Project Bureau: Interdisciplinary Model by Hun Lin Neo

PROJECT BUREAU: INTERDISCIPLINARY MODEL

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research: contents: Part 01: Part 02: Part 03: Part 04: Part 05: Part 06: Part 07: Part 08:

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Precedence - Case Studies Organization Structure: Die Angewandte People Involved: Die Angewandte Outcomes: Die Angewandte Studio Lynn: The Meisterklasse Studio Lynn: Ideas and Discussion Studio Lynn: Tools and Implications Studio Lynn: Organizational Structure

HARVARD SCHOOL OF DESIGN STRUCTURAL ORGANIZATION Harvard School of Design is a faculty of the university focusing in architecture, urban conditions, landscape architecture and the advance studies programme. The school’s architectural department is headed by Rem Koolhaas where he conducts the Project on the City, which is a research programme investigating changing urban conditions around the world. The projects include a study on China’s Pearl Delta River (published as Great Leap Forward). In addition to that, “The Harvard Guide to Shopping” is a seperate publication on the role of retail and consumption in the contemporary society. The way in which the university structures itself through Rem Koolhaas enables the students to work closely with him in their research project. Ideally, each student would work side by side with him for the first part of the semester and would later on branch off to research on their own topics. The publications are a series of analysis produced by the students and are later on edited by Rem Koolhaas and the people who are already in the industries. These people are believe to be those who have either worked for him in the past or students who have studied directly under him and are now based in different countries around the world. The collaborative practice between Rem Koolhaas and the university is possible merely for the fact that the university needs Rem Koolhaas as a brand figure for the institution. In return, Rem Koolhaas would gain through research studies that would not be funded normally in any situation. The knowledge from this shared collaboration could then be used for the benefit of his practice. In addition to that, Rem Koolhaas would be able to scout for potential talents within the institution.

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Part 01A:

Case Studies: Harvard School of Design

ARCHITECTURE

SOCIAL

VIRTUAL

ARCHIVE

The CAD Block Exchange Network™

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Part 02:

Organization Structure: Die Angewandte

EUROPE

UNITED KINGDOM

Professiona

NORTH AMERICA

Industry

ABDI ABDELKADER GIOVANNI ANCESCHI GIOVANNI ALESSI ANGHINI FRANCESCA AMFITHEATROF RON ARAD ANONIMO POMPEIANO ANONIMO BRIAN ASQUITH DAVIDE BORIANI DROR BENSHETRIT PETER ARNELL WIEL ARETS TED BICKFORD STEVEN BLAESS MARIO BOTTA BORTOLANI BECCHELLI RONAN & ERWAN BOUROULLEC LORENZA BOZZOLI ANDREA BRANZI JIM HANNON-TAN MARIANNE BRANDT CLARE BRASS LUIGI CACCIA DOMINIONI FRATELLI CAMPANA WILLIAM ALSOP ACHILLE CASTIGLIONI LIVIO CASTIGLIONI PIER GIACOMO CASTIGLIONI ALAN CHAN GARY CHANG PIERRE CHARPIN GABRIELE CHIAVE DAVID CHIPPERFIELD BIAGIO CISOTTI LLUIS CLOTET NIGEL COATES SUSAN COHN GIANNI COLOMBO SILVIO COPPOLA MATALI CRASSET CSA DONATO D’URBINO D’URBINO-LOMAZZI RICCARDO DALISI ELENA DANTI PAULINE DELTOUR DENTON CORKER MARSHALL MATTIA DI ROSA CHRISTOPHER DRESSER CARLO ALESSI DEZSO EKLER EOOS KHODI FEIZ NAOTO FUKASAWA DORIANA E MASSIMILIANO FUKSAS MASSIMILIANO FUKSAS G.I.B.A.

