STUDIO
AIR DESIGN JOURNAL CATHERINE DEMETRIOU 641497
Introduction
CONTENTS
about me + past experience
-INTRODUCTION-
A1 -PRECDENT 1(BANQ/OFFICE DA) -PRECDENT
2-
(center for ideas/minifie van shaik) -TUTORIAL TASK 1-
-DESIGN
A2
Hello!
My
name
completeing
a
is
Catherine
Bachelor
of
Demetriou
and
Environments
I and
am
a
third
majoring
in
year
student
architecture.
When I was first applying for course after having finished year 12, studying architecture was something that I only slightly consdered. Nevertheless, choosing architecture not only to study but also as a career path is a decision that I am very sure about, despite the long hours and hard work.
COMPUTATION-
-PRECEDENT 3(The Scarcity and Creativity Studio)
-TUTORIAL TASK 2-
A3
-COMPOSITION/GENERATIONA4 -CONCLUSIONA5 -learning outcomesA6 -Algorithmic sketches-
Coming into first year environments, I had practially no knowledge of computational skills as I had not undertaken visual communication or any design subjects during school. It was for this reason that, when I took virtual environments as a subject, I found it very challenging to come to terms with programs such as Rhino, Autocad and Adobe Creative Suite. Throughout virtual environments, I was primarily taught panneling skills through Rhino and furthermore, my presentation skills improved immensley over the semester. This is something that I carried throughout my second semsester of first year and furthermore, the entirety of the second year.
Throughout my third year of majoring in architecture I aim to improve these computational skills
that
I
often
find
very
daunting.
I
enjoy
the
fact
that
studio
air
forces
us to become familiar with Rhino and grasshopper and although it may be a challenge, I know that it will become very useful to know these programs throughout the future.
A.1 BANQ/OFFICE precedent 1
DA
For this weeks precedents, we were given two buildings whose architectural beauty was derived not only from interesting design but also with the aid of computational workflows.
The first precedent that was provided was BanQ/ Office DA, a resteraunt built during 2006-2008 that, today, is known as a reseraunt located in Boston USA. The reseraunt is renound for its unusual interior where both the roof and columns, made from a slatted wood system, create the illusion of a “slumping” or “dripping” effect. This system, like any ceiling and roof system structures, is utilised to contain all mechanical, plumbing and lighting systems however does
(1)Photos by: John Horner
not entirely conceal them with the gaps between the slats exposing all the electrical wiring (1).
It is through the expertise of digitial imaging, however, that has granted this roofing system with its organic and free-flowing nature. This is ultimately due to the experience of achitect Nader Tehrani who found inspiration while travelling through the Neverlands Schiphol airport where the buildings slatted ceiling exposes yet filters the mechanical systems of the roof in a very intruiguing way (2). Tehrani, pushing for the digital revolution within the architectural industry, designed the ceiling system using geometries that enabled the wood slats to not only conform to the equipment above but also to create a somewhat adjoining relationship between each material in order to create a unified effect.
I
believe
that
this
building
has
been
continually
appreciated
as
it
seemingly
takes
a different approach to design as it is one that granted its users freedom with its large
rooms
and
open
space,
however,
still
encapsulates
the
idea
of
good
design. (1)Photos by: John Horner
A. 1 center for ideas/minifie precedent 2f
van shaik
The Center for ideas by Minfie Van Schaik Architects was the second precedent provided for week one of studio air. The center was built as an extension of Melbourne University’s Victorian College of the Arts and was built in 2001 (2). The building itself is one that has infact been the cause of debate concerning the future of architectural design as it is was one of few of its time that was designed using digital fabircation.
Minfie Van Schaik Architects designed the building based on the algorithmic development of “vornoi diagrams� which essentially partitons planes into various areas based on specific distances to different points. The building itsels is realised in a stainless steel and aims to convey a sense of movement not only in the real world but also in the
virtual.
It is this relationship with movement that I believe sets the building a part from many within Melbourne city. The combination of the stainless steel and the geometric shapes allows light to reflect differently from varying angles. Furthermore, each side of the building has been created to be physically and aesthetically different, thus creating a sense of movement and keeping users intruiged as they orientate themselves around the building (2).
