

A.3 DESIGN COMPOSITION

A.4 CONCLUSION

A.5 LEARNING OUTCOMES

A.6 APPENDIX (ALGORITHIMIC SKETCHES)

A.7 BIBLIOGRAPHY

INTRODUCTION If you weren’t an optimist, it would be impossible to be an architect. – Norman Foster

Born and raised in Sabah, Malaysia, where all you enjoy is beaches and tropical weather. My name is Cassandra, currently pursuing architecture as my major and in my 3rd year. Always been a bubbly and quirky character, and fond of geometrical architecture. As seen in the quote above, I strongly agree with Norman Foster. To me, being an architect is about reaching new limits, breaking boundaries and to stay true to your roots. To be able to combine the nature of the site and incorporate it to the design, will make the building speak for itself and actually make it be one with the site. Being an optimist to me means to be able to accept critics and improve, improvise and learn.

That explains my love for reknown architects such as Frank Gehry, Daniel Libeskind and Zaha Hadid. And withe the aid of Studio Air, it’ll help me learn how to create buildings somewhat similar to theirs. Most of my past work were focused on the pure form of geometrical shapes and with the help of tilting it at different angles, playing around with their dimensions, will give me an unexpected form. I can say that most of the outcomes of my designs will somehow vary from what I expected to be at the start. That’s why I am very excited to be doing this studio. I want to explore depeer into geometrical forms and see where it will lead me, and probably learn how to create all these forms in a faster way.

CONCEPTUALISATION

A.1 DESIGN FUTURING

CASE STUDY 1 GUGGENHEIM MUSEUM BILBAO by Frank Gehry

“ ilbao is truly a signal moment in the architectural culture,” says the Pulitzer Prize - Paul Goldberger. Frank Gehry has always been my favourite architect ever since I stepped into the world of architecture, his one of a kind designs was what brought me into the architecture and design world. Combining both computer aided softwares and traditional architecture concepts, what he has created is simply indescribable. The Bilbao effect, has now changed how architects are thinking nowadays and also influencing new generation of designers. This building has caused a new revolution, in Gehry’s mindset of avoiding to achieve postmodernism, to not use historical references and decorations. Using more swoops and curves into his designs, reaching a whole new limit of a buildable building. 1

Despite that, the museum’s site strongly relates to its context, sitting by Nervion River which runs south to north, making a tangible connection to the city. With its shiny metalic form that resembles a boat, it shows Bilbao’s historic industrial past. Gehry also plays with how the light will shine on his building, and that explains the randomness of the curves.

1. Matt Tyrnauer, Architecture in the Age of Gehry, (2010), <http://www.vanityfair.com/ culture/2010/08/architecture-survey-201008> 2. Brian Pagnotta, AD Classics: The Guggenheim Museum Bilbao/Gehry Partners, (2013), <http:// www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry>

Technology is important, but computers cannot do

â&#x20AC;&#x153;

anything without the assistance of the human brain,â&#x20AC;? - Jacques Herzog. To create all these twisted curves would not be easy. Gehry has used a 3D design software called CATIA which aids in complex designs and calculations. 2 Knowing how he came about to create this wonderful piece of architecture made me realise how important computer softwares are in helping me design my future projects.

CASE STUDY 2 GUANGZHOU OPERA HOUSE by Zaha Hadid

“ he two buildings are embedded in an artificial landscape impregnated with program and spaces,” -Patrik Schumacher The second building that I chose for my case study is this stunning opera house located in Guangzhou, China. In relation to the location and context of the place, Hadid has shaped the building to resemble two pebbles on the bank of the Pearl River. The one of a kind twin boulder design enhances the city by opening it to the River, and also being at the heart of Guangzhou’s cutural development.1 Hadid strongy involves the relationship between both architecture and nature, taking inspiration from the natural landscape, principles of erosion, geology and topography. For example, how it was affected by the river valleys and the way it has become through erosion. Her raw talent of combining both her forms into the context is what makes this building so unique. Hadid’s ability to convey a sense of bodies in motion makes her design never static. Curves that will make you feel like accelerating and different turns that bring you to uexpected routes.2

But, to build this would require additional help, and took full advantage of the computational technologies back then. These organic forms were achieved through logarithms, splines, blobs, NURBs and dynamic systems of parametric design. Even so, traditional techniques were used, where joints were made of wood and then embedded to sand to form moulds to which the steel for the final nodes were poured. 3 How Hadid has created her work really expands and inspire new generation architects in that motion can be represented in the building. For instance, how you would want the user to feel when they are using it and what may they like or dislike. All the complex geometrical shapes became so easily created with the aid of computational technologies.