ZAHA HADID

NORMAN FOSTER FUTURE SYSTEMS FRANK GEHRY ELISA GARGAN ANNA E GIAN FRANCO GASPARINI PAOLO GEROSA MASSIMO GIACON ANNA GILI STEFANO GIOVANNONI FREDERIC GOORIS MICHAEL GRAVES MARTI GUIXE FEDERICO GRAZZINI

HANS HOLLEIN PIERO BOTTONI

EIJA HELANDER WOLFGANG HINTS

PAUL VAN IERSEL HARRY HARRY & CAMILA

GIULIO LACCHETTI ANDREA INCONTRI

CECILIA CASSINA

ABI ALICE

PIERRE HERME

TOM KOVAC

ALBERTO ALESSI DOMINIQUE PERRAULT UBALDO PIAZZA LORENZO PICCIONE DI PIANOGRILLO STEFANO PIROVANO ALEJANDRO RUIZ ELIEL SAARINEN SANAA MARTA SANSONI RICHARD SAPPER FRANCO SARGIANI EMMA SILVESTRIS ETTORE SOTTSASS PHILIPPE STARCK

SYLVIA STAVE

STANLEY TIGERMAN

RODRIGO TORRES

HANI RASHID ANTONIO CAGIANELLI PIO & TITO TOSO

UFFICIO TECNICO ALESSI UN STUDIO PATRICIA URQUIOLA GRAZIA VARISCO HARRI KOSKINEN ROBERT VENTURI GUIDO VENTURINI LISA MAREE VINCITORIO ANSELMO VITALE MARCEL WANDERS THEO WILLIAMS KOBI WIESENDANGER PETER ZUMTHOR ENRICA ZANZI CLAUDE ZUBER KAZUMASA YAMASHITA MARCO ZANUSO TOYO ITO GIO POMODORO GABRIELE DEVECCHI MVRDV CHARLES JENCKS GREG LYNN FORM

MARIO TRIMARCHI OSCAR TUSQUETS

DORIANA O. MANDRELLI ELENA MANFERDINI ENRICO MARFORIO ENZO MARI LUIGI MASSONI MUSEO ALESSI LPWK MIRIAM MIRRI ALBERTO MEDA ALESSANDRO MENDINI MASSIMO MOROZZI MORPHOSIS

JASPER MORRISON PAOLO PORTOGHESI HANS PRZYREMBEL CHRISTOPH RADL KUNO PREY HELMUT SCHULZE

MARC NEWSON

JEAN NOUVEL

JORGE PENSI JUAN NAVARRO BALDEWEG

KARIM RASHID OTTO RITTWEGER ALDO ROSSI PAOLO PAGANI DONATA PARUCCINI DEFNE KOZ ROLAND KREITER KRISTINA LASSUS PAOLO LOMAZZI PIERO LISSONI JOANNA LYLE CARLO MAZZERI RICHARD MEIER KING-KONG MARCELLO JORI PATRICK JOUIN MIKA H.J. KIM JOSEF KNAU HELEN KONTOURIS

ic m de

JOSEF HOFFMANN

Studio Prix

Aca

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Part 03:

People Involved: Die Angewandte

ORGANIZATION STRUCTURE

COLLABORATORS

OUTCOMES

Digital Script/Tools: + (C)ODE-(C)OLLECTIVE (US) + McNeel & Associates (US) + Rhino3D (US)

WENDY W FOK: New York, NY / Vienna, Austria / Hong Kong, HK (Founder: Architectural Designer/Urban Planner/Installation Artist)

Materials + Fabricators: + LG Hausys HI-MACS (US/Asia) + DuPont Corian (Asia) + Luxx Newhouse Pte (Asia) Engineers: Acoustic + Structural + ARUP / Arup Acoustics (UK)

JENNY CHOW: Vancouver, Canada (Design Partner: LEED AP/Architect/Designer/ Urban Planner)

LENASTINA ANDERSSON: Stockholm, Sweden (Team Member: Architect/Designer)

