DHANIKA KUMAHERI
ART IN PROGRESS
ADS AIR
down the rabbit hole
We live in a very exciting time of change. As a young architecture student developing design thinking and design skills , this period in time offers us fantastic “adventures”, opportunities, dreams, visions and ideals. Essentially, the revolution of computational and digital tools has lured us down the rabbit hole, to the magnificent Wonderland, full of untapped resources and unexplored possibilities. It is also the cocaine of the self-proclained avantgarde architecture, so far pleasing only a significantly small portion of the international stage, but causing an ongoing addiction for research and progress for its cause. It is the purpose of this semester’s design studio to focus on, and contribute to, this ongoing architectural discourse, and to do so not only through meaningless form-finding, but more importantly in developing mastery in designing with these new tools where creaitivity is not “instant” but traceable and runs through the whole project. What this studio will not be, essentially, is “...an onanistic self indulgence in a cozy graphic environment. Endless repetition and variation on elaborate geometrical schemata with no apparent social environmental and technical purpose whatsoever.” -John Frazer, in M.Burry’s ‘Scripting Cultures’-
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Research Project: CUT: Develop
Research Project: CUT: Develop
Research Project: CUT: Develop
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Case for Innovation: Parametric Design
CASE STUDY 1 INTEGRATION INTO EOI CASE STUDY 2 INTEGRATION INTO EOI CONCLUSION
week 01
EOI: Case for Innovation: Computation in Architecture
CASE STUDIES AND PERSONAL PROJECT INTEGRATION INTO EOI
architecture as sign
architecture as art, SIGN AND URBAN EXPERIENCE
defining architecture AS A DISCOURSE
Case for Innovation:Architecture as a Discourse
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wk 01.01 case for innovation
DEFINING ARCHITECTURE AS A DISCOURSE
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2. A su adva mmary o nce arch f what it itect ural means to disc ours e.
Defining architecture has been a focus and rather, a hobby for many architects since it is so open ended and hard to define
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Ian McDougal, AND Lecture series 2012
the goal It is the true aim of this design studio, in the use of new computational tools and design thinking, the Expression of Interest Document, and also the Wyndham City gateway project, that whatever results spring in the end - will contribute to the great and ongoing architectural discourse. A step forward.
diagram 2. The strife to advance architecure as a discourse: to push boundaries forward with individuals performing as a whole.
diagram 1 &2 summarized from lecture 1 : Understanding the Course : Architecture as Discourse Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. 8 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116
wk 01.02 case for innovation
ARCHITECTURE AS ART How architecture as art has advanced the architectural discourse
Architecture as art, in this case - as an expression of a design intent that have the power to evoke a feeling, emotion or association, and produce significant effects to its consumers, has been an ongoing contribution to the architectural discourse. The pylons of the Karnak temple (figure 1.1)are seen as a canvas for artwork. It is adorned in hieroglyphs and represent a barier, a gate to the inside of the temple,which is a representation of the realm of the gods. The reason why they are so tall inheight is to intimidate the unworthy. The same idea of decoration to achieve an elevated ‘state’ of being, and the manipulation of height is later used, more than 1500 years later, by a British architect called Sir John Soane, in the adorning of the walls in his home. The towering height and the chaos of artworks were conceived to be a trick to overwhelm, and to cause a sense of reverity and vertigo. One can see that even though Sir John Soane borrowed a piece of an idea from Karnak temple, that he also duly added his own intake to it. fig 1.1 (top). Karnak Temple, Egypt. fig 1.2 (bottom). Sir John Soane’s House in London. (now Sir John Soane’s Museum).
And this is what it means to contribute to an architectural discourse. It is to look back upon what has already been done, reflect upon it, and reproduce it in a way that both reflects the zeitgeist of the time as well as offering something new that will broaden the meaning of architecture and give the opportunity for someone else in other parts of the architectural profession to replay the process.
The previous works shown earlier were great works of art. However, it is undeniable that they are also out of date. It is mandatory that architecture as art reflect the zeitgeist, the soul of the current age. And right now, the age demands for something contemporary, dynamic, a parametric manifesto.
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Architecture is the most dominant and prevalent form of art. However, there is something slightly problematic with this view. Reading architecture merely as a conception of a genius artist, an offspring of ideas that are aesthetically grand and pleasing is nothing but an incomplete view of architecture, even though this is the most common view of architecture from the general public. Architecture seen in this way also neglects the needs of the masses and becomes no more than a visually aesthetic privilege for a select people in the top architectural hierarchy (Williams, 2005: 105-107)
ARCHITECTURE AS SIGN How architecture as sign has advanced the architectural discourse Once we have established that architecture could be an artform, the question that follows is “Beacuse it is subjective, then how do we interpret it?” It is precisely this quality in architecture that allows it to be defined also as a sign.
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wk 01.02 case for innovation
Architecture as a sign is highly related to its associative powers. Throughout history architecture has been used to show power, represent a political stance, represent a particular social group’s presence, ethnical identity, or cultural identity.
For example, skyscrapers have long since broke through from its initial meeting its space-cost efficiency. Different from its earliest predecessors of proto-skyscrapers like the Life Insurance Building in New York, built in the 1870s. They are now architectural signs of modern civilizations, a proof of technological and engineering superiority, financial power, design and cultural prowess and stature of a nation. This is what it means to look at architecture as signs. Looking at architecture as a sign means looking at architecture and its meaning and impact in the public’s eye. In order to properly interpret architecture and the meanings behind it, one must look at its context, its predecessors, its design drivers and constraints, and its designers and consumers.