1. Rose Etherington, Guangzhou Opera House by Zaha Hadid Architects, (2011), <https://www.dezeen. com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/> 2. Nicolai Ouroussoff, Chinese Gem That Elevates Its Setting, (2011), <http://www.nytimes. com/2011/07/06/arts/design/guangzhou-opera-house-designed-by-zaha-hadid-review.html> 3. Joseph Giovannini, Guangzhou Opera House, (2011), <http://www.architectmagazine.com/design/ buildings/guangzhou-opera-house_o>

A.2

2 DESIGN COMPUTATION

CASE STUDY 1 HARBIN OPERA HOUSE by MAD Architects “

I want to make the building blend into the horizon so it

feels like part of the land. I took this pattern of the water flowing from the river banks, and I turned it into modern architecture.” - Ma Yansong1 This sleek lookinng building, located along Harbin’s Songhua River and surrounded by wetland landscape, is said to be the cultural centre of the future. With it seamlessly blending into the environment, as if it looks like it is sculpted by wind and water, a transfusion of local identity, art and culture.

This performative design with parametric algorithmic design will produce digital architectural form in response to the environmental context, which explains why this buulding blends in so beautifully with its surrounding landscape.

The curvilinear facade is made of smooth white aluminium panels, a tectonic system in which the material design has become a part of the digital architectural design.2

It kind of reminds of Zaha Hadid’s buildings, in which all these curves signify movement, like the constant moving river that’s situated along the building.

wanted people to be able to climb the building, like a mountain.” - Ma Yansong “

1. Michele Baker, The Stunning Architectural Design of Harbin Opera House, accessed 2017, <http://www. vmistudio.com/architectural-design-harbin-operahouse/> 2. “Harbin Opera House / MAD Architects” 16 Dec 2015. ArchDaily. Accessed 12 Mar 2017. <http://www. archdaily.com/778933/harbin-opera-house-madarchitects/>

CASE STUDY 2 ICD/ITKE RESEARCH PAVILION 2012 by University of Stuttgart

Made from carbon and glass fibre composites, ICD and ITKE has outdone themselves again with this research pavilion back in 2012. The relationship between biometic design and robotic production is explored, with the research focusing on the material and morphological principes of athropods’ exoskeletons. With the aid of computer based design, new tectonic possibilities in architecture is made possible, with the integration of form generation, computational stimulations and robotic manufacturing.1 Starting off with a simple exoskeleton of a lobster, they took that as inspiration and as a precedent.

Intepreting it and thus creating new prototypes for intepretation, and choosing the characteristics that are similar. In this case, looking into the soft and hard parts of the exosskeleton and also looking at their arrangements in which loads are transferred. Afterwith all the research done, then it starts with form finding and testing of materials. The help of design computation uses the exskeleton and durther improves it and integrated into a new architectural design. Can be said to be the “Vitruvian effect”, where both material and technology expands the relationship between computer and architecture, design to production, and from form generation to fabrication design.2

1. Arch Daily, ICD/ITKE Research Pavilion/University of Stuttgart, Faculty of Architecture and Urban Planning, (2013), <http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-ofarchitecture-and-urban-planning> 2. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

.3 DESIGN COMPOSITION

CASE STUDY 1 SERPENTINE GALLERY PAVILION 2002 by Toyo Ito & Cecil Balmond

This Serpentine Pavilion made of steel glass and aluminium sets its ground at London’s Kensington Gardens, comissioning reknown architects Toyo Ito and Cecil Balmond to design it.

With the use of algorithmic knowledge, which means that they can interpret and generate codes to explore new options and expand their design potentials.2

This steel frame structure is derived from an algorithm of a cube that is expanded and rotated, with numerous triangles and trapezoids. The intersecting lines are transparent and gives it a sense of repeated motion.

Like this pavilion, it is derived from a cube where random cuts are made, exploded, expanded and intersected. With the use of algorithms, it can be modified and thus generating different architectural spaces, element placements and configurations.

Ito provides Balmond with the mathematical and logical framework, where sold and light elements are balanced on an architectural knife-edge. 1

1. Serpentine Galleries, “A lesson in imagination from a Japanese master”, <http://www.serpentinegalleries. org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-and-cecil-balmond-arup>[accessed 16 March 2017] 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

CASE STUDY 2 AL BAHR TOWERS by AHR

Energy efficient, ecogreen and sustainable, the Al Bahr Towers by AHR Architects have implemented kinetic architecture into their design. Its Masharabiya shading system was developed computationally, using parametric description for the geometry of the facade panels. It is programmed in a way that the facade will respond to optimal solar and light conditions, in response to sun exposure and changing incidence angles for different days of the year.1

In process of turning this building into life, AHR has combined principles of bio-insporation, performance oriented technology, regional architecture and geometric composition into becoming a highly efficient integrated system2 Eventhough the success of this building can be said to be because of these computational softwares, fo it to be useful, it has to be flexible too. They have to adapt to the constantly changing parameters of architectural design. Also, to maximise the benefits of using these softwares, knowledge about material (in this case, glass), performance analysis, tectonics and production machinery in the design drawings must be included.3