JAMES LEALAND: London, UK / Shanghai, China (Media Design Partner: Photographer/DJ/ Media Designer)

MARTIN XAVIER BROBY: London, UK / Copenhagen, Denmarkâ&#x20AC;¨ (Project Partner: Architect MAA / Designer)

KADRI + MARIS KERGE: Tallinn, Estonia/ Vienna, Austria / Los Angeles, USA (TEAM MEMBER: Architectural Designer/ Photographers/Interior Designers)

SUE BIOLSI: New York, NY / Houston, Texas (Team Member: Architect/Designer)

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Professional Consultants: + Gensler Middle East (UAE) Product Design: + ALESSI (IT)

Part 04:

Outcomes: Die Angewandte

THE MEISTERKLASSE

- A reinvention of the medieval relationship between master and apprentice. One professor design runs the curriculum for every semester of a studentâ&#x20AC;&#x2122;s five years in the school - The ability to focus on specific and sometimes myopic issues that is unique in the world - Posing an opportunity to peer into the depth of work and utilize the accumulated research to discover core issues that are emerging

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Part 05:

Studio Lynn: The Meisterklasse

- DIALOGUE WITH CONTEMPORARY DESIGNERS WITHIN AND OUTSIDE THE SCOPE OF ARCHITECTURE

TECHNOLOGICAL IMPROVEMENTS

ARCHITECT

TIME OTHER DESIGN DISCIPLINES OTHER DESIGN DISCIPLINES - PROGRESSION OF TECHNOLOGICAL GROWTH AT AN EXPONENTIAL RATE

ISSUES RAISED: - Would it be possible to design in this new decade where design innovation and technology meets? Could designers make use of the technology and the shared knowledge of other design disciplines to invent something new? How have designers in the past address these issues?

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Part 06:

Studio Lynn: Issues and Discussions

HOW CAN ARCHITECTS BE ENGAGED IN GLOBAL PROJECTS, YET MAINTAINING THE SENSE OF AUTHORSHIP WITHIN THEIR PRACTICE?

TRADITIONALLY, ARCHITECTS HAVE RELIED ON THREE TYPES OF CONSISTENCY

FORCED THEM ONTO GEOGRAPHICAL CONSTRAINTS

- FORCED THEM ONTO TYPOLOGICAL LIMITATIONS BRING AN IDENTIFIABLE PERSONAL STYLE TO EVERY PROJECT However, these situations does not imply for architects whom are engaged at a global scale. At least it does not seemed beneficial to adapt to a singular style. New sorts of consistency are called for and there is a need for rethinking architecture. In order to develope an understanding in this, we should be able to look for behaviours, systems or devices outside the scope of architecture which might play a big role in its contributions such as redefining spatial configurations, forming new strategies as well as creating new formal qualities and introducing new types of spaces

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Part 06:

Studio Lynn: Ideas and Discussion

DESIGN PROBLEMS: “HOW DO I SOLVE THE PROBLEM OF DESIGNING A LOBBY FOR A MUSIC HALL ON THE RINGSTRASSE WHEN THE SITE HAS TWO IMPORTANT FACES?”

REDEFINING THE PROBLEM AS:

“IN THE PAST, FACADES WERE THOUGHT OF AS VERTICAL PLANES WHERE THE VOLUMES OF THE INTERIOR OF THE BUILDING WERE PROJECTED AT A NINETY DEGREE ANGLE ONTO THE CITY; NOW THAT WE ARE USING COMPLEX CURVED SURFACES FOR DESIGN HOW DO YOU PROJECT INTERIOR VOLUMES ONTO A SCULPTURAL SURFACE?”