This is how looking at architecture as a sign contributes to the architectural discourse. Interpretation of a single architectural entity will not be achieved without extensive discussion that will touch upon other ares in teh subject. It contributes to the discourse because interpretations of architecture rely on archietctural symbols and gestures, which have different meanings over time. Therefore, looking at architecture as a sign contributes to teh architectural disocurse because it is equivalent to iuterpretinga constantly changing language, that are influneced by the changing sociall, political, cultural, nd historical environment
Architecture has to have that capacity for people to project their own understandings and beliefs into them , in a sense, the public must be allowed to appropriate a bit of the ‘interpretattive’ aspect of architecture. If not, architecture is meaningless, if not architecture cannot communicate and therefore is deatched from its main consumers, rendering it disfunctional and unloved.
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And like them, we are certain that architecture ought to function on the level of a sign, as well as anything, and actually- that as signs, they are open to multiple interpretatíons. The meaning of architecture was therefore not single, authoritarian and closed, but multiple, democratic and open.;
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-Richard Williams, 2004-
ARCHITECTURE AS URBAN EXPERIENCE
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it describes the point at which debate cxpands from consideration of buildings alone, to consider the psychological (and indeed other) effects that an accumulation ofbuildings might have.
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Looking at architecture as an urban experienc does not subject buildings or any other architectural elements below the power of urban planners, or the city as a whole. It is mereley acknowledging the fact that architecture dissolves into nothing more but an accumulation of experiences, emotions, memories, activities, and necessities within an urban fabric. It is interesting to explore the situations when an individual stops perceiving the city as an agglommeration of buildigs, but instead as a series of experiences shaped and made by these precise arrangementm styles, ad design of buildings or other archietctural elements.
INTEGRATION TO EOI AND WYNDHAM CITY GATEWAY PROJECT With the interest of contributing to the architectural discourse, the proposal EOI and the final proposal for the Wyndham city gateway project should encompass all three defintions of architecture. The final proposal will present the gateway as art, sign, and urban experience. It must have a pleasing artistic appeal, be s vessel or machine of Wyndham city identity that people can interpret and appropriate with thir own interpretations and understandings, and most importantly stress the urban experience of driving through it.
conclusion Why contribute to the architectural discourse in the Wyndham city gateway project?
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It enriches your project. It’s the most effective way to make your project be discussed and remembered. It gives your project a ‘timeless’ quality. It gives your project life beyond its intended time. We are taking a step to advance and influence the ideas and practice of others in the field of architecture, which in time, or in the future also may inform our work in return. Contributing to the ongoing 'idea machine' that has been a tradition for as long as architecture existed.
case study #1
The Blur Building Diller + Scofidio Yverdon-les-Bains, Switzerland - 2002 Progressive Architecture Design Award Featured in: Ted Talks http://www.ted.com/talks/liz_diller_plays_with_architecture.html
This building advances architectural discourse in art because it challenges the notion of immateriality and formlessness, something not discussed in architecture, but mostly in other forms of artworks, and challenges the basic concept of what can be seen as an architectural MASS. It made the real (the building) appear unreal.
The Blur Building by Diller + Scofidio, is almost literally no building at all. It was a temporary pavilion for the 2002 Swiss exposition, in the 3 lakes region of Switzerland. It was unique in that the primary material used in the building was water vapor, pumped up from its site, in the middle of Lake Neuchatel and shot out of 31500 water vaporizers so that the entire structure appeared as fog lifting off the lake or an impossibly low cloud. A smart weather system reads the shifting climactic conditions of temperature, humidity, wind speed and direction, and processes the data in a central computer that regulates water pressure. Upon entering the fog mass, visual and acoustic references are erased, leaving only an optical “white-out” and the “white-noise” of pulsing nozzles. Blur is an anti-spectacle. Contrary to immersive environments that strive for high-definition visual fidelity with evergreater technical virtuosity, Blur is decidedly low-definition: there is nothing to see but our dependence on vision itself.
This whole orchestrated effect creates architecture that fully and wholly immerses you. So much, in fact, that you forget where you are, what you are doing, and everything dissolves into emotions and feelings of apprehension and excitement.
Probably the single most compelling aspect of the project is its role as a changeling, and also the weightless aspect of it. The Building also provokes the consideration of the role of gravity, the weight of our buildings in teh distant future that begin to escape the bounds of the earth.
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perhaps one of the really interesting things about the building Is that it makes people think about environmental experiences and strategies, and maybe those sort of strategies will become fashionable.
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MARY HANCOCK, COURSE CHAIR FROM OXFORD BROOKES UNIVERSITY
THE BUILDING DOESN'T SUGGEST NEW CONSTRUCTION TECHNIQUES. IT PROPOSES NEW WAYS OF THINKING ABOUT ARCHITECTURE, OPENING UP OUR MINDS TO WHAT ARCHITECTURE CAN BE. MORE AND MORE, PEOPLE ARE REALIZING THAT ARCHITECTURAL DESIGN DOESN'T JUST IN� VOLVE JUST BRICKS AND STICKS AND STATIC FORMS, THAT IT DOESN'T NEED TO HAVE SPECIFIC BOUNDARIES. USMAN HAQUE. PRACTICING ARCHITECT, BRITISH ARCHITECTURAL INTERACTION DESIGN FIRM
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B.W. Parker, pRACTICING ARCHITECT IN NEW YORK
IT ALSO MAKES US QUESTION WHERE LIES THE DIFFERENCE BETWEEN ARCHITECTURE AND NON ARCHITECTURE. IT GIVES YOU THE FEELING OF BEING PART OF A CONSTANT METAMORPHOSIS.
