Nicholas Dean_699066_Air Journal

STUDIO AIR NICHOLAS DEAN 699066 SEMESTER 1, 2016 TUTOR: FINN WARNOCK

Table of Contents PART A: CONCEPTUALISATION A1 DESIGN FUTURING A2 DESIGN COMPUTATION A3 COMPOSITION/GENERATION A4 CONCLUSION A5 LEARNING OUTCOMES A6 APPENDIX - ALGORITHMIC SKETCHES PART B: CRITERIA DESIGN B1 RESEARCH FIELD B2 CASE STUDY 1.0 B3 CASE STUDY 2.0 B4 TECHNIQUE: DEVELOPMENT B5 TECHNIQUE: PROTOTYPES B6 TECHNIQUE: PROPOSAL B7 LEARNING OBJECTIVES & OUTCOMES B8 APPENDIX - ALGORITHMIC SKETCHES PART C: DETAILED DESIGN C1 DESIGN CONCEPT C2 TECHTONIC ELEMENTS & PROTOTYPES C3 FINAL DETAIL MODEL C4 LEARNING OBJECTIVES & OUTCOMES

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CRITERIA DESIGN

PART A CONCEPTUALISATION

CRITERIA DESIGN

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Since then, my architecture education has introduced me to new ways of communicating and visualising designs. I have been exposed to many forms of digital media, in particular, computer-generated modelling using Rhinoceros.

INTRODUCTION My name is Nicholas Dean, and I am a third year Architecture student studying at the University of Melbourne.

I have always had a passion for art and design, sketching and drawing from an early age. It was not until Year 10 in Secondary School that I began to implement my drawing skills in an architectural sense when working on my Visual Communication and Design folios.

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CONCEPTUALISATION

My knowledge of the relationship between computer model and built form was further developed when undertaking the subject ‘Digital Design and Fabrication’, where we were required to study the notion of personal space through a ‘second skin’, representing this digitally at first in Rhinoceros, and then physically through a 1:1 model, taking advantage of the laser cutting services at the FabLab. Design Studio Air will be my first time studying parametric design, learning about the ways in which complex forms and structural joinery are carefully controlled by mathematical parameters. I look forward to learning the Grasshopper program within Rhinoceros and further developing my architectural knowledge through its use.

DIGITAL FABRICATION & DESIGN: SECOND SKIN REPRESENTATIVE OF PERSONAL SPACE

DESIGN STUDIO WATER: STUDLEY PARK BOATHOUSE DESIGN INSPIRED BY SANAA

CONCEPTUALISATION 7

CASE STUDY 01 SUNNY HILLS | KENGO KUMA Known for his atmospheric and user-orientated designs, Kengo Kuma’s Sunny Hill project is a corner shop thats form is inspired by the shape of a bamboo basket.

Posing as beacon for innovative construction and engineering, Sunny Hill incorporates the traditional timber joinery method called “Jiigoku-Gumi” whereby a lattice mesh is created by interlocking timber members. Kuma, however, combined these traditional techniques with parametric design as a means to create a very complex, yet delicate design. The unconventional joinery angles of 30 degrees are a unique aspect of the design, made possible through the opportunities provided by parametric computation.

It is evident through this project that there are many facets of parametric design, some that enable the exploration of form and spatial experience, and others that determine the constructability of a design, utilising the full potential of the desired materials.

This practical application of parametric design is one that I previously did not consider. My knowledge of the topic was purely revolved around the notion of abstract form, creating complex structures that break away from the generic cubic buildings. It is through precedents such as this that I am made aware of the endless opportunities parametric design has to offer, both in a design sense and a construction sense.

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CASE STUDY 02 GALAXY SOHO | ZAHA HADID Galaxy Soho by Zaha Hadid is an office, retail and enetertainment complex that is defined by organic curved volumes that are separated in areas through atriums and courtyards, and linked in others through sweeping bridges and walkways. The fluidity of the overall design forms a structure that is bold, yet gentle in the reference to the transitions between spaces.

In today’s day and age, digital technology has increased the speed of architectural exploration through the ability to codify a design as an algorithmic expression, allowing for mathematical manipulation of design parameters. This form-finding method of design is true for Zaha Hadid’s work, where organic surfaces and planes are manipulated throughout the design process to alter the spatial experience and constructability of a building.

The Galaxy Soho is a prime example of the way in which parametric design and parametric computation is implemented within the design process as a means to foresee the physical outcome of a project. Parametric design grants architects with the ability to embed physical constraints into a digital model, outlining both material qualities and assembly constraints that are crucial in communicating a design to built form.

To me, the real-time feedback of digital modelling, more specifically parametric modelling, offers an accuracy and workflow speed that has never been seen before. With such control and speed, I feel as though architects have the ability to push the boundaries and explore forms that are daring and break away from the norm.

With that being said, my belief on what architecture of the future should consist of revolve around the notion of a relationship between built form and the natural landscape, where both are able to adapt and grow harmoniously together. I believe, therefore, that there are two forms of organic architecture, organic in terms of form, and organic in terms of a buildings ability to connect with the surrounding natural landscape. I view Zaha Hadid’s work as being more focused on organic form rather than a connection and celebration of the natural environment.

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