STUDIO AIR 2016, SEMESTER 1, CAITLYN PARRY CHARLOTTE ANNA SUDHOLZ 699128
CONTENTS
Intoduction Part A. Conceptualisation Part B. Critical Design Part C. Detailed Design
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INTRODUCTION ABOUT ME
My name is Charlotte Sudholz. I am currently studying at the University of Melbourne where I am in my third and final year of a Bachelor of Environments, majoring in architecture. The things that I inspire me most in life are art, travel, food, jewellery, family and friends. Whilst starting this studio, I began to realise that my knowledge of digital design was reasonably slim in comparison to my understanding of other architectural influences. Despite being heavily reliant on alternate techniques such as drawing and watercolour, I am rather nervous yet excited to explore Grasshopper and gain a greater comprehension about computerised design and its potential. My first encounter with digital designing tools initiated with a variety of Adobe Suite programs, including Photoshop, Illustrator and InDesign. After completing my previous two architectural studios, my skills within such software has become more proficient due to the development and representational requirements that various final pin-ups require. Rhino was the primitive digital modelling program that I was introduced to, within which I learnt about basic panelling tools and how to approach different geometry. Since I am revisiting the program, I hope to gain a greater understanding of its possibilities in conjunction with the plug-in Grasshopper; ultimately enriching my confidence and redefining my approach to an alternative method of design.
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CONCEPTUALISATION
CONCEPTUALISATION 5
PART A:
CONCEPTUALISATION
1.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcome A.6 Appendix - Algorithmic Sketches
Responsive Surface Structure II Architect: Steffen Reichert and Achim Menges, Location: Main, Germany, Year: 2008
Visualisation of the oscillating facade derives from Rhino and
engages with the concept of controlling site-specific data to optimise its response to surrounding natural elements. Various sized openings and a double curvature allows for appropriate shading whilst not detracting from the architectural ideal, emulating how such innovative software can be incorporated within a practical and subtle manner. Such a contextual project has influenced environmental focused facades within contemporary architecture and describes how computer-aided design can target and assist various system’s passive objectives. Fabrication was a fundamental process for the Messe Basel, as the exterior skin of the building couldn’t have been predicted without various trials. Limitations such as constraints of assembly and a materials durability allowed the organic skin to take on various identities, and so such a process was important to determine how ideal the 2D CNC-milled components were in relation to the building and its requirements.
The notion of simplification within this attention to detail reminisces a course of change within architecture, describing how a singular tool can be developed for a singular project, strengthening the concept and architectural ideal. By doing so, each work is fundamentally its own; detaching itself from its precedences and a stylistic stigma, changing how one can approach a design without the limitations of connotations to other facets. As a monumental structure in terms of space and accessibility, the Messe Basel depicts how light can be modularly targeted within the structure due to the variable sized openings. This enhances the spatial experience for the inhabitants and provides an ambiguous sense that allows the building to dissolve within its environment; an effect that is thanks to the materiality and computerised, woven facade that disperses the site into architectural form.
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CONCEPTUALISATION
Messe Basel Architect: Herzog de Meuron Location: Basle, Switzerland Year: 2013
An underlying theme of biological and ecologically embedded architecture is evident within Steffen Reichart’s structures and their interaction and reflective nature of their context. By working in a geometrical manner, the organic form can address the state of our surroundings through dynamic expression, denoting the level of moisture and humidity. This material-based way of thinking can influence our way of addressing how we live, influencing our built identity by focusing on our environment status. Experimentation with wood’s hygroscopic behaviour has never been optimised with computerised design components, and by combining the two an innovative notion of embedded responsiveness has been indicated within this material’s capacity. Therefore by engineering this organic product to become moisture-responsive in relation to humidity, a dynamic and a representation of ‘living’ architectural form has developed, instigating change in the way one perceives the possibilities of a material and its relation with computerised development.
Despite being part of an experimental series of responsive surfaces, this group of polysurfaces is a prototype which emulates how far this type of technology could be developed. Its initial description of the potential behind the contextual capacity of the material is so diverse and could be used to compliment various built elements, reiterating how important it is to explore new combinations within future forms. Such a self-sufficient design is timeless due to its structural and technological identity; as it has adapted its morphological features to not require a substructure, redefining the structural frame through each extension and tip. Such complexity within the skin of this prototype allowed the world to consider how responsive systems could be approached, inspiring various installations and the diversity of algorithmic processes. By showing constant physical feedback from a direct interaction with its surrounding environment, Reichart illustrates a type of architecture that is fluid in relation to its context, almost acting as an environmental indicator. This facet allows inhabitants to comprehend what is effecting their context and the patterns behind its behaviour, giving them self-awareness of their landscape whilst giving the prototype a dual purpose in relation to its intent and future possibility within urban communities.
CONCEPTUALISATION 9