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EVA AFUHS, ARTISTIC DIRECTOR OF THE 2002 SWISS EXPO
integration into EOI
One aspect that makes the blur building very forwardleaning and contribute immensely to the architectural discourse is that it CHALLENGES a widely held idea that have been taken for granted: what a normal building looks like and what constitutes an acceptable architectural mass. The EOI will note this idea of challenging and redefining a simple and widely known idea. A more important design logic from the blur building is the notion of ARCHITECTURE AS AN EXPERIENCE that is immersive and dominant, and is strong enough to wipe out all preconceptions of space and common understandings of architecture. Like the blur building, this intention will have to be achieved visually, and also will employ materiality and theatricality that will be best achieved through the use of computational means.
connection to wyndham gateway broject brief A very crucial aspect of the blur building, which is directly relevant to the Wyndham Gateway Project Brief is the fact that it succesfully created an architectural effect that ripples even years after its completion date, where academics, the public, professional architects alike still continue to discuss these atmospherical achievements of the blur building. This is a true measure of contribution to the architectural discourse. , and also a design goal for both the Wyndham city council: to have a monument of their own which will be remembered as a significant contributor to the architectural discourse, that will be remembered and discussed. The Blur building manifests that yearn from an archietctural piece that wants to be remembered forever, as a piece that has successfully pushed the boundaries of architecture forward.
case study #2
Brod / The Ship / La nave: A Floating Pavillion for Croatia at the Venice Biennale
a project of the Ministry of Culture, republic of Croatia
This architectural piece advances architectural discourse because it challenges the idea of what’s unreal by taking the concept of an illusion, that does not have mass or form, and translating it into actual built space. This approach, in a way has that same power to critique our mundane, everyday concepts. Again the meaning of architecture is pushed even further as these space-less concepts of illusion becomes an actual 3 dimensional space.
Architects: Saša Begović Marko daBrović igor Franić Tanja grozdanić peTar Mišković SiLvije novak veLjko oLuić heLena paver njirić Lea peLivan ToMa pLejić goran rako Saša randić idiS TuraTo pero vuković Tonči Žarnić
Exhibited at : 12th international architecture exhibition, Venice Bienalle 2010. “People Meet in Architecture, August 29 - November 2010, directed by Kazuyo Sejima Publications: An interview with Leo Modcrin, project comissioner
http://www.domusweb.it/en/video/leo-modrcin-croatian-pavilion-arsenale/
Videos of The Ship’s details, elements and construction http://www.veengle.com/s/Croatia%20Pavilion.html
Official website
http://www.pavilion.hr/index.php
Official Publication: http://www.pavilion.hr/download/book.pdf
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image above. cad drawings of wire meshes that form the croatian pavillion, later on stacked on top of each other to create the illusion of a building. background image. interior view with a mesmerizing optical effect of the Croatian Pavillion
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Croatian participation at the 12th International architecture Exhibition at The Venice Bienalle were made up of three components, a floating pavillion sailing all the way across the Adriatic sea from Croatia to Venice, an exhibition detailing the design process of the collaboration between 15 internationally recognized Croatian archietects who designed it, and a oublication of the project distributed to visitors at the venue.
I wanted an exhibition and was proven wrong, I wanted the project to be named the ship, and was proven wrong. tis not about the ship, it is about the cargo. In every single step of this project I was proven wrong, and I think this is why this project is a complete success in the end. leo modrcin
It should not be read as a building, it has no scale. The project attempts to avoid the terror of the visual, to include other senses and in that way bring architectural space to recognition. sensory properties like the sharpness of the elements that emerge by cutting, the wind that you feel penetrating the structure – all that introduces you to some form of topography that is not created through three spatial dimensions, but emerges on the complex scale of welded wire mesh. t o n c I Ž a r n I ccroatian pavillion architect
integration into EOI This effect of materializing the immaterial (the concept of illusion) could only be achieved by fabricating some form of VISUAL or OPTICAL effect. The Croatian pavillion is made from cheap building substance, it is accesible to everybody, and yet still manipulates the perception and world of the viewer into a new world where everything falls short of their expectations.Views will be altered, and unexpected experience will be made possible.
connection to wyndham gateway broject brief There is an idea of sharpness of vision in all conventional types of built architecture, which was challenged in teh Croatian pavillion. To approach the Wyndham city gateway project, we aim to critique ordinary, cliched monuments that rely on sharpness of vision and its sculptural or realistic form. What’s most relevant to the Wyndham gateway project is that the Croatian pavillion was intended to be a cargo holding teh identity and reputation of the country. Because it sails from to different places, this piece of architecture becomes an diplomat, an ambassador of the country’s identity. And a similar idea could be implemented to
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The purpose of this experimental work is to investigate alternatives to substantiate the capabilities and potentials of computational design into more meaningful levels through experimentation on high density redevelopment for transforming Tongzhou, a new suburban district in outside the 5th ring road of Beijing, into a new city center in order to release some of teh population burdens of the old city cenetr.
