Architecture Design Studio: Air ABPL30048
Eliza Materia 539 632 Studio 2
contents 02 introduction
03 part A: expression of interest case for innovation 04. A.1. architecture as a discourse 08. A.2. computational architecture 12. A.3. parametric modelling 15. A.4. algorithmic explorations 18. A.5. conclusion 19. A.6 learning outcomes 00 part B: expression of interest design approach B.1. design focus B.2. case study 1.0 B.3. case study 2.0 B.4. technique: development B.5. technique: prototypes B.6. technique proposal B.7. algorithmic sketches B.8. learning objectives & outcomes 00 part C: gateway design project project proposal C.1. gateway project: design concept C.2. gateway project: tectonic elements C.3. gateway project: final model C.4. algorithmic sketches C.5. learning objectives & outcomes references
virtual environments During first year University I studied the subject Virtual Environments, which introduced me to the concept of digital design. This subject enabled me to experiment with the program Rhino, and use its skills to aid and enhance the design process, in order to produce a wearable lantern. I began with an initial natural and involuntary process of blinking, and focused my attention upon the change in shape of the eye through time. This concept lead me to an array of differing oval forms, that would increase and decrease dynamically with ease. This inspiration, along with the help of Rhino, lead me to produce a four piece wearable lantern (below), that extruded from behind the head, to hang in front of the eyes. This piece could be seen through by the person wearing it, and the separate spheres hanging from string created constant movement which replicated the original process of blinking.
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part A expression of interest case for innovation
architecture as a discourse Architecture is moving into a technology driven world, where new, unique and complex designs are established via the aid of advances in programs and the use of materials. Due to this new way of thinking, architecture can easily become more separate from the surrounding natural world, and instead of utilising it sufficiently, in many cases trees etc. are removed because of the apparent inconvenience they cause. However, what isn’t always obvious is the extreme impact nature has upon design; whether it be harvesting particular views of the landscape by manipulating the locations of windows in a building, or physically changing materials to fit into the natural surroundings. As a result, I personally view the discourse of architecture, as something that constantly responds to the natural world, either purposely or in some cases accidently. Regardless, this idea is crucial in creating a successful and pleasing design that will remain present, in the ever fast moving world of architecture. 4.
nature as a building block In this surreal design interpretation by Atkin’s Architecture Group1, it portrays nature as the complete idea and force that shapes the actual design itself. As a result the constraints and abilities of the project are set by the landscape and site that it’s set in. This concept results in the natural world becoming the focal point of the architecture, rather than it being manipulated to fit certain design decisions, simply for convenience. Not only is the design physically shaped and limited to the country side in China, but the actual rock face and grass filled landscape aids the design. This is done by using the natural materials with ease, and harvesting the advantages of the site itself, instead of using completely foreign and sterile materials that will detract from the beauty of the surroundings. The overall design accentuates and truly encompasses the world of nature as a vital and influential part of architecture.
1 ‘What is Next Nature,’ Next Nature, 2007, <http:// www.nextnature.net/2007/04/waterworld-china/> [accessed 25 March 2013]
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the driving force of nature This futuristic home purposely focuses upon angular, and modular shapes2 and geometry, which seemingly oppose all concepts of the natural and free form flow of nature, and itâ&#x20AC;&#x2122;s natural processes. However, this somewhat sterile design works in juxtaposition with the beautiful landscape surrounding it, which therefore accentuates both aspects of the home and site. The house, which some may see as neglecting nature, is actually harvesting and emphasising the amazing views that can be obtained from a site such as this. Therefore, this design uses the beauty and natural forms of its surroundings as a driving force for the design itself, which creates a holistic feel between a technology driven future, and the appreciation of the natural world. 2 Gruber, Bryce, â&#x20AC;&#x2DC;Decor Spotting: The Home of the Future,â&#x20AC;&#x2122; The Luxury Spot, 2012, <http://www. theluxuryspot.com/decor-spotting-the-home-ofthe-future/> [accessed 25 March 2013]
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computational architecture Computational design within architecture can be undertaken with a variety of different approaches, which affect whether or not computation is viewed postively or negitvely within the design process. In some instances computation becomes the primary driver of the design, which in many instances eliminates creativity and unique design. It can also be quite limiting and extremely affect the design outcome. However, if computation simply acts to aid the actual design itself, and accelerate the design process, then this technique is an assett to the future of architecture. As a result, imaginations and norms will be stretched; allowing new and dynamic architecture to be created at a faster rate.
The sculptural glass facade of the MyZeil Shopping Mall, by Studio Fuksas. Image from: Vinnitskaya, Irina, â&#x20AC;&#x2DC;MyZeil Shopping Mall/Studio Fuksas, Archdaily, 2013, <http://www.archdaily.com/243128/ myzeil-shopping-mall-studio-fuksas/> [accessed March 30 2013]
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informed computation The MyZeil Shopping Mall by Studio Fuksas in Germany, represents a dynamic and unique design,3 which is achieved by the knowledge and use of the new technologies of computational design. However, the original design and the overall concept stems from nature and its geography and topography. This enables an original form and flow to be established, through the inspiration of the earth, rather than one completely subjected to the limitations and possibilities of a certain technological program. As a result the process of design becomes informed from an original area, which can then be further manipulated and trialled within the computer. Finally, the Mall is also purposely orientated to optimise sunlight, through the glass panels upon the facade, which further highlights the dependance the computational design has upon the surrounding natural environment. 3. Vinnitskaya, Irina, â&#x20AC;&#x2DC;MyZeil Shopping Mall/ Studio Fuksas, Archdaily, 2013, <http://www. archdaily.com/243128/myzeil-shopping-mall9. studio-fuksas/> [accessed March 30 2013]
focused computation Luke Novotny and Peter Ung were awarded the AIA 2009 Partridge Partners Award for their project below, within the Computational Media course.4 This piece of architecture displays the unique geometry that can be developed when focusing upon computational techniques and programs. The complexity of the panels/skin upon the facade demonstrates the refinement skills, and endless possiblities that stem from using an efficient technology, which enables original forms, patterns and joining techniques to be established with ease. Itâ&#x20AC;&#x2122;s unknown whether the original concept for the design began on the computer or by initial sketches, yet, the effortless relation between the complex structural form and the architecture itself, displays a well thought out and trialled solution to the design problem. 4 â&#x20AC;&#x2DC;Awards/Publications/Exhibition,â&#x20AC;&#x2122; Technicart, <http://technicart.org/?page_id=195>
[accessed March 30 2013]
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FabPod project at RMIT Image sourced from: Burry, Mark, ‘Ageing Design Challenge 2012,’ RMIT University, 2009 <http://www.designresearch.
