AIR
ABPL30 0 48 ARCHITEC TURE DESIGN STUDIO: AIR 2017
l STUDIO 10 MANUEL MUEHLBAUER SEMESTER 1
EL AINE CHAN 67830
A r c h it e c t u r e St ud io: A i r E l a i ne C h a n 2017 Tut or: M a nue l Mue h lb aue r
CON T E N TS
4 I nt r o duc t ion 8 C onc ept u a l i s a t ion PA RT A C r it e r i a D e s ig n PA RT B D e t a i le d D e s ig n PA RT C R E F E R E NC E S
INTRODUCTION ABOUT ME
I
am a third-year Bachlor of Environments student majoring in Architecture. In my designs, I like to experiment with a range of materials and find creative ideas to address the brief. I believe that like art to audience, architecture should have a message to convey to its users. My work is also influenced by my interest in art and sculpture. I am inspired by the works of Ai WeiWei, Toyo Ilto and Kazuyo Sejima. My current understanding of digital architecture mainly revolves around the famous works of the late Zaha Hadid, architecture in fashion, and 3-D food printing. I am amazed by the grand designs of Hadid. The smooth curves, fluid and elegant shapes of her towers were made possible by the development of digital design tools
FIG.1: EXPLODED AXONOMETRIC DIAGR AM
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.I am also fascinated by “architecture” in fashion - clothes that were digitally fabricated using smaller modules. Interestingly, I am amazed by recent trend of 3-D printing of food in restaurants. I have had some experience with digitial design tools, as I often use Rhinocerus and Autocad to develop my designs. I find them very helpful as they allow me to visualise an environment that I am incapable of drawing by hand. I also use Photoshop to edit and render photographs. I aware that digital design tools are becoming more vital in the industry as designers push the boundaries of their designs. It seems that the digital tools we use in architecture can also benefit other fields such as fashion, art and culinary.
FIG.2: SECTION DR AWINGS OF BOAT HOUSE
FIG.3: RENDER OF BOAT HOUSE
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Co n cep t ua lis a t ion
PA RT A C ONC E P T UA L I S AT ION
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D e s ig n F ut u r i ng A .1. D e s ig n C omput a t ion A .2 .
D e s ig n C omp o s it ion/G e ne ra t ion A .3 . C onc lu s ion A . 4 . L e a r n i ng O ut c ome s A .5 . A pp e nd i x R e fe r emc e s
A.1. Design Futuring Wind and Rain Bridge
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ndeed, modern architecture consistently contributes new ideas to existing architectural knowledge, technical workflows, our patterns of living and ideals. This idea is illustrated by the “Wind and Rain Bridge” (2016) in Peitian Village, China, which was constructed for the purpose of re-connecting communities after a flood destroyed most of the infrasture in early 2014.1 While its main purpose was to provide shelter for the people, villagers also use it to socialise and relax. A bridge is conventionally used as a vehicle for crossing, however, the designers and users have appropriated its function, redefining the functions of a bridge. Hence, architecture is able to facilitate social and historical connections, as well as provide practical purpose for its inhabitants. It pays tribute to traditional construction methods. Its design is based on interlocking structures without the use of mechanical fasteners, and was assembled by traditional carpenters.2 Its use of traditional design and construction principles reinforces the importance of ancient architecture, and their contributions to the modern architecture that we have today. It showcases the craftsmanship of the few-remaining traditional carpenters, which is often forgotten in this digital age of architecture which prioritises speed and precision. 1. No author, ‘Wind and Rain Bridge / Donn Holohan - The University of Hong Kong’, Archdaily < http://www.archdaily.com/790993/wind-andrain-bridge-donn-holohan-theuniversity-of-hong-kong > (accessed 3 March 2017) 2 No author, ‘Wind and Rain Bridge...’.Archdaily.
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This project was able to successfully reconcile the old and the new, by integration traditional construction methods with digital design methodologies. Many complex assemblies were tested using digital software in order to achieve the complexity of the design. Hence, this project promotes the idea that Architecture is a compilation of past and present knowledge that contributes technical and creative ideas to designers, and practical and social benefits to the users. However, both designers and users may appropriate this knowledge according to the times and their ways of living.