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The brief aims to challenge current urban design typologies are frequently conceived of as autonomous and static modules for living within the city, that are incapable of allowing change and adapting to change, dialogue, and response to shifting relaities and conditions over time. These models quickly become obsolete and ineffective. In contrast, cities not planned as ‘one-offs’, but rather which grow organically in response to varying needs and invisble forces, demonstrate a richer urban outcome. Yet many of these systems still lack a level of organization, flexibility and adaptiveness. Cities, especially in China seem to be designed to continually become less valuable up until the time of demolition and rebuilding. By focusing on alternatives for high-density residential design this studio questions whether urban design methodology can become 5-dimensional and address multiple parallel solutions evolving over time.
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a w per in so te n a r sc l g ho ro ol up Methodology 20 pr 12 o jec Through IRRESOLUTE DIAGRAMMING, invisible and visible forces or parameters occuring on the site through irresolute, intentional diat fo grams. These open ended, dynamic diagrams fluctuate in time and sdisplay ranges of possibilities, Their digital / parametric set-ups allow for r aa interactive and responsive indexing of open-ended parameters by using varying, imprecise, undetermined, input parameters.
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integration into EOI In this project where the outcome of the parametric model is not a built entity, but more like a designed system that is open ended and adapts to change, the interest that is relevant to be implemented to EOI would be the same use of computational tools to create a system of designing that is more resillient to different changes through time and will not be quickly rendered obsolete in comparison to other projects that will spring up in the future. This will be done in using computational tools to design an architectural spectacle that focuses more on the experience of driving through it, and not so much on the form on the outside.
CONNECTION TO THE WYNDHAM GATEWAY PROJECT Most of the comissioned built monuments that belong in the same category in Melbourne are sculptural pieces that are dependant on the impression of its exterior form. These outward getsure froim the monument, relying much on its form and scultptural gesture quickly makes them obsolete and out of date within a short period of time. In relation to our EOI, it is therefore in our agenda and our goal to challenge what has already been done, and repackage the delivery of the proposal in a newer and provoking way that has never been done before: the committee will not get another monument. There are already so many monuments around Melbourne, they will get AN UNFORGETTABLE EXPERIENCE as their new gateway.
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We pursue the parametric design paradigm all the way... systematic, adaptive variation, and dynamic parametric figuration cocnerns all design tasks from urbanism to the level of tectonic detail, interior furnishings and the world of products... addressing the demand for an increased level of articulated complexity... parametricism is the great new style after modernism. Postmodernism and Deconstructivism have been transitional episodes that ushered in this new, long wave of research and innovation. -Patrik SchumacherParametricism as Style: Parametricist Manifesto
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COMPUTATIONAL INNOVATIONS
week.02
michael hansmeyer: a new order
BAROQUE DETAILING: REDEFINED A SEARCH FOR PURE ORNAMENTATION Michael Hansmeyer. “A New Order”. neo-baroque collumn prototype. 2010 Official Website: http://www.michael-hansmeyer.com/projects/columns. html?screenSize=1&color=1 Exhibitions: featured in Gwangju Design Bienalle, Gwangju, 2.9 - 23.10.2011 Self-Structure: Column Protoype at Le Lieu du Design, Paris, 30.9 - 17.12.2011
We are familiar with the use of generative grammars, L-systems or other recursive procedural frameworks, such as Roland Snook’s swarm based models that references natural processes or organic structures. What is extraordinary about the work of Michael Hansmeyer is the fact that Hansmeyer does not seek to reference the same processes as analytical tools to investigate nature. Instead, Hansmeyer is directly interested in creating an outcome purely for the purpose of synthesizing and producing ornamentation. In his latest, and most famous work, his structures make reference to the foundational discourse of the architectural order of columns. And yet, his approach is not intended to add criticisim or to expand or modulate this discourse in any way - he does not intend to seek a modified new order, but rather is interested in its ornamentability. The fact is, such shapes and such details would be too much to design and comprehend, too complex to process in the human brain. Contemporary computational cultures has provided designers with new fabricatable geometries that is redefining our concepts of ordinary spaces and geometries everyday. With this high level of intricacy and complex geometries,It also redefines our senses, the way we respond to our environment, the way we comprehend architecture, and the way we interact with it. "The shapes of Michael Hansmeyer present themselves, as ornamented columns, very self-confidently as the produces of artificiality - even though there is a strong touch of alien organicity proper to them.''- Vera Buhlmann
COMPUTATIONAL INNOVATIONS
week.02
Contemporary computational cultures has also challenged the separate, traditional ways of deigning and fabricating and instead translated them into one process that informs and complements each other. Itoffers a more competitive edge in terms of generating forms that are never seen befoe int reallife. Michael Hansmeyer’s collumn has redefined the concept of ornamentation by treating ornamentation not only just as something that is applied on top of a surface, but rather, a complex organic blanket of undulating topographical forms that create and form the surface of these collumns.
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Hansmeyer has redefined ordinary traditional ornaments: floral, geometrical, life-like illustrations of the ordinary. Instead, he has introduced that ornamentation could be something highly organic in form, and so complex and so beautifully fabricated that people begin to question the abilities of computational design in a positive light.