1. Karen Cliento, “Al Bahar Towers Responsive Façade/Aedas, ArchFaily, (2012), <http://www.archdaily.com/270592/ al-bahar-towers-responsive-facade-aedas> 2. AHR, “Al Bahr Towers”, <http://www.ahr-global.com/Al-Bahr-Towers>[accessed 16 March 2017] 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 0815

A.4 CONCLUSION Throughout the whole of Part A, Iâ&#x20AC;&#x2122;ve learnt that computational softwares really come in handy in designing complex structures that require accuracy. My intended design approach will be leaning towards the geometrical side, how algorithms can change and form different structures. I look forward to exploring new design potentials and other geometrical shapes rather than just a simple triangle or square. With the use of these 3D softwares such as Grasshopper, I can explore designs and also stimulate performance, both physical and experiential. Also, I would like to create something that has relation to the context and the user can tell what I am trying to portray through that design. Like Zaha Hadid, for example, to portray sense of motion and moveents throught curved surfaces.

A.5 LEARNING OUTCOMES The past few weeks of learning a completely new software was hard at first but as I was trying to get my head around it, it seemed more and more interesting. The theory was quite hard to understand just by reasding it but made sense when I actually tried it by hand. My background knowledge for architectural computing was not deep, mainly consist of AutoCad and Rhino 3D. But now I got the chance to learn Grasshopper and I am looking forward to it. From learning attractor points, to create a 3D surface based on pictures, it opened up my view towards what I can create and explore in terms of design for the upcoming weeks. With this set of skills, I can create more compex shapes in an easier and time efficient way. For my past subjects that Iâ&#x20AC;&#x2122;ve learnt, I could have used Grasshopper to create the triangular patterns for my geometrical shaped sleeping pod, rather than doing it by hand.

A.6 APPENDIX (ALGORITHIMIC SKETCHES)

ATTRACTOR POINT

ATTRACTOR POINTS

With the use of attractor points, it can influence any number of parameters or its surrounding objects which includeds scale, rotation, color and position. For example in my sketches, the objects nearest to the attractor points will decrease in size and increase in distance comparerd to the others.

A.6 APPENDIX (ALGORITHIMIC SKETCHES)

UK PAVILION - HEATHERWICK STUDIO

We were asked to recreate the UK Pavilion by Heatherwick Studio or take it as in inspiration and make variations of it. Starting out my lofting curves and turning it into a 3D structure, it kind of set the base of how the structure would look like. Then, a BREP is placed in the middle (in this case, a sphere was used). Points were divided and then lines were inserted to create the porcupine like structure. To make it more realistic, the lines are then transformed into pipes. Both length and radius for the lines and pipes are flexible and can be changed depending on how you want the overall structure to look like

A.7 BIBLIOGRAPHY AHR, “Al Bahr Towers”, <http://www.ahr-global.com/Al-Bahr-Towers>[accessed 16 March 2017] Arch Daily, ICD/ITKE Research Pavilion/University of Stuttgart, Faculty of Architecture and Urban Planning, (2013), <http://www.archdaily.com/340374/icditke-research-pavilion-university-ofstuttgart-faculty-of-architecture-and-urban-planning> Brian Pagnotta, AD Classics: The Guggenheim Museum Bilbao/Gehry Partners, (2013), http:// www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry “Harbin Opera House / MAD Architects” 16 Dec 2015. ArchDaily. Accessed 12 Mar 2017. <http://www.archdaily.com/778933/harbin-opera-house-mad-architects/> Joseph Giovannini, Guangzhou Opera House, (2011), http://www.architectmagazine.com/ design/buildings/guangzhou-opera-house_o Karen Cliento, “Al Bahar Towers Responsive Façade/Aedas, ArchFaily, (2012), <http://www. archdaily.com/270592/al-bahar-towers-responsive-facade-aedas> Matt Tyrnauer, Architecture in the Age of Gehry, (2010), http://www.vanityfair.com/ culture/2010/08/architecture-survey-201008 Michele Baker, The Stunning Architectural Design of Harbin Opera House, accessed 2017, <http://www.vmistudio.com/architectural-design-harbin-opera-house/> Nicolai Ouroussoff, Chinese Gem That Elevates Its Setting, (2011), http://www.nytimes. com/2011/07/06/arts/design/guangzhou-opera-house-designed-by-zaha-hadid-review.html Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Rose Etherington, Guangzhou Opera House by Zaha Hadid Architects, (2011), https://www. dezeen.com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/ Serpentine Galleries, “A lesson in imagination from a Japanese master”, <http://www. serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2002-toyo-ito-andcecil-balmond-arup>[accessed 16 March 2017]