(2)Photos by: Derek Swalell
a.2 design computation
Over decades, the precense of technology has changed the way in which we live our lives and altered the face of society in numerous ways. For the architectural world, technology or , design computation, has seemingly granted designers and architects an innovative and creative freedom that was not once present throughout earlier years. For many within the design world, the precense of digital design has seemed to not only provide a sense of efficency during the design process but has also, according to Kalay Yehundas “Architecture’s New Media”, given architects the chance to identify and frame problems in a way that will always lead to a reachable solution. It this sense, the computational precense within the architectural world forces designers to become familiar and somewhat rely on algorithmic patterns and geometries (3). This is evidently seen throughout the making of Toyo Ito’s “Serpentine Pavilion” where the base design of the pavilion was based on the algorithm of a cube that was expanded in shape as users rotated around it.
However, although design computation is widely utilised and accepted, its precense is still widely debated throughout the architectural world. As discussed within Yehundas reading, many believe that while it is easy for humans to communicate with computers, the ability for computers to communicate to humans is virtually impossible- thus blocking the creative process. Furthermore, while digital design is somehwat aimed to solve problems, it cannot deal with externally imposed constraints that architects may face later in the design process (4).
Nevertheless, for younger generations and students such as myself, I believe that the precense of digital design provides opportunities that were not once provided throughout previous years. It gives us he chance to physically envision our designs from a three-dimensional perspective which in my opinion, grants both designers and architects a sense of realism during the processes of their design.
(4)Photos by: Sylvain Deleu
a.2 The Scarcity and Creativity Studio precedent 3
For this week’s algorithmic task, my tutor provided us with the challenge of becoming familiar with the movement of the area and this could vary from the movement of the surrounding community or even the movement of the natural and unatural environment around the area. It was for this reason, that for this weeks precedent I chose a project constructed by Scarcity and Creativity Studios, that focused heavily on the movement and patterns of its surrounding environment.
The project itself is located on a sandy dunal landscape, located on the coast of Ritpque in Chile. Within the project there are two main areas: Hospederia de Las Alas (a bird observation shelter situated on the top of a dune that faces a bird sancutary) and Las Piedras del Cielo (a commmunity area that contains a small kitchen for preparation of food). Of the two structures, I found Las Piedras del Cielo the most aesthetically and structurally interesting as it was logistically designed in order to cope with the harsh weather conditions of coastal Chile. Due to the North Atlantic weather, local architecture is often severly effected and was thus, heavily consdiered during the design process of the structure. This is primarily seen in the making of the deck surrounding the project that is not permanently fixated to the substructure of the pier so panels that may be removed by coastal waves can be simply replaced (5). Furthermore, the canopy of the building was designed withstand loads that derive from earthquakes and wind by utilising a series of different knots tied using ropes and it is this sequence of knots used in the ropes can also been seen as a non-digital way of creating an algorithm (5).
While the materiality and the texture of the structure stands out from its surroundings, the tones and materials that are somehwat natural and do not deter from the beauty of the landscape. This is something I strive to do in Merri Creek.
(5)Photos by: Scarcity and Creativity Studio
a.3 Composition/Generation
The coming of didgital computaion within design has changed the face of architecture immensley over numerous decades. Througout our modern day society, architecture has slowly transofrmed from a physical drawing based proffession to one that uses digitial computation as a virtual drawing and designing board that essentially increases the physical qualities of design in terms of presicion, efficency and even scale. This is seen within large scale projects such as the Foster and Parteners International Airport in Beijing. With the aid of digital design the airport extends for more than 3km and covers over 735 000 square meters. Throughout the reading “The building of algorithmic thought�
it states that this
(6)
relationship between digital technology and architecture has seemingly increased knowledge of designers as the computer themselves have more knowledge than the computers themsleves (6). However is this necessarily true? I am not one to believe that computers or machines have more intellect than humans as they are merely taught a series of rules yet I do believe their precense has enhanced the a different sort of knowledge within architects. For example, we no longer need to rely on the skill of hand drawings however, now, we must rely on computational skills. It has created a new genre of architecture where organic forms have become more and more organic and abstract as parametric modeling infiltrates into society. For example, the Khan entertainment center utilised parametric modeling to create an algorithm that defined the shape and structure of the building. Without the precense of digitial computaion the shape of the Center would vary immensley.