"The mastering of hi-tech engineering software is ultimately used to produce ornate architectural decoration." - Mark Burry 2
1. Michael Hansmeyer.“A New Order”. neobaroque collumn prototype. 2010 2. Michael Hansmeyer.“A New Order”. neobaroquecollumnprototype.Closeupzoom 9x. 2010. 3. Michael Hansmeyer.“A New Order”. neobaroquecollumnprototype.Tangibility.2010. 4. Michael Hansmeyer.“A New Order”. neobaroque collumn prototype, on display at Gwangju design Bienalle, 2011.
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COMPUTATIONAL INNOVATIONS
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manufacturing
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5. A new Order. Initial intersection with line segments 6. A new Order. Formation of Polygons 7. A new Order. Polygon Filtering and vertex adjustment 8. A new Order. Interior offset/ hollowing out
The calculation of the cutting path for each sheet takes place in several steps. First, the six million faces of the 3D model are intersected with a plane representing the sheet. This step generates individual line segments that are tested for self-intersection and subsequently combined to form polygons. Next, interior polygon are deleted. then a series of filters are used to hollow out the slice to reduce weight. This method is similar to contouring objects, and is very popular with fabricating complex organic/ blobby shapes in architectural models. What’s important about this, in terms of the EOI, is the assurance that computational and fabrication tools are capable of handling such complex desiging and fabrication of forms. The contouring method alllows for complex undulating forms and surfaces that has the potential to create particular experiential qualities of being within a space, and as this relates top our main design theme, is something we could explore in more depth in the coming weeks.
integration into eoi For our Wyndham city gateway project, we are interested in how contemporary computational cultures could redefine forms and ornamentation to create a groundbreaking’ piece that ignites specific experiential qualities. We will implement a similar contouring apporach to get a rich but not neccessarily complex outcome, to enrichen the driver’s experience when passing the site. The gateway proposal will also be selective in the use of materials so that it will evoke a similar sense of curiosity and wonder, which is an important aspect relating to the demand for an eye-catching, inspiring, and enriching experience.
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wk contemporary scripting 03 design philosophy
a frozen piece of music Anisotropia, the design for the new Busan Opera House
This project started with an interesting notion of music and architecture, and how similar they are to each other. However, unlike his earlier predecessor Iannis Xenakis, who composed music for pre-existing spaces and designed spaces to be integrated with specific music compositions and performances, Christoph Klemmt took this idea of merging architecture and music into a further level. With his design for the Busan Opera House, Klemmt reconfigured a musical piece that he wrote and through the use of computational tools, translated it into a façade that wraps the entire opera house in a corresponding harmony of architectural and musical composition. Klemmt has once, and for all, frozen architecture. (top left) Busan Opera House. rendering of great hall. Cristoph Klemmt, 2011. (bottom left) Busan Opera House Rendering of main theatre hall. Cristoph Klemmt. 2011. (bottom right) Busan opera house floor plan. Cristoph Klemmt. 2011
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Klemmt’s initial design philosophy revolved around the differences similarities between architecture and music and how he could merge the two. One of the most apparent differences between the two is that architecture eventually manifests itself in form and mass, whereas music is without mass. Despite these differences, he was interested in similar experiential qualities that music and architecture share. At a fundamental level, both architecture and music are art forms that have the capacity to evoke and express emotional response. From a technical perspective, they are both made up of technical or individual components or members that join together to make a coherent composition of elements.
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Having been successful with transforming something that is intangible into something that is spatially tangible, Klemmt was then faced with the most important question in parametrics and computational architecture : “How does one incorporate one’s computational concept into built architecture?”. Klemmt does this in a sinuous, philosophical way. By wrapping this ‘frozen music’ around the building mass, Klemmt created a new symbol for art. He has managed to visualize music into built form, the equivalent to making ghosts visible to the naked eye before the age of computational tools. Klemmt hugged and dressed his building mass in this abstract, interweaving waves that not only just represented music, but embodies it. By doing this, he actually took the understanding and discourse of architectural symbolism further. With the help of computational tools, it is now possible to literally manifest a concept that is previously never possible. Klemmt achieved a literal representation of an abstract concept, music, in an elegant and not so mundane way.
However, architects still face a challenge in how architecture communicates to the general public. There has always been a gap between most building’s conceptual starting point, and the public apprehension of such concepts. The general public concensus is that architectural concept and the way public receives them are incongruent. While this incongruency is good in that it lets different interpretations and meaning be projected onto the built work, it also poses the question of whether or not an architectural concept behind the building needed to be communicated at all. Should it be an architect’s job to make sure that his concept, his personal message be communicated to the world? Or should it not concern the architect at all? Does it matter whether or not the public ‘gets it’? And most importantly, will the public ‘get’this piece of architecture?
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A building that is truly a work of art in its nature, essence, physical being an emotional expression. This being so, and I feel that this is so, it must have, almost literally, a life.
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They also share a similar way of design representation. Both of these disciplines rely on visual graphics, drawings and annotations to communicate, replicate, and visualize their design, and both have their own codes, systems and rules of representation. The last, and probably most important similarity that Klemmt explored was time. Klemmt was interested in how both disciplines occupy the dimension of time, and it was through this very method that he successfully translated sound into space. In a way, Klemmt transformed the time component in his music into an architectural space.