rmit.edu.au> [accessed April 2 2013]
parametric modelling Parametric modelling relies upon equations of explicit functions, which are used with inputs and outputs to produce a final outcome, (in terms of architectural design), of something exceptionally complex, and reliant upon individual and unique parameters and equations. This way of modelling allows immediate potential designs to be visualisd and intepreted with ease, however, it can be limiting in some respects and cause setbacks in particular areas. Using complex formulas within programs, such as Grasshopper, may make sense to the individual whom created it, but to someone else the equation may not make sense. Therefore, limiting the people who can work on certain areas, and alter particular things. This complexity of the parameters can also make it exceptionally difficult to make significant changes on the project, since it can break the model and create something unsolvable. Regardless, this new form of modelling enables unique projects to be created with ease, through the simplest equations.
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parametric from the beginning
of pattern. This initial unknown outcome
The Dermoid project above,
original idea or design intent that the
began with the simple formation
technology is doing all the work, but
of patterns via the use of
without complete knowledge of specific
parametric modelling. As a result,
parameters and equations that will
there was no known form that
actually work, it’s impossible to come up
these patterns would undertake
with a solution.
from the beginning, it was purely based on the concept
enabled no preconceptions to be made about the final form, which allowed a variety of ideas to be trialled with the parametric modelling tools. However, some may argue that since there’s no
Images sourced from: Burry, Mark, ‘Design Research Institute,’ RMIT University, 2013, <http://www.designhub.rmit.edu. au/design-research/box2.html> [accessed April 4 2014]
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not only architecture Parametric modelling is not only efficiently used within the field of architecture, but also amongst other design areas, where a varierty of different conditions, limitations and parameters need to be taken into consideration. This form of design allows Rhino and Grasshopper to be utilised to generate surfaces that respond to particular instances and circumstances. Below is a set of points that come together to create a surface, which displays the pressure field of wind for the design of a sail.5 This allows not only the actual form to be optimised and enhance performance, but also makes it possible to analyse the ranging stresses and strains across the entire sail. Therefore, parametric modelling is able to advance, not only the area of architecture, but also a range of different regions within design that result in fluid and successful representations. 5. â&#x20AC;&#x2DC;Laser Cutting Folded Textiles,â&#x20AC;&#x2122; Paper Rabbits, 2011, <http://alymai.wordpress.com/author/
alymai/page/2/> [accessed April 4 2013]
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algorithmic explorations
Trial amateur image above, sourced from: Balogh, Brett, â&#x20AC;&#x2DC;Normal Flipping in Grasshopper, Grasshopper, 2009, <http:// www.grasshopper3d.com/ forum/topics/normal-flippingin-grasshopper> [accessed April 4 2013]
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algorithmic trials When
first
using
Rhino
be displayed immediately. However, it became apparent that certain parameters didnâ&#x20AC;&#x2122;t and
Grasshopper I tried the curve tools and functions with three simple curves that i drew in Rhino. This technique allowed me to use trial and error to see the different affects
have any visible affect or changes upon the form. This was either due to inexperience or inefficient connections to both inputs and outputs. The unique Rhino form below was created from the
Grasshopper that certain parameters had upon underneath. the lofted curves. The connection to
algorithm
trialled
Grasshopper also allowed quick and easy dramatic changes to be made to the curves, and the results of this to
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algorithmic trials Once I had used the curve tools, I moved towards 3D forms and attempted to play with the traditional cuboid form that was generated from a grid. I decided to bake the basic form, which enabled me to delete and remove certain elements to create a unique shape. This shape seemed to replicate a natural rock form, which is the reoccuring theme within my journal and itâ&#x20AC;&#x2122;s something I want to investigate within this technology, to see how computational design and nature can work hand-in-hand to create an informed and new design, which responds to its surroundings and keeps up with new parametric modelling.
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conclusion
My design approach throughout the journal has focused upon nature and its relevance within architectural design today, and how it’s moving towards digital and technological driven design techniques. This concept forces people to initiate nature within design and its importance, and whether or not the design intent or the limitations of nature come first. Depending on what’s preferred by certain people and the initial program being used, nature can influence the design dramatically, and doesn’t necessarily become less relevant due to new parametric modelling techniques. In fact, in some cases the specific new technology will allow more environmental and natural limitations and factors to be taken into consideration , and as a result, directly affect and manipulate the actual design.
learning outcomes
My original thoughts on the practice of architectural computing was initially quite negative, since the generalised opinion that comes from most people is that the programs are doing the designs for you. However, after my own use of Grasshopper and Rhino, along with the extended knowledge from the readings, it’s clear that a design cannot completely be stemmed from a computational program. Without knowing how to actually use the programs, and how certain parameters will affect the outcome, an actual design cannot be achieved. 18.
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