FIG.1 USE OF DIGITAL TOOLS IN DESIGN PROCESS
FIG.2 ‘BRIDGING’ THE OLD AND THE NEW
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FIG.3 THE BRIDGE AND THE LANDSCAPE
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FIG.4 VILLAGERS SOCIALISING ON BRIDGE
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Micro-housng
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ontemporary architecture also reflects the power and influence that we, as consumers, have on design. This notion is reflected by the Micro-housing by the company Getaway. Micro-houses are offered to city folks seeking to get away from the over-stimulation of the city and escape to the rural-side,1 hence they reflect the patterns of living and ways of thinking of the current generation. The simple construction methods and architectural design are synonymous with people’s lifestyles attitudes, being quick and easy to assemble with minimalist and modern designs. This demonstrates architecture’s ability to adapt to the needs of the people. While its original purpose was to allow people to live simply and spend less, these houses are often overpriced for their size. Therefore, it seems unlikely that they will be used for their original purpose. They mainly offer freedom and user-satisfaction to people seeking a break from city-life, and encourages self-reflection, reinforcing Architecture’s role in fulfilling our “social dreams and ideals and…facilitating alternative visions rather than defining them”. 2 1. Jan Doreteo, ‘A Tiny Luxury: What are “Tiny Houses” Really Saying About Architecture?’, Archdaily, <http://www.archdaily.com/791333/a-tinyluxury-what-are-tiny-houses-really-saying-about-architecture> (accessed 3 March 2017) 2. Speculative Everything: Design Fiction, and Social Dreaming. by Anthony Dunne & Fiona Raby (MIT Press, 2013) pp. 1-9, 33-45 3. Speculative Everything, Dunne & Raby.
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These houses have minimal impact on the environment due to their size and humble use of materials, popularising the return to a more humble way of living and less materialistic lifestyle. They encourages us to live simpler and consume less. As explored by Dunne, Anthony & Raby, Fiona (2013) in the reading, “design can help raise awareness of the consequences of our actions as citizen-consumers”.3 Therefore, we can observe how Architecture can also inspire change in people and the world. Although these micro-houses may not be considered as ground-breaking innovations, the entire house is fabricated off-site in factories, thus exploring and broadening the opportunities for prefabrication in future architecture. Every design adds knowledge and value to Architecture as a design practice.
FIG.1 HOUSE UNOBSTRUSIVE TO ENVIRONMENT
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FIG.2 FLOOR PLAN
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FIG.3 HOUSE INTERIOR
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A.2. Design Computation The Living, Breathing Wall
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he use of emerging technologies allow us to design spaces that interact with inhabitants in humanistic ways. It allows easier control of the environment and makes our relationship to surroundings more intimate, hence aiding us in tackling environmental issues that we currently face today. It has led to a rich experimental and performance oriented design culture for architects and designers, re-defining the way they design and practice, as well as instigating change within the broader design and construction industries. This is demonstrated by the “Breathing Wall” (2013-14) installation designed by Behnaz Farahi. It is an interactive wall that changes its shape in response to the hand movements and speech recognition of its users. The installation uses a “Leap Motion” which recognises our gestures and controls motors to operate several types of movements onto the surface.1
The installation reinvents the typical steel frame and glass facade skin-and-bone system which we commonly see in preceding architecture, by using innovative materials such as spandex for the skin and introducing a “muscle” (shape memory alloy springs) and “brain” (microcontroller) component to the system. Through computer-based research, date gathering, and experimentation, the performance of the installation is maximised to give the most humanistic response. Hence, we can see how traditional design processes of computing may allow material, form and interactive systems of control to be more intimately connected in architecture. 1. No author, ‘The living, breathing wall’, Behnaz Farahi < http://behnazfarahi.com/theliving-breathing-wall/> (accessed 10 March 2017)
FIG.1 USE OF DIGITAL TOOLS TO CREATE CONTOUR LINES ON WALL
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FIG.2 WALL RESPONDS TO HAND GESTURES
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FIG.3 WALL RESPONDS TO OUR VOICE
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Cellular Morphology Facade
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his is reinforced by the “Cellular Morphology Facade”, a building skin system proposed by rat[LAB] in an exhibition in New Delhi. It uses computational and parametric design to adapt to multiple climatic contexts and building conditions. It uses a hexagon grid system through an algorithm that alters its density and attraction during the concept design stage. Computer technologies also allowed the team to digitally retrofit the proposed building skin onto the facade of an existing building in New Delhi. It maximises light and heat within the building, minimising its production of greenhouse gas, and thus, impact on the environment.1 This demonstrates the idea that parametric design may be evaluated against environmental performance, structural performance, aesthetics and visibility, and then adapt to any climatic conditions with parametric design’s “generative variability” - the capability to create and modulate differentiation in various scales such as the gradation of elements.2 Indeed, we can see from these examples how “formation precedes form” - a shift from “formal and linguistic models of form representation” of earlier architecture.3 1. Sushant Verma, ‘Parametrically Designed Facades for Climatic Adaptability’, MGS Architecture < http://www.mgsarchitecture.in/articles/ facades-glazing/952-parametricallydesigned-facades-for-climaticadaptability.html > (accessed 10 March 2017) 2. Theories of the Digital in Architecture, eds. by Robert Oxman and others (London; New York: Routledge, 2014), pp. 1–10 3. Theories of the Digital, Oxman and others, 2014 4. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. by Kalay, Yehuda E (Cambridge, MA: MIT Press, 2004), pp. 5-25 5. Architecture’s New Media, Yehuda, 2004
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Traditionally, architects were known as the “master builders”, involved in both the design and construction process, before the introduction of scaled drawings which became architects’ main source of expression. 4 As demonstrated by Farahi’s wall installation and the cellular morphology facade, modelling programs like Rhino, Grasshopper gives architects the ability to “model the structures of material systems as tectonic systems” and “renew(s) the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm”,5 thereby strengthening the relationship between the architect and the structural engineer in the practice of research by design.