-Robert Seyfarth
The theme of ornamentation is central to this design. And it is important to approach the intention of this ornamental facade critically. The marriage between architecture and ornamentation has had its significant rise and falls. And the public view on how an ornamentation is received is always changing. Ornamentation also brings a central theme of identity, and with it, issues such as place making, or lack thereof.
Klavierstück The musical piece that is behind the conception of Busan opera house facade detail .
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contemporary scripting design philosophy
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conclusion
computational tools have the prowess and ability to materialize concepts that are previously immaterializable.
It is curious to note that the architect composed a musical piece in German that isn’t an actual ‘music for the ears’. Instead, Klavierstück I is a piano composition written by Klemmt based on a twelve tone row which is repeated and altered, in order to create complex rhythmic patterns. One can say that this musical piece was created for the sake of how it is meant to appear as a the opera house’s ornament appearance. Once again, this feels unconvincing. Why not choose a musical piece related to Busan, South Korea, as an interdisciplinary twist on site-specificity? Why not take the wonderful concept and use it to enhance the cultural heritage, the cultural treasures and richness of the site and the people? Why not make this architectural concept a driver and beacon for cultural identity of the place? At least then the reasons for the origins of the design would fit with the location of the structure.
Sure, beauty by itself can be wonderful to behold, but in the case of a purpose-built building—a cultural center no less—beauty with a reason is often more satisfying. This project manifests the very meaning of computational architecture and its power to visualize abstract concepts in a novel way. Through the use of computation, the design intent was carefully and beautifully executed: “ Translating and freezing music into built form”. It is successful in pushing boundaries of architecture as a literal means of representation, but a question remains unanswered. Will computational design contribute to a further death of site specific identity and richness? Will it promote site-specific solutions that are embedded within the heart and culture of the local people? Or will it simply be an empty cocoon of form, waiting for locals toi project a sense of identity to it?
Busan Opera house 3D rendering, perspective view, Cristoph Klemmt, 2011
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RESEARCH PROJECT: CUT: DEVELOP
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sets and types + voronoi 3D with planar suraface manipulation
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matrix wk.04
opportunity ARP BP CI EG OP SG SN ATP CA IS MF MMF ST US
arbitrary points boolean patterning curve intersections explicit grids overlapping patterns surface grids surface normals attractor point curve attractor image sampler maths function multiple maths function streaming text using sets
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matrix presentation style : based on Yyehuda kalay’s search process : depth first - and then breadth wk.04
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data driven components data driven rotation
In every graphic presentation, the most important question is how to communicate graphically, in the most succinct, effective, elaborate when needed too, and non-ambiguosly. In this case, where the computational design process churns out multiple and seemingly open ended outcomes of candidates for optimal design, it is therefore necessary to lay them out in a structured way - not just for the benefit of whomever designers will present their information to, but also for the designer’s own benefit.
data driven extrusion data driven shading grid manipulation surface manipulation cross-reference list
Integration into EOI Structuring the candidates of optimal design in a more structured way allows the designer to declutter his or her workspace and thinking space and allows him or her to ‘see’ emerging patterns or values in his or her many, many different candidates. It allows designers to effectively compare, cross check with the different methods he or she used, and make more informed decisions. It is precisely because of this search method introduced in the Kalay readingthat proves the competitive advantage of computational tools compared to other traditional designing tools. It can produce so many design possibilities at a click of a button, endless explorations are possible.
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RESEARCH PROJECT: CUT: DEVELOP
RESEARCH PROJECT: CUT: DEVELOP
general process of search
inputs +
first matrix
+
variations of outputs
association
second matrix
step 1 creating matrix of input and associations
step 2 creating matrix of inputs and association combined with outputs
combination 1 is explored
combination 2 is explored
solution 1 is found
solution 2 is found
all combinations of inputs and outputs are explored
a
b
outputs c
d
inputs
1 2 3
a
outputs b c
Since our group aims to create an immersive architecture as an experience, not as form, we have set a few criterias to choose the right candidates for further development using the output techniques. 1. vibrant composition - dynamic, curvilinear, or imposingly different 2. detail should not be too fine
1 inputs
d
The Matrix of inputs and outputs were explored according to the breadth method, where all possible options or combinations were explored before reviewing which ones could be the logical candidate/solution according to a set of criterias.
2 3
candidates are chosen
The next step after picking out candidates from the first matrix is to recreate another matrix, only using Kalay’s breadth first, and then depth method. The selected few from the previous matrix are then plugged into the outputs technique, and this will be the base of the second matrix. These new combinations then will be recombined using different outputs technique, and from these combination, a few will be chosen to be further explored according to a more refined set of criterias that relate to our goal. 1. Must be a form that creates an immersive 2D/ 3D experience: this could be achieved trhough some form of optical effect 2. Must be low-definition : low complexity and low-details. 3. Must be fabricatable while also: 1. vibrant composition - dynamic, curvilinear, or imposingly different 2. detail should not be too fine
chosen for further development
Arbitrary Points
A S S O C I AT I O N S
Attractor Points
Curve Attractor
Image Sampler
Maths Functions
Multiple Maths Functions
Streaming Text Files
Using Sets
I N PU TS( b re a d t h
Boolean Patterning
Curve Intersections
Explicit Grids
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Overlapping Patterns
Surface Grids
Using Surface Normals
matrix of output breadth search
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D E D R A C S
ter n i c/ mi gh a yn ou t d g en o n tin es
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s ta e c a ill f on - w ect i D ff n 3 cal e i ve ti t. rsi g op gh i e u m n im ovi thro a m ives dr s ate 2D e r - c on ev D on n 2 llusi c mo i i i ve rsi tical ynam e m p d im D o of a a 3 ane pl ent m
Integration into EOI all 2 viable candidates were chosen for their potential to display, 2D or 3D ways to engage and immerse viewers within a particular optical illusion’s experiential qualities, which is what our group is aiming to do.