ENCOURAGING CREATIVE SOLUBY DEFINING THE ARCHITECTURAL PROBLEM FIRST, THE EXTRA-ARCHITECTURAL FUNCTIONAL, URBAN CULTURAL AND CIVIC PROBLEMS GET REDEFINED BASED ON EMERGING CREATIVE SOLUTIONS

INTRODUCTION TO FUNCTIONS AND USE OF DEVICES: LIKE AN APPARATUS, OR A CONTRAPTION, A DEVICE IS DESIGNED FOR A SPECIFIC PURPOSE, OFTEN TO PRODUCE AN AFFECT. A RHETORICAL DEVICE CONSOLIDATES A COMPLEX IDEA INTO A SHARED CONCEPT THAT IS MORE ACCESSIBLE AND THEREFORE MORE CONVINCING

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Part 06:

Studio Lynn: Ideas and Discussion

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Part 06:

Studio Lynn: Ideas and Discussion

TOOLS AND FUNCTIONS The thirteen devices that are shown here describes the essential relationships between contemporary production techniques such as prefabrication, manufacturing and construction. Although they are largely culled from design cultures beyond the boundaries of architecture, they have emerged as architectural forms and ideas over time. The device and its implications has allowed us to think about technique and sensibility not as separate means and ends, but as a single performative and aesthetic package which incorporates both a strategy and a final configuration. In addition, the borrowed tools and terminologies which are understood by other disciplines are now widely used within the disciplines of architecture as well as other design disciplines which cultivates a mutual understanding between disciplines.

PLEATED SURFACES (SCULPTURE) Definition: A type of surface fold that changes the character of its surface, from infinitely thin to excessively thick, structured and precisely articulated Opportunities: Pleats have the potential to generate a sequence of transitions that can vary from smooth and subtle to sharp and abrupt. They maintain a clear affinity for repetition, strong rhythm, continuity and precision. Pleating expands a two-dimensional surface, producing structural depth and mediating the dichotomy between surface and volume.

Robert J. Lang - Pajarita Cube, 1980

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Ruth Asawa - Aurora Fountain, 1986

Olafur Eliasson - Installation at 21st Century Museum of Contemporary Art

Richard Sweeney - Pleated Surfaces, 2009

Part 07:

Studio Lynn: Tools and Implications

SURFACE POCHE (SCULPTURE) Definition: Set of interwoven surfaces which create another continuous implied surface at their collective edge Opportunities: These variations produce a blurred relationship between structure and ornament

Jeff Koons - Balloon Dog (Blue)

Alexander Ross - Oil Paint on Canvas, 2004

Mathias Bengtsson - Slice Chair, aluminium 1999

Ross Lovegrove - TyNant Water Bottle, 2001

INFLECTION POINTS (SCULPTURE) Definition: Variation in a continuous surface or system that allows an entirely new type to develope Opportunities: In architectural terms, these inflection points can transform pattern (ex: orthogonal to irregular), structure (ex: truss to space frame), or organization (closed to open)

Marc Newson - Nike Zvezdochka, 2004

Herzog & de Meuron - National Aquatic Stadium, Beijing, 2008

Marcel Wanders - Knotted Chair, 1996

Ruth Asawa - S.178, Galvanized Tied Wire

FIGURAL STRUCTURE (INDUSTRIAL DESIGN) Definition: A composition of structural elements that detaches from or pushes through the building envelope, producing a massing of porous and variable figures Opportunities: Figural structure is read against the ground of the envelope. A monolithic compression of the two systems into a single layer is more easily read as a single iconographic image, something that looks like something else. Through added depth and patterns across the surface, figural structure allows for more ambiguous patterns that evolve as the viewer moves AND PERFORM THROUGH RHYTHM, COUNTERPOINT AND A RICHER

Marc Newson - Nike Zvezdochka, 2004

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Herzog & de Meuron - National Aquatic Stadium, Beijing, 2008

Marcel Wanders - Knotted Chair, 1996

Ruth Asawa - S.178, Galvanized Tied Wire

Part 07:

Studio Lynn: Tools and Implications

ALBEDO (INDUSTRIAL DESIGN) Definition: Loss of detail in a continuous surface or system which results in a locally washed out visual effect Opportunities: In both car design and architecture, the albedo or highlight can literally be designed by manipulating the surface. It can also perform as a visual illusion and organizational device produced by changes in pattern, depth or translucency

Jeff Koons - Balloon Dog (Blue)

Alexander Ross - Oil Paint on Canvas, 2004

Mathias Bengtsson - Slice Chair, aluminium 1999

Ross Lovegrove - TyNant Water Bottle, 2001

DIE CUTTING (INDUSTRIAL DESIGN) Definition: The creation of crisp figures by sectioning a continuous set of interior volumes or surfaces at the facades Opportunities: An oblique cut at the surface simultaneously distorts the geometry of interior partitions and reveal its formal coherence. Designing the interrelation of volume on the interior and figure on the exterior potentially keeps both at a remove from convention - either in terms of organization or a banal composition based around a specific image or icon

Jean-Marie Massaud - Truffle Chair

Marc Fornes - Boolean Series 001, 2008

PTW Architects with Chris Bosse, CSCEC + Design and ARUP

Kochi Architects - Circa 14th Century, 2007

INJECTION MOLDING (INDUSTRIAL DESIGN) Definition: an aggregation of continuously varying modular elements that maintain a hint of the plastic, candy coated aesthetic of the mass production technique. Opportunities: injection molding is used to manufacture pieces from thermoplastic by injecting molten plastic into a mold at high pressure. Evoking the trash cans or frisbees made this way infuses architecture with an element of fleeting contemporary pop culture rather than the modernist goal of staid timlessness

Jean-Marie Massaud - Truffle Chair

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Marc Fornes - Boolean Series 001, 2008

PTW Architects with Chris Bosse, CSCEC + Design and ARUP

Kochi Architects - Circa 14th Century, 2007 Part 07:

Studio Lynn: Tools and Implications

CREASES (INDUSTRIAL DESIGN) Definition: A line on a surface that simultaneously articulates that surface into distinct regions and unifies seperate parts or zones in to a coherent whole Opportunities: Car designers often crease surfaces as they are sculpted, introducing a subtle feeling and virtuosity, but also Placing focus on the ultra-thin surface itself. Creases generate only effects such as reflection, smoothness, sharpness or speed.

Chris Bangle - BMW Z4 Series, 2002

Marloes Ten Bhomer - Paperfolded Shoe, 2009

Wally Yacht - Wally power 118d

Marcel Wanders - Flos Zeppelin Lamp, 2004

TOPO-PANELIZATION (INDUSTRIAL DESIGN) Definition: The discrete subdivision of a surface into seperate parts, based on rigorous limitations of surface geometry, material characteristics and constructive dimensions Opportunities: Topo-panelization is the development of a language of surface based on architectural concerns of assembly rather than a sculptural interest. It invests smooth surfaces with varied articulation which could potentially be systems of aperture deeply rooted into the structure

Ross Lovegrove - Go Chair, 2001

David Flores - Bad and Evil, Dunny

Chris Cunningham / Bjork - All is full of love, album cover

Hussein Chalayan - Airplane Dress, 2009

SUPERFLAT LAYERING (ART) Definition: The reduction of form to a set of two dimensional layers arranged at varying depth Opportunities: In architecture, the technique is often employed in facades, to enhance the singularity of facades with multiple readings that overlap and interrelate, blurring and distorting the depth of the facade

Peter Callesen - Holding on to Myself, 2006

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Gabriel Orozco - Moon Axel, 2005

Beat Zoderer - Bulb No 4 / 07, 2007

Yayoi Kusama - Dots Obsession, 1999

Part 07:

Studio Lynn: Tools and Implications

PROGRAMMED POCHE (ARCHITECTURE) Definition: Thickened zones traditionally necessary for structure Opportunities: Can also perform as an organizational device creating left over, particularly shaped secondary spaces between or adjacent to primary volumes