FIG.1 USE OF DIGITAL TOOLS TO EVALUATE AGAINST DIFFERENT CRITERIAS
FIG.2 CELLULAR MORPHOLOGY FACADE INSTALLATION
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L IST OF I M AGES
8 D e s ig n F ut u r i ng [1-4] W i nd a nd R a i n Br id ge 2016, A r c hd a i l y, v ie we d 3 M a r c h 2017, < ht t p://w w w. a r c hd a i l y. c om/79 09 93/w i nd-a nd-r a i n-br id ge - don nholoh a n-t he -u n i ve r s it y- of-hong-kong> [1-3] A Ti ny Lu x u r y 2016, A r c hd a i l y, v ie we d 3 M a r c h 2017, <ht t p://w w w. a r c hd a i l y.c om/791333/a-t i ny-lu x u r ywh a t-a r e -t i ny-hou s e s -r e a l l y- s ay i ng-a b out-a r c h it e c t u r e> 16 D e s ig n C omput a t ion [1-3] T he l i v i ng, br e a t h i ng w a l l 2013 , B e h n a z Fa ra h i , v ie we d 10 M a r c h 2017, < ht t p:// b e h n a z f a r a h i .c om/t he l i v i ng-br e a t h i ng-w a l l/> [1-2] C e l lu l a r Mor pholog y Fa c a de 2015 , MG S A r c h it e c t u r e, v ie we d 10 M a r c h 2017, <ht t p://w w w.mg s a r c h it e c t u r e. i n/ a r t ic le s/f a c a de s - g l a z i ng /952 -p a r a me t r ic a l l yde s ig ne df a c a de s -for - c l i m a t ic-a d apt a bi l it y. ht m l > 22 C omp o s it ion/G e ne r a t ion
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BI BL IOGR A PH Y
8 D e s ig n F ut u r i ng D e s ig n F ut u r i ng: Su s t a i n a bi l it y, Et h ic s a nd Ne w P ra c t ic e. B y Tony Fr y (O x for d: B e r g, 20 08), pp. 1–16 Sp e c u l a t i ve Eve r y t h i ng: D e s ig n F ic t ion , a nd S o c i a l D r e a m i ng. B y A nt hony D u n ne & F ion a R a b y (M I T P r e s s , 2013) pp. 1- 9 , 33-45 No aut hor, ‘ W i nd a nd R a i n Br id ge / D on n Holoh a n - T he Un i ve r s it y of Hong Kong ’, i n A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/79 09 93/w i nda nd-r a i n-br id ge - don n-holoh a n-t he u n i ve r s it yof-hong-kong > (a c c e s s e d 3 M a r c h 2017) 16 D e s ig n C omput a t ion A me l i a Tay lor -Ho c hb e r g, ‘Aut hor of ‘ I nt e r a c t i ve A r c h it e c t u r e’ on t he bu i lt e nv i r on me nt i n t he a ge of ubiqu it ou s c omput i ng ’, i n A r c h it e c t < ht t p://a r c h i ne c t . c om/ne w s/a r t ic le/ 1 49 950 67 1/aut hor - of-i nt e ra c t i ve a r c h it e c t u r e - on-t he -bu i lt- e nv i r on me nt-i n-t he -a ge of ubiqu it ou s - c omput i ng> (a c c e s s e d 10 M a r c h 2017) A r c h it e c t u r e’s Ne w Me d i a : P r i nc iple s , T he or ie s , a nd Me t ho d s of C omput e r -A ide d D e s ig n . B y K a l ay, Ye hud a E (C a mbr id ge, M A : M I T P r e s s , 20 04), pp. 5-25 Su s h a nt Ve r m a , ‘ Pa r a me t r ic a l l y D e s ig ne d Fa c a de s for C l i m a t ic A d apt a bi l it y ’, MG S A r c h it e c t u r e < ht t p:// w w w.mg s a r c h it e c t u r e. i n/a r t ic le s/f a c a de s - g l a z i ng /952 p a ra me t r ic a l lyde sig ne d-f a c a de s -for - c l i m at ic-a d apt a bi l it y. ht m l > (a c c e s s e d 10 M a r c h 2017) T he or ie s of t he D ig it a l i n A r c h it e c t u r e, e d s . b y R ob e r t O x m a n a nd ot he r s (L ondon; Ne w York : R out le d ge, 201 4), pp. 1–10 No aut hor, ‘ T he l i v i ng, br e a t h i ng w a l l’, B e h n a z Fa ra h i < ht t p:// b e h n a z f a r a h i .c om/t he l i v i ng-br e a t h i ng-w a l l/> (a c c e s s e d 10 M a r c h 2017) 22 C omp o s it ion/G e ne r a t ion
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