CH
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N E S
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matrix of output depth search
RESEARCH PROJECT: CUT: DEVELOP
ci mf dde
ARP ATP DDR Initial condition
Simplification rotation is offset at quite a large distance from initial set of circles
Compressing of space
Initial condition
when degrees of rotation are changed , effects of a dancing fabric like structure is created, even though this is in 2D, it creates the illusion of a 3D environment
the resulting circles from curve intersections input are extruded based on a trigonometrical maths formula,
so next the surface is divided with less segments, and offset distance is further enhanced.
Problems identified
Elaboration on offset and angles this achieved a more fluid and dynamic set of ‘dancing fabrics’
Surface manipulation
Changing angles however, there seemed to be too much detail (too grainy)
Final candidate final candidate is chosen for its dynamic and immersive qualities (3D illusion within a 2D form) with less details (so it won’t be missed during the drive), especially if we could somehow animate this
Surface manipulation
results in a smooth undulation of ‘pipes’ extruded from the flat planar surface. However, as the curvy bit is under the main plane, this candidate might be hard to fabricate manipulating the surface of the main surface plane creates a more dynamic 3D pattern, and will certainly be a more immersive experience, however, there are limitations in the fabrication techniques that we will be using (laser cutting)
Normalized surface + condensed trigonometry curve length further manipulation allows a more structured and ordered composition. Dynamic in a musical sort of sense.
Final Candidate
These final 2 models were chosen on the basis of practicality and fabrication techniques, as well as its composition and performance outcome that directly relates to our design goal : immersive experience
discarded versions of the matrix 1 Computational tools never tire. And could be creative if you script them the right way. It gets you the designer thinking in so many different ways and possibilities that would otherwise would be too exhaustive for human brainwork to do.
2 The more parameters you put in, the more possibilities you end up with. The more parameters yous consider in your script, the more diverse your design outcomes could be.
3
ARP ATP DDc
ARP ATP DDR
ARP ATP DDR CRL
ARP ATP DDE
It is easy to get lost in the fun. This means designer’s got to know his or her goals amd when to stop exploring possibilities to make a decision
bp us ddc
bp us ddr
bp us ddr crl
bp us dde
4 Maths function seem to be generating the most outcome, especially if combined with the data driven rotation Association technique gives you the most control over these definition, and also most variations.
ci mf dde
ci mf dde sm
ci mf ddr
sg mf dde
sg mf ddr
sg mf ddr crl
sg mf dde gm
sg nf ddc
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RESEARCH PROJECT: CUT: DEVELOP
integration into eoi With the limited amount of grasshopper definitions that was learned in a short period of time, overall there was this interest to undulating forms and dynamic but smooth curves in the composotion to make an immersive experience. There is this interest in creating a moving image or spectacle that would never be possible without the use of computational tools and the manipulation of the scripting commmands.
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De Young Museum [ Herzog & de Meuron ]
The Banq Restaurant
Overall form gives an impression of a prehistoric monolithic structure, especially against the backdrop of the landscape. But on a closer look at the details, it boasts a modern, computationally designed and enabled facades. Technique: These facades were obviously designed with an image sampler as the association technique, and with circles as the outputs technique, which is then developed into perforations and bumps. Performance: The weathered effect, which had been unforeseen proves a nice addition to the whole design. Having experienced this unplanned quality in their work, the architects who made this building will have gained an incredible insight to their next design and these emergent qualities that might come up. It is precisely this that highlights the importance of research in the design methodology.
Hills Place [Amanda Levette Architects] Overall form is pockets of lights. Having these openings ensures that light is, in fact, also a part of the building. Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way that they aooear almost seamless. In terms of prefabrication, joints are something that archietcts and designers have to carefully orchestrate so taht their design intent comes through to reality without being compromised. Performance: The surfaces with glazing would have captured more water than regular vertical walls. This would have achieved an experiential effect on the inhabitants inside.The choice of materials also highly informs this design decision. Metal gives off a reflective quality that is unachievable with other materials. Only with metal can you get the building facade to almost merge with the color of the sky.
Overall form: Undulating curvilinear ‘contours’ that are used to hide the ceiling, the collumns, and engulf the restaurant in a wave of soft Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way Performance: This project reinterprets the ordinary flat ceilings of modern commercial developments. The curving timbers are now both ornamentation, identity, as well as the focal point of the restaurant.
Airspace Tokyo [Faulders Studio] 1. Arbitarty points were created in rhino.
Overall form: Facade were created from three layers of metal cladding that form an intricate, weaving visual effect. Technique: Voronoi patterning is used to design these three layers of cladding. Performance: The voronoi layering creates a different effect of a confusion between positive-negative spaces/ figure-ground. This difference comes to life during the change between daytime and nighttime. , since the interior of the building lights up during nighttime and transforms the layers intosillhouette’s. This building celebrates its facade during daytime, and it celebrates its interior during night time.