(6)
a.4 Conclusion
a.5 Learning Outcomes
Although Part A of Studio Air proved to be quite challenging, my grasshopper and general
Before having started Studio air, my experiences with digital design was very limited.
design computational skills have improved immensley over this three week period. While this
Although I had spent a semester using Rhino for Virtual Environments, I had no knowledge
period of working on Grasshopper has not been one that particularly relates to the concepts
of grasshopper and the ways in which it worked. However, as I started watching tutorials
related to my future design, it has still enabled me to become familiar with the site and
and actually undergoing some parametric tasks I began to realise the benefits of utilising
at the same time, somehwat begin protoyping for the project to come. This understanding has
grasshopper as a modelling tool. While Rhino may technically be more simple, when modelling
therefore, allowed me to recognise that the contrast between the urban and natural life is
something more complex it does not have much efficency and it makes the experience
something that I would like to heavily focus on throughout the rest of studio Air. However,
alot more tedious. Furthermore, I find that when modelling using Grasshopper, it is
instead of assesing the ways in which urbanity may negatively impact the area I will asses
geometrically specific in terms of dimensions. As i develop my skills in Grasshopper, I aim
the ways in which it compliments the area and how it has completely altered the atmosphere
to create something that is not only complex in script and design but also something that
of the trail in a positive manner. This is something I intend on showing throughout both my
may enhance the area of Merri Creek.
design process and my final design.
a.6 tutorial task`
For this weeks tasks our tutor assigned us the task of three dimensionally creating a bench that may be placed within Merri Creek using Rhino and Grasshopper. Even after the tutorials, I found the task very challenging as it was very difficult to get my head around the new softwares, Although my tutor was very flexible in what he wanted with the task, he requested that we used the concept of “lofting� in Grasshopper where various lines become one entire surface. I began the task by creating curves in Rhino and then in Grasshopper, extruding them to different heights using the slider tool, then lofted the objects and this turned what I wanted to be a feature wall that would sit behind the bench. For the bench itself I conducted the same process, however, this time I put a cap on the top of the two extruded lines in order to create the seat for the bench.
a.6 tutorial task`
For this weeks tasks our tutor assigned us the task of creating a sculpture that would provide or change the movement around the Merri Creek area. I primarily began this task by trying to understand the area itself. For example I began identifying things such as: - The users - Climate - Topography - Natural Environment
After assesing these aspects of the area I decided I wanted my sculpture to be something that would not only change the movememnt of the users but I also wanted it to be something they could explore through. The main component of this weeks three dimensional task was to be able to use the “Mesh� command and with the aid of the online tutorials, I created a sculpture that took the form of an organic spiral, the spiral was designed with the intention that users could move around and explore through its interior. However, I realised that this did not meet the requirement of creating a mesh surface. I then began creating another sculpture that, unlike the spiral, was of a more horizontal manner but at the same time induced a more complex pattern. Like the spiral, the sculpture was made for users to walk through it as they walked through Merri Creek.
Referencing
1. GUEST, 17/2/15, 2009-last update, BanQ Resteraunt by Office DA [Homepage of Yatzer], [Online]. Available: http://www.yatzer.com/BANQ-restaurant-by-OfficedA2015].
2. BENNETTS, P., 2001, 2001-last update, Centre for Ideas [Homepage of Minifie Van Schaik Architects], [Online]. Available: http://www.mvsarchitects.com.au/doku. php?id=home:projects:victorian_college_of_the_arts [20/3/15, 2015]
3. YEHUNDA, K., 2004. Architecture’s New Media: Principles, Theories and Methods of
Computer-Aided Design. https://app.lms.unimelb.edu.au/bbcswebdav/pid-4660724-
dt-content-rid-16293380_2/courses/ABPL30048_2015_SM1/ABPL30048_2014_SM2_
4. ARCH DAILY, 2008-2015, 2002-last update, Serpentine Gallery Pavillion [Homepage of Arch Daily], [Online]. Available: http://www.archdaily.com/344319/serpentinegallery-pavilion-2002-toyo-ito-cecil-balmond-arup/2015].
5. HENSEL, MICHAEL AND CORDUA, CHRISTIAN, 2015. Scarcity and Creativity Studio. http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1876/epdf edn. Architectural Design.
6. PETERS, B., 2015. Computation Works: The Building of Algorithmic Thought. https://app.lms.unimelb.edu.au/bbcswebdav/pid-4660708-dt-content-rid-16293382_2/ courses/ABPL30048_2015_SM1/ABPL30048_2014_SM2_ImportedContent_20140709012321/ Peters%20-%20Computation%20Works_The%20Building%20of%20Algorithmic%20Thought%2C%20 pp%208-13.pdf edn. Architectural Design.