Herzon & de Meuron - Prada Tokyo

Louis Kahn - Unitarian Church

Gianlorenzo Bernini - Sant â&#x20AC;&#x2DC; Andrea al Quirinale, Rome

Louis Kahn - Salk Institute

PETTICOAT LAYERING (FASHION)

Definition: Light, fluffy voluminous surfaces created by the addition of many layers or the folding pleating or ruffling of the surface Opportunities: The layered fabrics of a victorian petticoat and the fluffy structure of whipped creams and froths both Generate volume through repeated bubbles, folds and coils

Herzon & de Meuron - Prada Tokyo

Louis Kahn - Unitarian Church

Gianlorenzo Bernini - Sant â&#x20AC;&#x2DC; Andrea al Quirinale, Rome

Louis Kahn - Salk Institute

WOVEN VOLUMES (FASHION) Definition: The interlocking of two or more distinct and differentiated continuous spaces Opportunities: Woven volumes attempt to simultaneously differentiate and connect. Maintaining solid enclosure for several continuous sets of spaces relegates them to two identifiable sets. Folding them together in 3 dimensional space breaks down the stratification. In architecture, it could potentially unite volumes that are different in material and dimension through a topological sameness

Bathsheba Grossmann for Materialise - Quin

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United Nude - The United Nude Mobius Shoe, 2009

Toyo Ito - Forum for Music, Dance and Visual Culture, Ghent

Paul Rudolph - Modulightor Building, New York, 1989

Part 07:

Studio Lynn: Tools and Implications

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Part 08:

Studio Lynn: Organizational Structure

proposition: contents: Part 01: Part 02: Part 03:

REMOTECONTROL HUN LIN, NEO - S3160755

Summary: Interdisciplinary Model Interdisciplinary Model Structure Interdisciplinary Model: Potential Outcomes

PROPOSITION: INTERDISCIPLINARY MODEL Drawing from the body of networks established over at Die Angewandte, this proposal seeks to reinvent the benefits of interdisciplinary models through a much smaller entity. As it is noted that an organization like Die Angewandte needs a huge amount of investments to function, this might not be applicable to practices that are emerging due to financial reasons. Rather, the proposition works at a smaller scale through personal networks such as colleagues, friends or people who you might come across in the past. In addition, as the budget becomes more restrictive and limited, the potential for a collaboration can therefore exist because of its relevance catering to professionals with limited fundings. As uncovered in Studio Lynn, the universalization of vocabulary acts as a bridge to bring people together through their interest in design. However, the proposition is not suggesting that everything becomes universal, but rather to explore the gap and differences between design disciplines. This understanding of using similar tools and design jargons enable designers to speak in a universal tongue, yet maintaining their own identity. The conversation between design disciplines draws a huge potential to uncover innovation due to the various exposure of ideas and the way in which others think. The cross fertilization of ideas might not necessarily benefit merely the architect, but rather to imply a better design as a whole. The applicability of it trespasses into other design diciplines, providing outputs to industries like fashion, industrial design, art, sculpture and potentially many others. Through the shifts in roles and rethinking architecture from other design perspectives and vice versa, the outcomes could potentially throw out possibilities which might not be discovered by a group of single design professionals. Ideally, this form of practice can be achieved in a studio curated in a bigger body of organization such as RMIT. The potentials could be studios run with a common theme where other professionals or students from other design disciplines are invited to work together in a studio. The themes could be the general ambitions of the studio which allows the participants to work on issues that are very specifically related to their fields, with the influence coming from other design fields.

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Part 01:

Summary: Interdisciplinary Model

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Part 02:

Interdisciplinary Model Structure

Martin Heide, Alessi 2009 - Fruit Bowl

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Martin Heide, Alessi 2009 - Eggcup/Plate/Bowl

Martin Heide, Alessi 2009 - The Tower

Part 03:

Interdisciplinary Model: Potential Outcomes