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FAB R I C A TION
attempt 1 voronoi patterning : The relationship between positive and negative spaces as an experiment
For this we chose to fabricate these panels out of 4 mm MDF boards, so that there is a clear difference between the negative and positive spaces. 1. We looked at voronoi as an attempt to explore the experiential or perceptual qualities of positive (the voronoi skeleton frame) and negative spaces (the voronoi cells). [FIGUREGROUND CONCEPT]. We were interested in the difference (or lack thereof ) of the voronoi skeleton frame and the actual voronoi cells. We were interested in looking at the order in which you perceive these two spaces, and the fact that you can’t perceive these two spaces in the same time : do you see the negative spaces first or the positive spaces first? Do you see these panels as a skeleton frame? Or do you see them as holes on a surface? With this concept of the figure-ground relationship we first wanted to try and create some sort of optical ‘trick’ that could immerse people in a new architectural experience. For example, making people see the figure first, and then later making them realize that what they have seen is indeed the ground.
In order to do this, we experimented with photography from different angles, just to highlight the difference of perception between the positive and negative spaces, and also cast the MDF ‘Skeleton frames’ with two different materials, wax and plaster. The cast models were not our actual design goal, but are just an exploration of fabrication technique should we need to fabricate 3D ‘blobby’ forms in the future if we chose to go in that direction. With these 3D cast models, we were basically taking advantage of the negative spaces (voronoi cells) and using those as molds for 3D elaboration of forms
Steps to create molds: 1. The negative voronoi cells on the MDF boards are fitted with hand-formed aluminum foils, with teh edges taped and sealed into the boundaries of the voronoi cells. 2. The voronoi plane was added with a mold that are sealed with gluegun. 3.. The mold was cast with wax and plaster.
Figure-ground / Postivenegative spaces:
FAB R I C A TION
FABRICATION RESULTS: LEARNING
most ambigous
slightly ambigous
depth creates disambiguation
slightly ambigous
depth creates disambiguation
1.We’ve come to a conclusion that figure ground/ postive-negative spaces relationship is at its most ambiguious when both materials/color/ texture of these two separate entities are of the same kind. 2. These kinds of complete ambiguation of figureground/positive-negative spaces are also quite difficult to achieve with a surface that has depth- because lighting conditions would higlight and deepen the 3D qualities of this plane and at once make it be read as eother a skeletal frame, or a voronoi cell. Working with different materials:
3D blob volume is offset larger than the mold opening
1. Better design of molds was clearly needed. From the two wax models and one plaster model, only the first wax model was successfully detached from the mold. After being cast, the aluminum foils expanded with the volume of wax and plaster, and were offset off the mold opening. This made it impossible to get the cast model out of its mold without breaking the mold. We should have taken this possibility into consideration
Design intent: 1. Instead of just photographing them singularly we should have tried different methods of layering and changing persepectives. 2. Stop motion animations showing different lighting conditions and changing perspectives: http://www.youtube.com/ watch?v=FqMQy8rJoMM http://www.youtube.com/ watch?v=Od9ACPZNu8Q Integration into EOI: In the end, our hypotheiss of how the material would behave and simulate a figure-ground experience did not really come through.So we decided to discard this technique as our main design technique, and decide to explore other techniques and materials. We might, however still use voronoi on surface as ornamentation, or as ways to reduce the wind load.
FAB R I C A TION
The solidness of MDF that does not allow light through creates different ambiences as light was moved around, and almost gives the impression that these photographs were taken with different materials.
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LEARNING SCHEMATIC
CONCEPTUAL FRAMEWORK
understanding architectural discourse
understanding role of parametrics in architectural discourse
understanding INNOVATIONS OF parametrics in architectural discourse
FINALIZED CONCEPT TO IMPLEďż˝ MENT TO WYNDHAM DESIGN BRIEF
FINDING A DESIGN GOAL, INTEREST, CONCEPT
OUTCOME ?
REVIEW
EXPERIMENTAL DESIGN APPROACH
TECHNICAL FRAMEWOPRK
basic rhino & gh interface
developing gh understanding and techniques
GIVEN SET OF TOOLS FOR EXPERIMENTATION
REITERATIONS: PATTERNING EXPLORATIONS
DESIGN CHALLENGE 1
REPRODUCTION AND INNOVATION: PHYSICAL MODEL
IMPLEMENTATION TO FINAL DESIGN: CONSTRAINS OF REALIZATION, FABRICATION, CONDITIONS
brief One of the most beneficial aspect of this course is that it introduces us to a new design methodology: which is design through research. We were introduced to a complex series of steps taht ensures we have the necessary skills and framework before being asked to compile those sets of understandings and skills to innovate and more importantly, learn from your process, critique it during your progress, and learn from your process and mistakes. Compared to other design subjects, we are more exposed to fabrication techniques and qualities of materials and what is possible with these material qualities. With our own research that is set at our own pace and direction, we have learned the different properties of materials. The difference between MDF and perspec, and where would you ideally use them, and what effects you can achieve with them
We also learned limitations in fabrication
CONCEPTUAL FRAMEWORK
idea
design outcome
tools
tools
tools